Catalogue

TouchLine 7 – Jez riley French “Portable Music”

Jez Riley French – Portable Music

Now available

Digital Download – 3 audio tracks – 64′ 26″

1. Score for a footbridge 22:00
2. Score for a locale 22:26
3. Score for geothermal ultrasonics 20:00

Photo: Pheobe riley Law

You can listen to an extract here

NB All three pieces on this release have duration as a key element and also explore frequencies that are inaudible on computer speakers. Please take this into account when listening to this extract.

Tone 45.6D – Anna von Hausswolff “Kallan (Prototype)”

Artwork & photography by Jon Wozencroft
Release date: 26th March 2016

Organ: Anna von Hausswolff. Recorded live at Lincoln Cathedral, 19th October 2013.
Performed at Frequency 13 Lincoln Digital Culture Festival as part of Touch presents…, (which also featured Chris Watson & Hildur Gudnadottir)

Recorded live by Mike Harding using 2 x dpa 4060s onto a Nagra Ares Pll digital recorder
This recording is unedited from the original raw file

Though she now lives in Stockholm, Anna von Hausswolff grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Although Anna has achieved acclaim with her song-based albums ‘Ceremony’ and Singing from the Grave (both first released on Kning Disk in Sweden), she has always had an ear for the radical approach, and this is the first step in a long-term collaboration with Touch.

www.annavonhausswolff.com

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TouchLine 6 – Iain Chambers “Bascule Chamber Concert”

Iain Chambers – Bascule Chamber Concert

Now available

Digital Download – 3 audio tracks – 23’44”

1. Bascule Chambers (2015)
2. Three Poems (2015)
3. Hoketus Prima (2015)

Photo: Steve Stills

You can listen to an extract here

Tone 52V – Fennesz “Mahler Remix”

Double Vinyl + full wav Download [If you buy from the TouchShop] – 4 tracks
Release date: 29th January 2016
Artwork & photography by Jon Wozencroft
Cut by Jason @ Transition

“Mahler Remix” was recorded live at Radiokulturhaus, Vienna by Christoph Amann, in May 2011. This recording is mostly based on samples taken from Gustav Mahler’s symphonies. The performance also includes an early version of ‘liminality’ from the ‘bécs’ album, released in 2014 on Editions Mego. ‘Mahler Remixed’ was a commissioned work performed together with the visual artist Lillevan.

Track listing:

1. Mahler Remix 1
2. Mahler Remix 2
3. Mahler Remix 3
4. Mahler Remix 4

www.fennesz.com

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TouchLine 5 – Aino Tytti “Millennium Mills”

Aino Tytti – Millennium Mills

touchline5

Digital Download – 8 tracks (FLAC & mp3) – 43:20
17pp PDF booklet of photographs and text

Track listing:

1. Observations from the nightwatch hut, late November
2. These halls which used to breathe and sing
3. England’s last lies ruined
4. Silo D
5. Waxing gibbous shines on the black king’s wharf (for Chrissie)
6. First light, crepuscular loculus
7. All that which was once lost
8. A requiem for Silvertown

You can listen to an extract here

Spire 6 – The Eternal Chord “Orga”

Download – 1 track – 23:49
Recorded by Achim Mohné
Photography by Mike Harding
With thanks to Georg Dietzler
Performed by Claire M Singer & Mike Harding at Sankt-Peter, Köln 6th November 2015

Track listing:

1. Orga

www.touch33.net/theeternalchord

TouchLine 4 – Mark Van Hoen – Artefacts l

Mark Van Hoen – Artefacts l

touchline4

Digital Download – One track (.mov) – 10:03

2pp PDF booklet of photographs and text

Track listing:

1. Artefacts l

TO:98 – Philip Jeck “Cardinal”

Double Vinyl + Download – 13 tracks – 64mins
Photography and artwork by Jon Wozencroft
Cut by Jason at Transition

Track listing:

Side 1.
Fleeing
Saint Pancras
Barrow in Furness (open thy hand wide)
Reverse Jersey

Side 2.
… bend the knee 1
Called In
Brief

Side 3.
Broke Up
… bend the knee 5
Called Again

Side 4.
And Over Again
The Station View
Saint Pancras (the one that holds everything)

This album comes with a free download of Philip Jeck “Live in Caen”, recorded by Franck Dubois on 28th February 2015 at Impressions Multiples #4 (ésam Caen/Cherbourg) with thanks to Thierry Weyd.

