Date of release: 19.12.2019
Format: FILE - MP3 / WAV 
Length: 24 minutes.
Artwork: Arzu Saglam / Audiotalaia 
_

















_

When we are so close, the patterns loose their shape

This is where the lines reveal their discontinuity

Where everything only consists of an accumulation of interruptions

Where everything becomes dots and floating points

Where there is no more touch but only a void that is squeezed between two opposing walls, magnetically held together

aRzu Saglam.

_

We proudly present the first solo release by Brussels based artist Arzu Saglam. The album here presented as a digital release accompanied by a beautiful physical edition of a 100 posters featuring the visual tided to the sonic world of Arzu Saglam.

The project itself reveals the poetic process behind Saglam work, at the same time, its own conception veils, encodes and muffles our understanding of the inner tensions behind it. One must travel through the visual map and find connections between what can be seen and what can be heard. It seems that the overall experience is designed to immerse the viewer into a bast and rich inner world of corners, turning points, crossroads and possibilities.

In the end, "SounDing / 4 phases of de​-​knowing" is a travel down the rabbit hole into artistic practice, specifically a practice formed by a collage of small elements and a myriad of sound objects, small phrases, thoughts and notebook sketches. It is definitely a celebration of the uncertainty of creative processes and its ephemeral inherent beauty.

_

Tracklist:

01 Phase 1.1
02 Phase 2.1
03 Phase 3.1
04 Phase 4.1

_

Design 

A two sided Rembrandt Stucco (130 gr) paper map (60x40 cm), designed by the author, digitally printed and folded into a calc paper wallet. It contains download code for the whole project.

Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

_

Credits

Composed, designed and arrranged by aRzu saglam. 2019.

_

Thanks to:

Rebecca Glover, Ioana Mandrescu, Bettina Wohlfender // Birke and I & der Fuchs Edu Comelles, Martin Parker, Nurten Oylas & Tiago Tobias Fernandes

_


Date of release: 11.11.2019
Format: FILE - MP3 / WAV
Length: 34 min
Artwork: Audiotalaia / Romain Arnette
_


_










_



_


Jean Ray is the sound project of multidisciplinary artist Romain Arnette, based in Paris and initially formed in London in 2009.

Experimentation is at the heart of his creative process. He uses different instruments such as guitar, harmonica, percussions, also fields recordings to create a bank of textures and sounds that he transforms and manipulates. The superposition of these fragments combined with electronic sound sources and some software such as pool creates minimalist compositions, an enveloping sound mass where repetitive structures meet sometimes abstract rhythms. 

"Le Refuge" album was composed at the end of a two-years stay in Canada, from 2017 to 2019. This album is marked by several isolation experiments in various natural environments, during his crossing of Canada from east to the west by the road.

It also reflects the gradual slowing down of time that allowed him to observe more precisely the environment in which he has evolved, and brought him to moments of deeper introspections.

All tracks recorded and mixed by Jean Ray.
Mastering by Jan Wysozky.
Date of release: 11.11.2019
Format: FILE - MP3 / WAV
Length: 41 min
Artwork: Audiotalaia / JL Maire
_


_




_

Goodness



This piece continues the exploration used on my previous works. It is based on a selection of different proportions of the western tempered scale. In this case, a series of intervals belonging to the 7-limit, 11-limit o 13-limit systems.

The book of tables of intervals by french musicologist Alain Daniélou its been fundamental to the process of selection of the scales and intervals, apart from the usual software to elaborate those.

The system used for Goodness and for other pieces done over the years has been a careful selection of specific series of harmonics of a concrete scale. Through that process I explore the new combinations arose between frequency intervals. Aside form that, common concert practice and studio rehearsals has been a fundamental part of this process. It entangles a learning curve, a process of adjustment in convergence with the relationships that are happening between frequencies. Either on the concert context and the studio work, the exploration is being inspired directly by works of American Minimalism and its relationship with the physics of sound (Éliane Radigue, Tony Conrad, Catherine Christer Hennix, etc.), as well as non-western musical theories 

The listening process as a daily workflow is unattainable and endless from a compositional stand point. It matches with readings of multi-species encounters. On those, are described encounters through various interdisciplinary approaches (ethology, musicology, History of species, aesthetics...). To contrast inter-species communication, to observe their facets and duelings are, primarily, process of attention, and listening of the unthinkable and the unattainable.

