Café Oto Sunday 31st January 2016
featuring LA-based artist Mark Van Hoen, an interview with Tony Myatt by Jon Wozencroft, plus sound ecologist and Slowdive drummer, Simon Scott, following on from new album, Insomni.
A 4 hour octophonic sound projection with multi-channel audio works from the roster of Touch sound artists, including Chris Watson, Jana Winderen, Bethan Parkes, Hildur Gudnadottir, The Eternal Chord, Philip Jeck, Simon Scott, BNilsen & drøne
Octophonic Sound Projection: Mark Van Hoen
Executive Production: Mike Harding
11:30pm-3am – Dorothy Chandler Pavilion, Grand Ave, Los Angeles
Double Vinyl + Download – 4 tracks
Photography and artwork by Jon Wozencroft
Cut by Jason at Transition
1. Mahler Remix 1
2. Mahler Remix 2
3. Mahler Remix 3
4. Mahler Remix 4
‘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.
Vinyl LP + Download + bonus track, “Čuoika”. All downloads are 24 bit recordings by Chris Watson.
Design by Philip Marshall
Photography by A K Dolven
Cut by Jason at Transition
A1. Gufihttar (underworld fairie)
A2. Gadni (spirit of the mountain)
A3. Neahkkameahttun (from the other side)
Yoiking is the ancient chanting practise of the Sámi People – the indigenous peoples on the top of Europe. Yoiking originates from time immemorial – legend tells that it was the faires and elves of the arctic lands that gave yoiks to the Sámi People. Yoiking was an important element of the religious rituals in pre-christian times and has survived both christianity, imperialism and the fact that Sámi areas were confiscated by the states of the north; Norway, Finland, Sweden and Russia.
Ánde Somby is deeply rooted into the yoik tradition. He comes from the eastern part of the north Sámi areas and in the tundra tradition of the reindeer herders and from the valley tradition of arctic farmers. His yoiking is both quite technical as well as melodic – Somby is at the same time an innovative yoiker. All the three pieces on side A are his compositions. His signature as a yoiker is an expressive style performed on the borders of the human voice.
The title of the work refers to the fact that the migratory birds that have made it to the arctic for their breeding season are an important part of the record. With the assistance of a local crow they break the arctic silence by singing and calling. The title also makes a more subtle reference to the sound flying from the echoing mountains.
The project itself has three inspirations; the yoiks were given to the humans from the fairies and elves. This gives an emphasis on that yoiks are of the earth. The second inspiration is that there is a war against fairies and elves going on; in Norway that war was waged by the national poet Henrik Wergeland in the song Nisser og Dverge and has continued with stripping the earth of its soul and giving free license to aggressive exploitation. The emphasis is asking the fairies and elves if they still are doing good. The third inspiration is the European myth about Narcissus and Echo; Echo does not find her love as Narcissus rejects her, but she is given an eternal voice. Yoik and Echo meet in this work as echo yoiks along together with the underground energies.
The recordings are made by Chris Watson, the world famous sound artist and leading field recorder. The recordings took place in Kvalnes, Lofoten mid June in 2014 in a moment while the arctic winds had a little rest. Chris Watson has also done the post production. A K Dolven took the photos for the project and has been instrumental in developing the concept. Thanks also to Tony Myatt.
On 14th January, 5pm, at the Royal College of Art’s Lecture Theatre 1, Jon Wozencroft and Paul Devereux present a Work in Progress show of their Landscape & Perception Project.
“Thinking of our senses as time machines. Two audio–visual presentations followed by Q&A and discussion. The first will introduce the idea of sensory archaeology and Archaeoacoustics, the study of sound at ancient sites, to provide the background for the second, which will overview the RCA’s ‘Landscape & Perception’ project.”
The Guardian open their Best Experimental Music of 2015 list with Philip Jeck’s “Cardinal” album. They write: “The electronic composer Philip Jeck returned with his first release in five years. His gothic and spacious Cardinal felt like a weighty career summation. Compacted tonalities bleed into each other – “a sleepy walk threading through familiar streets,” says Jeck – as vinyl sources and treated instrumental sounds drift through chimerical drones.”
Biosphere and Ánde Somby – whose album “Yoiking With The Winged Ones” will be released on vinyl and download by Ash International in January 2016 – are both featured in BBC Radio 3’s “Northern Lights: Tromso” programme.
As part of Radio 3’s Northern Lights season, Petroc Trelawny explores musical responses to the dark northern winters in Tromso, the Norwegian “capital of the Arctic”.
Petroc explores the region’s rich folk music heritage, with its traditions from northern Norway and from the Sami people, known for their yoik style of singing. He visits the folk music collection at the Tromsø Museum with curator Ola Graff, meets with Sami singers Ande Somby and Berit Alette Mienna, and sees children at one of the city’s primary schools continuing the yoiking tradition.