“… and they sparkled like burnished brass”*

Out of the depths of our complaints, it could be all so simple. To be never fooled by the finesse of a long-yearned for solidity, but in the momentary aplomb of a sleepy walk threading through familiar streets we’d hum our way, alto, baritone and tenor toward some harmonious end. An effect like some wonderful recollection of one or other of those technicolour movies. Not real for sure, but if you are in the mood….

I would like to acknowledge the influence the writer Marilynne Robinson has had on this work. I would recommend reading any/all of her four novels and also “When I was a Child I Read Books” [Virago, 2012]. This collection of essays include “Austerity as Ideology”, which dissects prevailing economic thinking, and “Open Thy Hand Wide…” which continues with a celebration of liberal thinking as Generosity (and also turned over my received knowledge of Calvinism). Her ability to convey a love of humanity and sense of wonder about the great mystery of existence in her writing has, since I first read a book of hers, found a way into the way I think about my work – not illustrating but meditating upon.
“After all, it’s [humankind] debts are only to itself.” (Marilynne Robinson)

To make this record I used Fidelity record players, Casio Keyboards, Ibanez bass guitar, Sony minidisc players, Ibanez and Zoom effects pedals, assorted percussion, a Behringer mixer and it was edited at home with minidisc players and on a laptop computer.

I would like to thank Octopus Collective’s Full Of Noise Festival where “The Station View” and “Barrow in Furness” were first recorded. Guy Madden and InMute’14, Athens who commissioned me to play a live soundtrack to Guy’s film “Cowards Bend the Knee” [2003]. “… bend the knee 1” and “… bend the knee 5” are reworked sections from that performance.

The two Saint Pancras Tracks are remixes of part a performance at St Pancras Church, London; an earlier version was made for “Touch. 30 years and counting” [Touch, 2012]. Saint Pancras (Latin: Sanctus Pancratius; Greek: Ἅγιος Παγκράτιος) was a Roman citizen who converted to Christianity, and was beheaded for his faith at the age of just 14 around the year 304 AD. His name in Greek literally means “the one that holds everything”.
“Called in” is an edit of a live performance at Spire in Krems, Austria [Kontraste Festival, 2013]. “Reverse Jersey” is an edit of a live performance for WFMU in New Jersey as part of Touch.30 [2012].

“Fleeting”, “Brief”, “Broke Up”, “Called Again” and “Over Again” were made at home in Liverpool between 2012 and 2015.

Thanks to everyone who has invited me to play, to Daniel Blumin at WFMU, to Mike Harding for the original recordings of “Called in” and “Saint Pancras” and a belated thank you to Jacob Kirkegaard for playing the chimes on “Ark” from “An Ark for the Listener” [Touch, 2010].

“… weeping for the wrongs we cannot undo.”

Philip Jeck, April 2015

*from The Book of Ezekiel

www.philipjeck.com

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TO:97 – Heitor Alvelos “Faith”

CD – 12 tracks – 40:20
Photography: Jon Wozencroft & Heitor Alvelos
Mastered by Denis Blackham

Track listing:

1. Errant
2. Exodus
3. Edict
4. Alluvion
5. Pseudoself
6. Vicarious Solace
7. The Way of Malamat
8. Peirasmos
9. The Other
10. Home, Elicited
11. The Hopeful Night
12. Dedication

Faith is the first full-length sound release by media researcher and curator Heitor Alvelos under his own name. Heitor Alvelos has been a long-time on/off collaborator of Touch, having on occasion provided photography and stage visuals for Biosphere, Fennesz, BJNilsen, Rafael Toral and Philip Jeck, as well as releasing sound pieces under the aliases Autodigest, Antifluffy and Before Surgery, on Ash International, TouchRadio and The Tapeworm.

“The essence of the present piece is autobiographical: therefore the use of my own name”, the author clarifies. “And yet it aims at being resonant to others”: in this context, resonance may be regarded as both semantic and visceral, as the sound frequencies on Faith are often of the kind that “rearrange one’s organs”, to quote the recently departed Bernadette Martou. A necessity in order to carry the gravitas inherent to the subject, a confessional confrontation with the zeitgeist.