Gear used: Elaboration of the intervals (Hayward Tuning Vine), modules eurorack, modules Buchla, PinMix Hinton and Korg PS-3200

_

Chords from The Elysian Fields

La Monte Young played The Well-Tuned Piano 65 times. Last one was recorded on May 10th 1987. He explored the main scale of that work over the years. He stablished various sections around chords perfectly identifiable within the notes of the recording session and video. Among them are (with their specific motives and clouds) The Opening Chord, The Early Romantic Chord o The Magic Chord. Each of it also include a variety of frequencies.

This work uses the title - and the well-tuned scale - on one of the sections of the Well-Tuned Piano, an area entitled  The Elysian Fields. On the concert 6 hours, 24 minutes and 6 seconds long, that chord starts right at the end around the 5 hours, 54 minutes and 48 seconds mark.

The Elysian Fields uses a well-tuned scale (with the fundamental 1/1 on D) different from the main scale on the work. On this specific piece, the used frequencies belong to the main tuning of The Well-Tuned Piano. La Monte Young concerts require the most precise piano tuning ever use live. Despite this, La Monte Young preferred to use analog synths, such as the Moog, afterwards he shifted to digital synths. Currently his installations work on this type of synth that fixes all the variations of the tuning produced by shifts in temperature on analogue synths.

Thats the reason why I just worked with analogue oscillators, with the intention of not trying to find the right tune (which is an impossible task) but rather finding approximations and modulations between a state of tuning and a certain deviation. Those oscillators allow also for a more direct relationship with the sound and the usage of various feedback techniques ( which enables filters and delays to achieve timbers and grades of saturation imposible to replicate digitally).


Gear Used: Modules eurorack, Modules Buchla, PinMix Hinton y Korg PS-3200.

_

Goodness



Esta pieza, que continúa la exploración utilizada en obras anteriores, se basa en la selección de proporciones diferentes a las de la escala temperada occidental. En este caso, se trata de intervalos que pertenecen a los sistemas 7-limit, 11-limit o 13-limit. 


El libro de tablas de intervalos del musicólogo e indólogo francés Alain Daniélou ha sido fundamental en el proceso de selección de escalas e intervalos (a parte de los softwares típicos para la elaboración de escalas). 


El sistema utilizado para Goodness y para las piezas elaboradas en los últimos años: mediante la selección de una determinada serie de armónicos o mediante la construcción de una escala específica, se exploran las relaciones, inéditas para mí, que surgen entre los intervalos de frecuencias. Después, el trabajo continúa mediante la práctica de los conciertos o en el trabajo de estudio. Es decir, es un sistema de continuo aprendizaje y de ajuste en el que se convive con las nuevas frecuencias y sus relaciones. En ambas situaciones, en el directo y el estudio, se exploran diversas técnicas que provienen del minimalismo norteamericano, de obras relacionadas con la física del sonido (Éliane Radigue, Tony Conrad, Catherine Christer Hennix, etc.), así como de teorías musicales no occidentales.


Este proceso de apertura de la escucha, con un trabajo casi diario, inabarcable e inacabable desde el punto de vista de la práctica compositiva, coincide con varias de mis lecturas relacionadas con encuentros multiespecie. En ellas aparecen descritos encuentros que siempre han tenido lugar, pero que en la actualidad comienzan a ser atendidos desde varias aproximaciones interdisciplinares (la etología, la musicología, la historia de las especies, la estética…). Constatar la comunicación de otras especies, observar sus rostros y sus duelos son, en primer lugar, procesos de atención y de escucha de lo
impensable y de lo inefable.

