18.6.11

Recap : Jim Haynes, Brendan Murray, The Pollen Sisters @ Blim, June 9, 2011

I'd like to thank everyone involved in putting this show together including Yuriko, Noel, Mathieu and of course Lucy for her lovely poster design and help in calming (mostly my) nerves. Brendan and Jim both produced exemplary performances and by the sounds of it they had a very successful tour. Thanks for coming up guys.

See bottom for links to high fidelity dual-shotgun mic recordings of all three sets. First and Third photo courtesy of Steve Louie.

Sub-bass and cutting synth lines by Brendan Murray

Radio disturbances, ultra-sonic frequencies, decayed drones, and yes, even fire, by Jim Haynes

Improvised metallic clamor, turntablism, bowed singing bells, and pockets of silence by The Pollen Sisters

Brendan Murray, Jim Haynes, and The Pollen Sisters

17.6.11

23five : Activating The Medium XIV : Radio Transmissions

Production limited to involved artists
Radio Transmissions : Chapter 1 (re-up)
Radio Transmissions : Chapter 2 & 3

10.6.11

Adrian Dziewanski 'Orbital Decay' (Vacant Tape Recordings, 2011)

Orbital Decay is an hour-long composition for acoustic and electronic instrumentation. The piece was composed by digitally splicing together short instrumental fragments into more complex sonic clusters resembling the spiraling of imagined planetary systems. The resulting ebb-and-flow trajectory of the piece rises quickly then decays over an extended duration, intended to illustrate an illusion of stasis through the falling action of sonic hypnosis. 

Hand screened metallic black on true-black stock

Hand cut and assembled, each one unique
Edition of 125
CD, Vacant Tapes
Release Date: June 9, 2011
(Sound sample at bottom)


Adrian Dziewanski - Orbital Decay (excerpt) by ScrapyardForecast


Paypal link temporarily disabled-
$15 CAN to North America, $17 to Rest of World
Email Adrian_era@shaw.ca to order.

Distributors:
Aquarius Records Zulu Redcat


REVIEWS

The author of the exceptionally well-written Scrapyard Forecast blog which focuses on all things droned-out, Adrian Dziewanski has also been slowly developing an exceptional sensibility of his own tonefloat minimalism from acoustically sourced drones. There were a couple of cassettes and cd-rs which had been floating around, mostly under the moniker Empress; but Orbital Decay is the first one that has made it to aQ. In perusing his blog, it can be something of a Nurse With Wound list of stellar minimalists and dronologists who have all informed Dziewanski on how to proceed with his own music: Pandit Pran Nath, Andrew Chalk, Jefre Cantu-Ledesma, Manu Holterbach, Barn Owl, Organum, etc. The warm cascading shimmer that pours from the speaker is a timeless drone, reminiscent of those sustained harmonic intervals that any number of the high-holy minimalists from the '60s might have produced, complete with the rasping buzz of strings that could have been sourced from a sitar, a hurdy gurdy, or even a well-tuned piece of sheet metal. Dziewanski laces this central drone with monochromatic, airy passages of levitated white noise bathed in reverb. These wisps ebb and flow in melodic currents that work into a beautifully rendered hypnosis. Does anybody remember Jim O'Rourke's 1993 album Remove The Need, of prepared guitar drones? Orbital Decay is somewhere between that record, those Keith Fullerton Whitman albums of bliss-out on Kranky, and the Nurse With Wound ambient opus Soliloquy For Lilith. Very well done and very limited. Just 125 copies of this professionally replicated cd (not a cd-r!).  
- Jim Haynes (Aquarius Records)

Not entirely dissimilar to Szczepanik's music, as it happens, Dziewanksi's work also resides in drone territory and one of its major strands is an organ-like hum, but there are both significant low pulses and, more prominently, a sparkling set of buzzes and trills atop, all forming a slow ebb and flow. It's fundamentally much more in the steady-state realm, though, essentially unchanging over its duration--the relationships between the sounds are altered, to be sure, but the basic character of the piece remains very much the same throughout, at least as far as I can hear. All well and good and it's a pleasant confluence of sounds but I wanted more--either a variation in structure that had more resonance or the integration of sonic elements with a somehow rougher character. OK, but needs more street.
 
                                                               - Brian Olewnick (Just Outside)



5.6.11

Camilla Hannan


For Australian sound artist Camilla Hannan, sound is a potent psychological tool that alters mood and perception. Through her radical reinterpretations of field recordings of abandoned spaces, factories, and other industrial sites, she collects remnants from those cold environments and transforms them into paradoxically romantic landscapes of textures and drones.

"Primary concerns in my work include perceptions of sound in everyday life, the construction of artificial sonic locales and techniques of sound spatialisation. My source material comes from location recordings, which are digitally processed into abstract textural soundscapes using a variety of sampling processes. (abbreviated bio,
read more)



Camilla Hannan
More Songs About Factories
(Cajid Media, 2005)


Despite her lack of releases over the years, Camilla Hannan has remained an active member in the Australian sound-art scene, notching plenty of installations, performances and commissioned soundtracks to her belt. More Songs About Factories then, is a rare document in which we are given a window into Camilla's process realized through a medium that, for whatever reason, she has decided not to actively pursue. Personally, I'd like to see more of her work given a physical release, as this album is a fine effort, featuring 5 tracks of obfuscated field recordings.

Although these works have all clearly been processed, and despite what the above bio describes as transformation into a paradoxically romantic landscape, Hannan doesn't mask anything heavy handedly – aside from the fourth movement that I can only take a stab at was sourced from closely mic'd type writer machines (see sound sample). The sounds are interesting enough in their own right, and Hannan is aware of this, so her job becomes one of finely tweaking the movements to make them perfect. Take for example the eleven minute center piece, and strongest album track, the "factory song" in this instance careens through various states of mechanized thrumming, at times densely billowing and at other times sputtering gently. The sounds feel oddly familiar, like those of the my urban environment, the vent I often pass on the way to the liquor store, or the sound of squealing trains that bleed in from the harbour. Not the most "artsy" packaging you'll ever see. In fact, if I saw this among a row of cds at one of the local music shoppes, I fear I'd likely overlook it. Nonetheless, very good!



A track by Hannan was also featured on the Eric La Casa and Philip Samartzis curated Magnetic Traces: A Survey of French and Australian Sound Art, a remarkable compilation featuring stereo versions from multichannel compositions from preeminent French and Australian sound composers.