All sources have been gathered, recorded and produced throughout five decades, all the way back to a recording by Francisco Alvelos in 1972 that closes the release. Elsewhere, sounds have been processed to various degrees, the bookends retaining their original contexts, others mutating into deep abstraction. Overall, they flow as one single composition, evocative and foreboding in equal measures.

www.benevolentanger.org/faith

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TouchLine 3 – Yann Novak “Scalar Field (9a00ff, ff6600, ff0066, fe0000)”

Yann Novak – Scalar Field (9a00ff, ff6600, ff0066, fe0000)

touchline3

Digital Download – HD video (mp4) – 9:00
24pp PDF booklet of images and text
Wallpaper for a variety of devices

Track Listing:

1. Scalar Field (9a00ff, ff6600, ff0066, fe0000) You can watch an excerpt here

TouchLine 2 – Simon Scott “Below Sea Level”

Simon Scott – Below Sea Level

touchline2

Digital Download – One track (wav) – 34:07
74pp PDF booklet of photographs, maps and text

Track listing:

1. Below Sea Level You can listen to an extract here

Robert Macfarlane: “It’s an amazing sound world, into which you fall (subside)”

The Wire: “… this exquisite study in sound ecology.”

TouchLine 1 – Budhaditya Chattopadhyay “Decomposing Landscape”

Budhaditya Chattopadhyay – Decomposing Landscape

Multi-channel sound composition

Digital Download – One track (Binaural + Ambisonics B-format) – 35:00
13pp pdf booklet of photographs

Track listing:

1. Decomposing Landscape, audio only edition You can listen to an extract here

FOLIO 001 – Josephine Michel & Mika Vainio “Halfway to White”

60pp hardback book + 60 min CD
Bound in a grey linen cover, printed on heavy hi-white paper
There are no digital versions or copies of this release in any format

Track listing:

1. Fade from Black
2. Missing a Border
3. Notes on the Exposures
4. Line of a Curve
5. White Out

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TO:99 – Biosphere Deathprod “Stator”

CD – 7 tracks – 44:37
Artwork and photography is by Jon Wozencroft. The CD was mastered by Helge Sten [Deathprod].

stator (ˈsteɪtə) n
1. (Electrical Engineering) The stationary part of a rotary machine or device, esp of a motor or generator
2. (Aeronautics) A system of nonrotating radially arranged parts within a rotating assembly, esp the fixed blades of an axial flow compressor in a gas turbine
[C20: from Latin: one who stands (by), from stāre to stand]

Track listing:

1. Muses-C (Biosphere)
2. Shimmer/Flicker (Deathprod)
3. Baud (Biosphere)
4. Polychromatic (Deathprod)
5. Disc (Deathprod)
6. Space is Fizzy (Biosphere)
7. Optical (Deathprod)

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TO:53V – Fennesz “Venice”

Double vinyl & digital download – 14 tracks + pdf booklet
Release date: 20th October 2014
Artwork and photography by Jon Wozencroft
Cut by Jason at Transition, mastered by Denis Blackham
Featuring David Sylvian and Burkhard Stangl
Special 10th anniversary edition

Track listing:

A
The Future Will Be Different
Rivers of Sand
Chateau Rouge

B
City of Light
Onsra
Circassian (guitar: Burkhard Stangl)
Onsay
The Other Face

C
Transit (vocals: David Sylvian)
The Point of It All

D
Laguna
Asusu
The Stone of Impermanence
Tree

The Future Will Be Different and Tree complete the Venice sessions in one release…

“Venice” was recorded on location in the summer of 2003 and subsequently assembled and mixed at Amann Studios, Vienna in January/February 2004.

“Venice”, the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture.

It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz’s best-selling record to date. prefix (USA) noted: “Although Fennesz’s breakout record Endless Summer was followed by a live release and a collaboration with Jim O’Rourke and Peter Rehberg as Fenn O’Berg, Venice is the true heir to that album’s ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human.”

Pitchfork Media (USA), in a lengthy review, also noted: “Venice’s quality extends beyond its sound. Touch proprietor Jon Wozencroft– through his breathtaking design and photography – continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect.” and The Declaration Online (Web): “Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water’s gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz’s latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision.”