Equipo utilizado: elaboración de intervalos (Hayward Tuning Vine), módulos eurorack, módulos Buchla, PinMix Hinton y Korg PS-3200
_

Chords from The Elysian Fields

La Monte Young interpretó The Well-Tuned Piano 65 veces. 
La última se grabó en vídeo el 10 de mayo de 1987. Exploró la escala principal de esta obra durante décadas y fue estableciendo varias secciones alrededor de acordes perfectamente identificados en las notas de la grabación sonora y en el vídeo. Entre ellos, están (con sus correspondientes motivos y clouds): The Opening Chord, The Early Romantic Chord o The Magic Chord. Cada una de estas secciones introduce, además, nuevas frecuencias. 


Esta pieza retoma el título —y la escala en afinación justa— utilizada en una de las últimas secciones incorporadas a The Well-Tuned Piano, un área modal denominada The Elysian Fields. En el concierto de 6 horas, 24 minutos y 6 segundos, este acorde comienza casi al final, a las 5 horas, 54 minutos, 48 segundos.


The Elysian Fields utiliza una escala en afinación justa (con la fundamental 1/1 en D) diferente a la principal escala de la obra.


Durante los últimos años he realizado varios conciertos en los que he explorado y suspendido varios acordes, primero el The Magic Chord, después una transición entre el The Opening Chord y el The Magic Chord, etc.


En esta pieza, Chords from The Elysian Fields, las frecuencias utilizadas pertenecen a la afinación propia de esta sección de The Well-Tuned Piano. Los conciertos de La Monte Young requieren la afinación más precisa de un piano que se haya realizado nunca en directo. Sin embargo, aunque La Monte Young, en un principio, utilizó osciladores analógicos, por ejemplo osciladores de la casa MOOG, después prefirió trabajar con un sintetizador digital. Sus instalaciones permanentes utilizan este tipo de sintetizador, que solventa las variaciones de afinación que produce, por los cambios de temperatura, el oscilador analógico.


Por este motivo, para la elaboración de esta obra solo he recurrido a osciladores analógicos, con la intención no de alcanzar una afinación perfecta (lo cual es una tarea imposible), sino de encontrar aproximaciones y modulaciones entre un estado de afinación preciso y su desviación. Estos osciladores permiten también una relación más directa con el sonido y la aplicación de técnicas diferentes de feedback (con las que los filtros y delays analógicos alcanzan timbres y grados de saturación irrealizables con herramientas digitales). 

Equipo utilizado: módulos eurorack, módulos Buchla, PinMix Hinton y Korg PS-3200.

JL Maire.
Date of release: 03.10.2019
Format: FILE - MP3 / WAV
Length: 21 min
Artwork: Audiotalaia
_


_













_

Hydromancy: ancient method of divination by means of water, its colour, movement or ripples, aiming to understand the past and to foresee the future.

Just as hydromancy uses water as a medium, Subespai (moniker of Mauri Edo, experimental musician born in Barcelona but currently operating from Sydney) used water as the main component for this record. His interpretation of "Hydromancy" mixes multiple aquatic recordings and samples to create a set of soundscapes representing the stages of a fictitious divination session. 

Armed with a long history of fascination with and respect for the occult, Subespai delivers four ominous pieces filled with underwater ambiance, haunting bubbly noises, distant clanks and other unexplained sounds, bringing images of sunken ships, cursed lakes and ghostly rivers to the attentive listener.

With "Hydromancy", Mauri perseveres in his attempt to walk the line between ambient and noise, field recordings and experimentation. He delivers short works consistent with the rushed times we live in, but still offering a treat to deep listeners, producing tracks full of nuances and hidden details, ready to drown into it.

_

 _

Review:

Hydromancy is a dark ambient mini-album themed around water and its use as a divination method. Released by Subespai, the solo project of Mauri Edo, at the beginning of October, it’s described as telling the story of a divination session gone wrong, which sounds like a great concept for an album to me. With that in mind, I let each of the tracks speak to me in their own way, wondering what visions they would bring to my mind.