Tromsø is also well known for its cutting-edge electronic music scene. One of the genre’s pioneers is Geir Jenssen, aka Biosphere, who uses the Arctic landscape both as inspiration for his electronic music, and literally, with field recordings including the sound of frozen lakes. He takes Petroc on a journey of sonic discovery around the fjords, tunnels and snow-capped peaks near his home on the island of Senja.
The North Norwegian Opera and Symphony Orchestra, and amateur choir Arctic Voices are also featured in this 45 minute broadcast and downloadable podcast.
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
1. CLAIRE M SINGER & THE ETERNAL CHORD LIVE IN COLOGNE, 6th November 2015
Kunststation St Peter, Jabachstr. 1, Köln 7pm
Orgel und Elektronik in der Reihe Raumklänge – Ortsbezogene Musik, eine Plattform für raumerforschende Musik, Hörstudien und erweiterte Aufführungspraxis.
“The Molendinar” & “Wrangham”
Claire M Singer (Organ and Electronics)
The Eternal Chord
Claire M Singer & Mike Harding
Curator: Georg Dietzler
2. TOUCH LABEL NIGHT IN AMSTERDAM 9th November 2015
Muziekgebouw aan’t IJ 730pm
Review in kindamuzik “Best thing since sliced bread” can be read here
Double Vinyl + Download – 13 tracks – 64mins
Photography and artwork by Jon Wozencroft
Cut by Jason at Transition
Barrow in Furness (open thy hand wide)
… bend the knee 1
… bend the knee 5
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” . “… 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 .
“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
Artists: Jana Winderen, Maia Urstad, Christine Ödlund, Brandon Labelle, JG Thirlwell, Petteri Nisunen, Tommi Grönlund, The Sons of God, Franz Pomassl, Anna Ceeh, Mike Harding, Finnbogi Petursson, BJ Nilsen, Jacob Kirkegaard, PerMagnus LIndborg and Carl Michael von Hausswolff.
Format: Gatefold LP. Design: Philip Marshall. Artwork: Achim Mohné.
Side A is composed, arranged and mixed by Carl Michael von Hausswolff in November 2014 at the Castle, Stockholm and at the Carlton Opera Hotel, Vienna, using the thirteen original sound files composed by the artists during the period May – October 2014.
Side B is a location recording made on 6th November 2014 between 16:00 and 16:30 by Carl Michael von Hausswolff
freq_out has been a musical project since 2003 when Carl Michael von Hausswolff was invited to Copenhagen to invent a new concept for and install a sound-art installation. He divided up the audible sonic register into twelve parts and asked twelve artists, musicians, composers and architects to each accept one of the twelve parts and compose a sonic piece from it. The result became twelve compositions/art works that were simultaneously played on twelve different sound systems in the art space of Charlottenborg and by this becoming one piece.
During the following years freq_out has also been installed in the cities of Oslo, Berlin, Paris, Budapest, Chiang Mai, Kortrijk, Stockholm, Amsterdam and Marrakech.
This LP contains the studio mix and a live recording of the first permanent installation of a freq_out piece called freq_out 1.2 ∞ Skandion.
The work is up and running in the entrance garden at the Skandion Clinique – a new hospital for cancer treatment inaugurated in May this year (2015) – in Uppsala, Sweden. It’s accessible 24/7 and anyone that comes by the place can enjoy the work.
Saturday, September 19 at 3:00pm
Magazine A-168 on Mare Island
Railroad Ave and Mercado Ct.,
Vallejo, CA 94592
Re:Sound + 23five present an afternoon of Touch
+ Screening of the Fennesz Wozencroft film “Liquid Music”.
Doors at 3pm, Screening of Liquid Music at 3:30.
When you buy the CD version you receive two bonus tracks not available elsewhere:
1. ‘Into Birch’ (Pipe organ and electric guitar)
2. ‘Mere’ (Acoustic 6 string)
(both 24 bit, mastered by Denis Blackham)
Photography: Simon Scott. Design: Philip Marshall.
Mastered by Denis Blackham
Track listing & timings (plays as one track):
0.00 An Angel From The Sea Kissed Me
6.59 Holme Posts
9.00 Confusion In Her Eyes
16.42 Oaks Grow Strong
22.36 Nettle Bed
25.40 Fen Drove
31.46 Far From The Tree
Couldn’t sleep… arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop…
Dawn and morning light allowed more sound and the guitar, in its case, beckoned…
From darkness to light…
Guitars: Guild 12 string D-125 & Vintage Guild 6 string GF-25
Mics: Induction coil pick up & Hydrophones
Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers
Recording device: Edirol r-09
Radio: static between stations
Software: Max MSP (self-programmed), Supercollider & Logic Pro
Simon Scott (b. 1971) is a British multi-instrumentalist who is currently based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition and sonic art.
Below Sea Level, originally presented live in quadraphonic sound, was released on TOUCHLINE in March 2015, after 12k originally released the album in 2012 as an 80-page journal and seven track CD. It explores the aesthetics of active listening, sound ecology and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analogue and digital timbres, the man-made and natural world sounds, captured in his local sunken landscape of The Fens in East Anglia, create a fusion of digital signal manipulation combined with organic acoustic textures.