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Tone 51D – Thomas Köner & Jana Winderen “Cloitre”

Download – 1 track – 44:37

Mastered by Thomas Köner
Photography by Jon Wozencroft
Text by Denis Boyer

Recorded live from the cloisters at Evreux Cathedral, Normandy, France by Franck Dubois, 14th June 2014, as part of L’Ateliers

Track listing:

1. Cloître

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TO:27D – Chris Watson “Stepping into the Dark”

12 Tracks – 59:43 – Download

PDF Booklet + text file inc. liner notes and images

The tracks are the atmospheres of “special places”, recorded with the use of camouflaged microphones.

“In recent years I have noticed that some of the locations I visited as a sound recordist displayed remarkable and particular characteristics. These may be sparkling acoustics, a special timbre, sometimes rhythmic, percussive or transient animal sounds. Without a doubt, playing a recording made at one of these sites can recreate a detailed memory of the original event. Also, as others have described, there is an intangible sense of being in a special place — somewhere that has a spirit — a place that has an ‘atmosphere’. These recordings avoid background noise, human disturbance and editing. They are made using sensitive microphones camouflaged and fixed in position usually well in advance of any recording or animal behaviour. The mics. are then cabled back on very long leads to a hide or concealed recording point, the aim being to capture the actual sound within each particular location without external influence. Sites are discovered by researching local natural or social history, by interpreting features on a map or through anecdote and conversation with people about their feelings for or against particular places. The author and researcher Tom Lethbridge identified the sources of several spirits within the topography of the area. I suspect that this also includes flora and fauna, local time of day, the weather and the season. The following recordings are the atmospheres of special places.” (Chris Watson)

Track list:

1. Low Pressure
0810h 6th October 1994
Wind wherever the sound recordist operates is an obvious nuisance. Just as it is with turbulent seas and fast-running water, it is relatively simple to make a recording that captures the generalised bashing and cashing of the elements, but this results in white noise that describes nothing of the detailed ebb and flow as witnessed. The remarkable thing here, in Glen Cannich, was that i could walk through the foci of these wind sounds within a few paces, as if being part of some great instrument. The blast here was so strong that it took some time to fix the microphones securely – I felt surrounded by the full force of the elements being channelled through this site, and wanted the recording to reflect the bent-double posture and sheer physicality I was experiencing. I cabled back 50 or 60m to a sheltered position and managed to run the tape for almost ten minutes before the microphones were blown over.

2. Embleton Rookery
0600h 7th May 1983
The churchyard looks out to the sea and across to the castle at Dunstanburgh Head, the vertigo cliff face forming a curve to create what was once a remote deep water harbour, used by Tudor monarchs. Maybe shipwrecked sailors have returned, reincarnated as the rooks that have chosen upon the old stone church in Embleton, whose name itself gives off a particular hum. Is it that the rooks are only rooks, and they sound dark to us because the Black Birdhas so many associations with malevolence and ill-omen? Lethbridge might have said that the birds come here, largely due to this always pagan site having obvious associations with the strong atmosphere of its ley lime and ritual past. Today, cars file past on their way to a family picnic on the promontory.

Go there at dawn, or last thing at night, out of traffic hours, and another sound takes over. The acoustic of the place spins the parliament of the rooks through the cold air, its stillness, and into the timeless chaos, as always, driven on by the ringing of the bells.

3. The Crossroads
0620h 27th March 1994
This morning the conditions were just right. This crossroads at Smalesmouth in the Kielder Forest, I am told, connects two of the ‘old straight tracks’ upon which Scottish drovers would herd their livestock south across the open hill. Today, the forest clearing is home to a host of bird, both resident and migrant. Here, however, end of March, the birdsong comes from local voices at the peak of their activity. So at our usual site on the junction of the forest tracks, recording began just after the light came up. The cold, dry air was full of detail, this isolated spot quickly reanimated by the ringing song and calls of chaffinch, robin, wren, songthrush, siskin and crossbill…

4. River Mara At Dawn
0615h 16th September 1994
A looping curve up river is edged with lush riverene forest. The location is spectacular, but its splendour has to co-exist with an oft-repeated stress on being vigilant; one does not wander alone on foot about the Maasai Mara.