The opening track is Rough Start, a track that features the deep rumbling of distant water currents alongside what I’d describe as a fast “ticking” sound. The rumbling you get deep underwater is always a sound that I find quite awe-inspiring, so I instantly appreciated this track. After awhile, the “ping” of sonar can be heard, which opens up the soundscape nicely and makes it seem a much larger space. As I became used to the sonar pings, it occurred to me that the sound could equally be some kind of crystal bell ringing in the deeps, summoning forth who knows what from the abyss below.

The next track, A Face in the Ripples, is my favourite track on the album. Opening with a siren-like sound and a rumbling drone, the very first image it brought to my mind was that of a large ocean liner, sinking deeper and deeper into the murky depths, with me watching from the outside, hearing the muted siren as it slowly falls past me. Then, I found myself watching a kind of Lovecraftian undersea race of fish people, sitting at their dinner tables eating in the eerie green glow of fungal illumination, the massive ship floating past their abyss-facing windows. The denizens stop chewing and look on in mild interest, wondering if the Elder Gods will destroy it without thought or keep it to toy with later. The odd clang here and there seems to suggest its not a smooth descent for the ship, but by then, the diners have already returned to their meals.

The third track is Revelations, and this also brought some interesting images to mind. It begins with a staticy hiss and some plinking sounds, and the general acoustics of the soundscape brought to mind a strange machine surfacing in an underwater cave, with water running from its strange angles and curves. A regular knocking sound begins, which to me, suggested someone trying to get out but finding the exit door sealed. I really liked this image, the illusion of emerging into safety but then being stuck in the craft that got you there. As the track nears its end, a deep vibration sounds, like a frog croak, but much deeper and more rumbling. I wondered if something was approaching the stricken craft, something that would open it up in more ways than one.

The final track is Bleak Consequences. This track, for me, was an above-ground track, as it seemed to feature the sound of rain or a stream flowing. After a deep opening and a kind of fast rhythm set by one of the sounds, it painted a picture of a really grey day, the kind where the clouds are almost black and the scenery looks leached of colour. A stream runs through a valley, but something isn't right with it. Glugging bubbles begin to pop on its surface; oily blisters smearing a glowing ooze into its currents. I’d guess for me, this track is saying that what happens deep in the ocean will eventually affect the land-dwellers too. A bit like watching Jaws and feeling safe if you stay on land, and how you’d then feel if you heard that sharks could get you on land anyway. Near the end of the track, the water stops flowing, which is also an intriguing end to events.

Before I listened to Hydromancy, I knew that it was themed around water, I was interested but not expecting to be wowed. Hydromancy did wow me though, as I’d forgotten how dark water could really be! I’m saying this as a Lovecraft fan who is well acquainted with the goosebumps that might arise when thinking about the watery abysses of the Earth and what they might contain. I’m also saying this as someone who has listened to a lot of dark ambient that features water in some way. Often though, the water is a flavour or scene-setting sound rather than the main event. Or, the water might be represented by other sounds in a more abstract way. The exception that immediately comes to mind is Ugasanie & Xerxes the Dark’s Abysmal, which is also a great water-based dark ambient album. If you liked that one, I think you will like Hydromancy. If you check out Hydromancy and enjoy it, you now know the other one I’d recommend.

Hydromancy is a free download from Audiotalaia, and if you’re a fan of dark ambient and deep sea horror, I’d really recommend you go and download yourself a copy as it is well worth listening to.

Casey Douglass, 
https://www.casey-douglass.com/2019/10/dark-ambient-review-hydromancy.html
_


Date of release: 03.10.2019
Format: FILE - MP3 / WAV
Length: 44 min
Artwork: Audiotalaia
_


_













_


En el inicio la conversación. El primer contacto siempre es el personal, los “yo” artísticos muestran sus dientes y olisquean la debilidad del otro. De este preámbulo queda la sensación de conformidad y la unión de ideas.

Se siguen una serie de mensajes cruzados ,en su gran mayoría de texto, firmando las bases del acuerdo y se marca la ruta a seguir.