Since the late 1990’s Scott’s solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions and digital multi-media projects.
He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 ‘Souvlaki ‘ album. His track “Für Betty” was included on the German label Kompakt’s ‘Pop Ambient’ (2014) compilation series and his solo music has also been previously released on recording labels 12k, Morr Music, Miasmah, Sonic Pieces and Ghostly International.
Scott is also a freelance composer and sound recordist for film and television and recently appeared on the BBC program ‘Springwatch Unsprung’ recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught Music Technology and sound recording in Cambridgeshire and lectured at Cambridge University.
In 2008 he established the KESH recording label, releasing global artists audio and visual projects and he has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan and James Blackshaw.
8:00PM – 11:00PM Nightly, Workshop 12:00PM – 4:00PM, $20 – $70
VOLUME and LACE present the second Resonant Forms festival
for three days from September 11 – 13, 2015
Los Angeles Contemporary Exhibitions [LACE]
6522 Hollywood Boulevard
Los Angeles, CA 90028
180 gram vinyl LP – 6 tracks – + download code
We are now taking orders for this new release – shipping will commence the week beginning 13th July 2015.
Released in Poland by Gusstaff Records
Artwork and photography by Jon Wozencroft
1. Sigh (Les peupliers)
2. A book of lake (Roselière)
3. Garden (Les sureaux)
4. From a seashell
5. Circling (Le pré)
6. Kingdom (Les chênes, les bouleaux)
For the past decade or so, Polish musician Michał Jacaszek has been exploring a new, resolutely modern chapter in Eastern Europe’s long, storied love affair with classical music. His creations are painstakingly crafted collages of electronic textures and baroque instrumentation, harpsichords being swarmed by woolly static one minute and pulled apart by billowing wind the next. A push-and-pull tension runs deep and constant throughout. Ambient music is rarely so sonically challenging. Jacaszek has recorded for Ghostly International, Miasmah, Gusstaff Records and Experimedia and other labels. This is his first release for Touch.
Michał Jacaszek writes:
“When poets and writers declare their enchantment for the forms of nature, they often use musical terms as methaphors. Visual artists’ creations often resemble graphic partitas, when recapturing the rhythms of landscapes.Confirming, in a way, these musical intuitions, composers write great music deeply inspired by birdsongs, wind rustlings, waves repetitions etc.
Buy Jacaszek & Kwartludium “Catalogue des Arbres” [LP] in the TouchShop
CD – 12 tracks – 40:20
Released 1st June 2015
Photography: Jon Wozencroft & Heitor Alvelos
Mastered by Denis Blackham
6. Vicarious Solace
7. The Way of Malamat
9. The Other
10. Home, Elicited
11. The Hopeful Night
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.
Doors at 5:30PM, Show at 6:00PM, $5
3325 Division St.
Los Angeles, CA 90065
Touch [live mix]
in a constant state of rebellion
AER – mach .853
venoz tks – The Longest Day
Fennesz – “Tom”
Chris Watson – “El Divisadero – The Telegraph”
Philip Jeck – soundcheck
Claire M Singer -Solas
Yann Novak is a sound and visual artist living and working in Los Angeles. Through the use of sound, light and space, he explores how these intangible materials can act as catalysts to focus our awareness on the present moment and alter our perception of time. Novak’s work, whether conceptual or rooted in phenomenon, are informed by his investigations of presence, stillness and mindfulness. His works can be experienced as architectural interventions, sound diffusions, audiovisual installations and performances, durational performances, concerts and recorded sound-works.
OFFING is the moniker for sound explorations by Oakland California based artist Chris Duncan. After a decade of functioning primarily as a visual artist, recent years have found Duncan applying learned behaviors in image making to sound works. The open ended, often improvised, compositions are a sonic equivalent to his paintings- slowly built atmospheres that are the accumulation of simple gestures, looped and layered to the point of transcendence, responding to light, shadow and the ocean.
Mike Harding has been running the audio-visual label Touch for 30+ years and in this period has acquired much experience and information on disseminating cultural sounds to a wider audience. Since its first release in 1982, Touch has created sonic and visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent company of its time.
Saturday May 2nd at Krems, Austria
With a new imprint, TOUCHFOLIO, Touch introduces a new series of bespoke hardback book and CD publications, produced to the highest specifications and continuing 33 years’ experience of audiovisual publishing.
Released on 4th may 2015 and now available for pre-order.
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
Release date: 4th May 2015
1. Fade from Black
2. Missing a Border
3. Notes on the Exposures
4. Line of a Curve
5. White Out – you can listen to an extract here
Here you can read the full interview with Joséphine Michel with The Photographers Gallery and also an essay in Photomonitor and for readers in french, in fisheye
Pre-order Joséphine Michel & Mika Vainio “Halfway to White” [Book and CD] in the TouchShop