Having set the mics, I cabled back some distance to the Land Rover and started to record. Eventually, building with the heat, were the convergent sounds of swirling water, black kites, wind through the surrounding vegetation and a blanket covering if flies.

5. River Mara At Night
2130h 16th September 1994
The same evening, Francis asked one of the other Maasai guards to take me back up river. Nightfall brings more danger. The hippos, who spend the day in the river, come out and graze on the vegetation, and can be very threatening animals… more people are killed by hippos than they are by lions.

The ‘atmosphere’ had changed. Listening for the wooden chimes of tree frogs, we were met by heavy rhythm, a wall of nocturnal sound. Moths and night flying beetles are being hunted – you can hear the deep octaval roar as they come close to the microphone. The metallic sounds, I suspect, are the acoustic calls of bats.

6. A Passing View
2350h 3rd April 1992
Today, Fai – a local fisherman, took us into the huge mangrove forests at Los Olovitos by canoe. We had spoken about some of the special places in the mangroves and in the early afternoon we stopped at a resting place bordering the lake. It was hot, humid and very quiet. I cabled some mics out into the water’s edge with the idea of returning before dawn the following day. Curiosity forced my return that night when I heard and recorded these mechanical sounds of fishing bats in the darkness. Afterwards, in torchlight, I could watch these beautiful, long-legged russet coloured animals trawling for small fish feeding on the surface of the water.

7. Bosque Seco
0540h 6th April 1995
I left the camp at 0500h this morning and followed the winding path east towards my marker. Within the forest it was still very dark and quiet, with rising warm dry air. Just as the light was breaking through the canopy, I found my site at a fork in the path. I rigged up the tape recorder. The temperature began to climb like a jet off a runway. The acoustics changed, the orchestra awoke and the forest found its rhythm.

8. Sunsets
2230h 16th May 1994
During the late afternoon I cabled the equipment out into the marsh from a track. At 2000h I went back to listen out for the evening chorus of snipe. On the ground, they are cryptic birds and will choose their spot, usually reedy and damp, close to their very well camouflaged nestling places in tussocks and long grass.

The evening was quiet until the point at which the light dramatically changes and colour vision vanishes. At this hour, the snipe will perform. In an amazing ritual and localised aerial display, they dive vertically like guided missiles towards the water, the sound of their tail feathers buzzing through the air.

9. The Blue Men Of The Minch
1400h 30th July 1994
I was fortunate enough to borrow a hydrophone from the research station at Cromarty. Five metres beneath the surface of the Moray Firth and directly over a particular deep water channel, common seals roar during their diving displays. Within a 1km radius of the hydrophone, bottle-nosed dolphins navigate and hunt using echo locating clicks. Occasionally they communicate with their unique signature whistles.

10. High Pressure
0550h 25th February 1994
On the hilltop, there was no shelter this morning from the intense biting cold – or a feeling of growing anticipation. The hard dry air gripped the trees and margins of the pool – now frozen, with only one small area of water by the mics.

Daybreak revealed a small constricted community of coot, mallard, widen and teal.

11. Gahlitzerstrom
1740h 5th October 1993
Observing from a hide over the previous two days, the cranes have followed a similar path towards their roost out on the waters of Udarser Wiek. In particular, they seem to favour a narrow channel to navigate east to west – flying in low over the end of a thin spit of brown reedy marshland where earlier this afternoon I concealed the mics.

In Greek mythology, Hermes is said to have envisioned the Greek alphabet by watching the beating wings of cranes as they passed by his line of sight. Their calls and signs remain across the centuries…

12. The Forest Path
0625h 7th October 1994
It was raining hard – there was cover under the edge of a large dark section of mature plantation. Gradually, out from the background, came the crook of distant stags. A rich, velvet acoustic rolling down through the trees and suspended in a low clinging mist.

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TO:96V – Hildur Gudnadottir “Saman”

LP – 11 tracks – 39:06
Artwork & photography by Jon Wozencroft
Mastered by Denis Blackham at Skye
Vinyl cut by Jason @ Transition

This album is about resonance: on “Saman”, which means “Together”, Hildur melts her voice with her cello, connecting the two instruments together. The result is a highly involving and moving album, recorded, mixed and mastered in Berlin. Hildur’s sylph-like vocals contrast beautifully with rich cello tones, resolving the tension between light and dark to produce a unique listening experience.