Siempre uno de los dos saca cabeza al otro e inicia la composición derrochando las pistas que dan velocidad y espacio a los pies; o en este caso a las manos. En esta ocasión es Jaula.

La ruta es inexistente, no es necesario porque el contacto es al 100%. Simplemente fluyen las ideas y se entremezclan. No hay segundas tomas, no hace falta ni corrección ni balance; todo está ahí esperando a que se ordene y de forma, en bruto y sin barreras.

La primera toma de los cinco temas es la que prevalece, dejando que la rabia original tome el mando. Las capas de sonido surgen y se funden entre ellas, hay un matrimonio sónico que lo cubre todo sin dejar espacio para las dudas. Jaula sobre Suero, Suero sobre Jaula.

La fusión a veces es complicada, hay que posicionarse, tomar el espacio y hacerlo tuyo. Desarrollar un campo común en el que ambos nos sumergimos habitualmente tiene sus complicaciones. Los papeles varían y se cambian. Las adaptaciones son necesarias y los ajustes entre ambos una necesidad empujada por las grabaciones originales de Jaula.

Es necesaria la búsqueda y desarrollo de nuevos sonidos que enlacen y unan las composiciones. Hay que buscar los huecos y trabajar texturas que se adapten. La labor de Suero es esta; unir, incluso apaciguar la maquinaria de Jaula. A veces sutil y otras digamos que no tanto.

El resultado final pasa por poca alteración, el imperativo es mantener la crudeza inicial. La producción se limita al motivo de la escucha, las texturas y el desarrollo de un ambiente, nada más que esto. Suficiente.”

_

Deal at the Swamp. Acoustics and Composition.

At the beginning there is a conversation. The first acquaintance is personal, each artistic egos show their teeth and smell each others weaknesses. From this preamble a feeling of accordance and union of ideas prevails.

A stream of crossed messages follows, mostly text, signing the basis of the agreement, a roadmap is established.

Always there is one of the two take the lead initiating a composition, throwing into the mix tracks gaining speed to each of the hands. Jaula is the one that begins.

The roadmap reveals itself as inexistent, there is no need since, contact is at 100%. Ideas just simply flow and intertwine. There are no second takes, there is no room for correction or balance; all is there, waiting to be assembled and ordered, raw, without barriers.

The first take is the one that prevails in all five tracks, letting the primal rage take control. Layers of sound fade in and merge between them, there is a sonic marriage shadowing it all, erasing all trace of doubt. Jaula over Suero, Suero over Jaula.

Fusion is sometimes complicated, one must choose a side, take the space and own it. To develop a common ground to immerse ourselves has its perks. Roles are constantly shifting and changing. Adaptations are necessary, and shared adjustments are a need pushed by the original Jaula recordings.

There is a further need to seek and develop new sounds to tide together all compositions. Gaps must be found, textures have to be accommodated. That's Sueros task, unite, and somehow constrain the Jaulas machinery, sometimes subtle and sometimes not that much subtle.

The outcome goes through a process of alteration, but keeping the primal rawness. Production is limited to the listening, textures and the knitting of an ambience, nothing more, enough.

Nacho Jaula y Carlos Suero.
Translated by Edu Comelles.

Date of release: 02.09.2019
Format: FILE - MP3 / WAV
Length: 41:20 min
Artwork: Audiotalaia
_

DOWNLOAD RELEASE (WAV)
DOWNLOAD RELEASE (MP3)

DOWNLOAD FULL RELEASE

_










_

This release, presents the outcome of the process and culmination of a concert held the final day of the Ur Tanta Summer Camp 2019. The work was developed by a small group formed by Miriam Matthys, Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar. Through their own words, this project is explained:

At the heart of the composition was a process, born out of a desire to find a collective and inclusive methodology, to create a group concert that truly everyone was a part of. The final score was a culmination of the community we formed during the residency, and a document of our incredible time spent together at the Ur Tanta Summer Camp.

To achieve this, all participants were invited to plot the course of one day at Ur Tanta, on a graph, on which the X axis represented the 24 hours of the day, with the parameter of the Y remaining undefined, and open to the interpretation of the individual. After all graphs had been completed, we collated an average and plotted a single trajectory of our collective experience. This line formed the basis of the composition.



The group, through self selection, was subdivided into three sonic categories, and in this way an orchestra of Voices (singing and vocalization), Field Recordings/ Sounding Objects and Electric/ Acoustic Instruments was created. Informed by the dynamics of the graph and a sensitivity to the unfolding narrative and rhythms of the day, Miriam Matthys composed an arrangement of three atmospheres. Beginning outside, the first movement represents ‘Sounds surrounding the house’ before progressing into ‘Sounds within the house" and ending with the ‘Sounds of the people’, in which George Chinnery, together with Emma Camell read a specially composed poem.

The resulting concert was a three-part work in which the main composition ‘Three Hundred and Thirty-Six’ was preceded by ‘Opening’, a spontaneous composition, emerging naturally from a warm-up and succeeded by ‘Closing’, another spontaneous improvisation, just because we couldn't get enough of playing together!

_

The full composition has been released as an album on the Audiotalaia Digital Catalogue. That contains a preliminary improvisation ‘Opening’ and a final jam session ‘Closing’ as well as the whole composed and performed piece ‘Three Hundred and Thirty-Six’ worked out by all members of the Ur Tanta Summer Camp.

Concept and Composed by: Miriam Matthys in co-creation with Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar.

Conducted by: Miriam Matthys

Performed by: Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell

Recorded by: Edu Comelles
_



_














_

This is the release page of the outcome of the 9 days workshop "Audiotalaia Summer Camp" held at Ur Tanta, Iltzarbe, Valle de Ollo, Navarra. between the 2nd and the 11th of August 2019. The works are the result of various exercises proposed by Edu Comelles and the outcome is the what remained of different collective processes taking place within various groups of participants at the Summer Camp. 

Very short premises where stablished for the exercises giving a big amount of creative freedom and the right amount of constriction. Final presentations open to the public are also featured in this album. These are works done collectively and without creative or technical restrictions. 


Credits:

All works done collectively by Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell.

Photos and video by Sara Galán & Edu Comelles.
_

First Exercise / Composition

Five different compositions done only with field recordings, found objects and soundscapes from the surrounding area.

_

Second Exercise / Installation




Pond Deity Installation - Konstantin Guz, Emma Camell, Andreas Von Stosch
Site-Specific sound installation. 8 floating portable speakers on a pond.

_


Log Pile Installation - Krysia Kordecki, Simon Bahr, George Chinnery
Site-Specific sound installation. 4 Portable Speakers, logs and lightning.


_



Lavadero Installation - Miriam Matthys, Thibaut Quinchon, Alberto Garcia Aznar
Former village laundry of Itzarbe. Rural sound installation with 8 portable speakers, water dripping and various lighting.


_



Drainage Field Installation - Chloe Brenan, Riccardo Martorana
Site-Specific sound installation. 4 Portable Speakers, drainage pipes, field.


_



The Cave Installation - Mandy Fox, Jack Hyde, Ida Blom
Site-Specific sound installation. Four Transducer speakers, objects and lightning.

_

Third Exercise / Concerts

_
_

Last Day / Installations




Connecting, Hilltop Installation - Thibaut Quinchon, Andreas Von Stosch
Site-specific sound installation. Portable Speakers, microphones, headphones and field recordings
_




Forest Archive, echoes of the past and present 
Chloe Brenan, Ida Blom, Emma Camell, Mandy Fox
Site-specific sound installation. Portable Speakers, voice and field recordings
_



Fieldscape - Krysia Kordecki, Konstantin Guz.
Site-specific sound installation. Headphones and electroacoustic composition

_

Last Day / Final Concert



The full composition has been released as an album on the Audiotalaia Digital Catalogue. That contains a preliminary improvisation and a final jam session as well as the whole composed and performed piece worked out by all members of the Ur Tanta Summer Camp.