Track Listing:

Side A
1. Strokur
2. Frá
3. Birting
4. Heyr Himnasmiður
5. Bær

Side B
6. Heima
7. Í hring
8. Rennur upp
9. Til baka
10. Líður
11. Þoka

All tracks composed, performed and recorded by Hildur Guðnadóttir in Berlin, except Heyr Himnasmiður (track 4), composed by Þorkell Sigurbjörnsson, lyrics by Kolbeinn Tumason. Cello made by David Wiebe in 1991. [Cello nr 49]

Track 6, bass by Skúli Sverrisson, string fretted cello built by Hans Jóhannsson, resonated through two grand pianos.

Tracks 1, 4 and 6 recorded by Francesco Donadello.

All tracks mixed by Francesco Donadello and Hildur Guðnadóttir at Vox-Ton Studio, Berlin.

www.hildurness.com

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Tone 45.7 – Achim Mohné “Accelerated Standstill”

Limited edition vinyl + free bonus download track
Cut by Jason at Transition, this release is dedicated to Paul Virilio

An assembling for locked grooves. Collected and performed since 1997, recorded live in 2013 as part of “Touch presents…” at Café Oto, London; Ausland, Berlin; the Academy of Media Arts, Cologne, and the Centre for Arts and Media (ZKM), Karlsruhe.

This record can be played at all speeds, but the recommended speed is 33 rpm.
Accelerated Standstill is an assembling of locked grooves found on customary vinyl records. The records have been collected and performed live between 1997 and 2013. Locked grooves normally functioning as a ‘barrier’, avoiding the needle coming into contact with the label at the centre of the record. All grooves sound different, depending on how dust has effected and transformed the soft surface of the vinyl.

By using a triple vinyl deck set-up this (analytic auditory observations of) ending grooves are mixed live thus composing a “music that lies hidden in the medium itself”. The tiny dust particles inside the vinyl groove convert into a ‘sound sculpture’ – an important syntactical parameter (of the apparatus) is formed by the turntables themselves. The speed of their rotation is not limited to 33 or 45 rpm, but expanded between 1 and 150 rounds per minute thus determining the loops and the rhythm.

Achim Mohné started working with record players, cassette recorders and other sound-media-apparatus in the mid 1990s. He experiments with the space and time intervals of sound-media and is especially interested in the “music that lies hidden in the medium itself”. His method is to subject the support material to a forensic autopsy. His most recent project analyses the transfer data of a Wi-Fi router called Fritz Box/Fritz Kiste (cf TouchRadio). His further work features sound tracks for film and theatre performances (with Yoshie Shibahara) as well as collaboration with classical musicians (such as violinist Ayumi Paul).

www.achimmohne.de

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TO:96 – Hildur Gudnadottir “Saman”

CD – 12 tracks – 39:06
Artwork & photography by Jon Wozencroft
Mastered by Denis Blackham at Skye
Vinyl cut by Jason @ Transition

This album is about resonance: on “Saman”, which means “Together”, Hildur melts her voice with her cello, connecting the two instruments together. The result is a highly involving and moving album, recorded, mixed and mastered in Berlin. Hildur’s sylph-like vocals contrast beautifully with rich cello tones, resolving the tension between light and dark to produce a unique listening experience.

Track listing:

1. Strokur
2. Frá
3. Birting
4. Heyr Himnasmiður
5. Bær
6. Heima
7. Í hring
8. Rennur upp
9. Til baka
10. Líður
11. Torrek
12. Þoka

All tracks composed, performed and recorded by Hildur Guðnadóttir in Berlin, except Heyr Himnasmiður (track 4), composed by Þorkell Sigurbjörnsson, lyrics by Kolbeinn Tumason. Cello made by David Wiebe in 1991. [Cello nr 49]

Track 6, bass by Skúli Sverrisson, string fretted cello built by Hans Jóhannsson, resonated through two grand pianos.

Tracks 1, 4 and 6 recorded by Francesco Donadello.

All tracks mixed by Francesco Donadello and Hildur Guðnadóttir at Vox-Ton Studio, Berlin.

www.hildurness.com

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