Listen & Download full album at: 
http://www.audiotalaia.net/2019/09/at096-three-hundred-and-thirty-six.html

Concept and Composed by: Miriam Matthys in co-creation with Simon Bahr, George Chinnery, Riccardo Martorana, Jack Hyde and Alberto Garcia Aznar.

Conducted by: Miriam Matthys

Performed by: Alberto Garcia Aznar, Thibaut Quinchon, Andreas von Stosch, Mandy Fox, Simon Bahr, Chloe Brenan, Miriam Matthys, Riccardo Martorana, Ida Blom, Konstantin Guz, George Chinnery, Jack Hyde, Krysia Kordecki and Emma Camell

Recorded by: Edu Comelles

_

Photos:


_

This is the release page of the outcome of the 9 days workshop "Audiotalaia Summer Camp" held at El Polell, Sant Esteve de Palautordera, Montseny, Catalunya. between the 12th and the 21st of July 2019. The works are the result of various exercises proposed by Edu Comelles and the outcome is the what remained of different collective processes taking place within various groups of participants at the Summer Camp. 

Very short premises where stablished for the exercises giving a big amount of creative freedom and the right amount of constriction. Final presentations open to the public are also featured in this album. These are works done collectively and without creative or technical restrictions. 


Credits:

All works done collectively by Diego Bermudez Chamberland, Menczel Robert, Lluis Surós, Benn Malca, Luca Grappi, Lianne van Roekel, Birgit van der Knaap, Ruari F Green, Djuna Lund Llopis, Ambe-Zoe Cheesman, Ryan Woods, Saskia Singer, Chrystine Rayburn, Marquis' McGee and Geoff Gersh.

Photos and video by Sara Galán & Edu Comelles.
_

First Exercise / Composition.

Five different compositions done only with field recordings, found objects and soundscapes from the surrounding area.

_

Second Exercise / Installation.





















Totem Installation - Djuna Llopis, Birgit Van Der Knaap & Luca Grappi
Site-Specific Installation. Transducer speakers and wood log


_



Way Out / Way In - Lianne Van Roekel, Geoff Gersh & Benn Malca
Site-specific Installation. 8 Portable DiY speakers.


_


Fountain Installation - Rory Green, Chrystine Rayburn & Lluís Surós
Site-Specific sound installation. 8 portable speaker array, dripping water, lights.

_


Rocks Have Ears - Marquis' McGee, Diego Bermúdez-Chamberland & Ryan Woods.
Site-Specific sound installation. 4 portable speaker site-specific installation.


_


Displaced - Saskia Singer, Robert Menczel & Amber-Zöe Cheesman
Site-Specific Sound Installation. 4 Portable Speakers and Laptop Screens.

_

Third Exercise / Concerts.


_

Presentation Day.














Entrada - Benn Malca
Site-Specific sound installation. 2 portable speakers, microphones and feedback.



_




Quatre Miniatures - Robert Menczel, Chrystine Rayburn, Diego Bermúdez-Chamberland
Site-Specific sound installation. Portable speakers, pedal, lighting.

_







Esbarjo - Rory Green, Saskia Singer, Lluís Surós.
Interactive sound installation. Portable speakers, sensors, software.


_



Ataraxia - Djuna Llopis, Marquis McGee, Ryan Woods.
Bone induction sound composition. A piece to be heard through physical contact between two people.


_




La Història que Resta - Djuna Llopis, Marquis McGee, Ryan Woods.
Headphones composition and field recordings.

_


Stringed - Lianne Van Roekel and Birgit Van der Knaap
Contact microphones, wire structure and amplifier.

_







Final Concert - Luca Grappi, Geoff Gersh and Ambe-Zoe Cheesman. 


Conducted by Sara Galán.

Performed by Diego Bermudez Chamberland, Menczel Robert, Lluis Surós, Luca Grappi, Lianne van Roekel, Birgit van der Knaap, Ruari F Green, Djuna Lund Llopis, Ambe-Zoe Cheesman, Ryan Woods, Saskia Singer, Chrystine Rayburn, Marquis' McGee and Geoff Gersh.


_

Photos: