2015
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Date of release: 09.11.15
Format: FILE - MP3 / WAV 
Length: 32:00 min
Artwork: Audiotalaia / Mario Sarramián.

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We are proud to receive the most recent work by Madrid Duo Hashigakari formed by David Area and Tomás Gris. Both of them have spent the last year working together on sound from an improvisational perspective. After a few releases in its own label Ex-Nihilio they where approached by the Audiotalaia team to develop an album for our digital catalogue.

Eleven Koans presents itself as a series of small improvised pieces inspired by several lines of thought from Buddhist inspiration. Beyond the philosophical implication or concepts beyond what Area and Gris are doing; we are in front of eleven small gems beautifully crafted that deserve the best listening experience to grasp all its nuances.

Each of the Eleven Koans that conform this album can be understood as independent sound parcels, small stories that evolve through a sonic dialogue, intuition, contrast and opposition. Sudden shifts and steady chunks of minimalistic frequency lines are the elements that shape this exercise of intimacy, and communion between to talented musicians.

Eleven Koans also presents itself as humble music, homemade, in small rooms, close by, in pure intimacy. Each Koan distillates this feeling of being at home, working on small things without the need of expanding its presence and not denying its facture. Eleven Koans, from my perspective, takes advantage and uses the coziness of a recording done at a living room and enhances it through its excellence. We don’t here the room tone, we aren’t certain about the environment where those recordings took place, but we are certain, if we carefully listen, silent footsteps can be heard, and from time to time, as an spectre, the room acoustics colours itself revealing that private space shaped by sound, dialogue and (I insist) intimacy.

This project, beyond its inherent sonic and compositional relevance it exemplifies perfectly a line of work that is being developed right now on Madrid’s underground music scene. Note that (and this is important) the scene is utterly eclectic and unattainable: Radically different is the music by Carlos Suero (our previous release) who's involvement in the local scene is similar even that there is a conceptual and aesthetic distance between them.

Area and Gris are also playing an important role on the current underground experimental music scene embracing minimalistic and reductionist aesthetics from a self-taught perspective and beyond the potentially uptight academic approach on that subject.

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Tracklist.

01. Koan_1
02. Koan_2
03. Koan_3
04. Koan_4
05. Koan_5
06. Koan_6
07. Koan_7
08. Koan_8
09. Koan_9
10. Koan_10
11. Koan_11

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Credits.

David Area: Electronics.
Tomás Gris: soprano sax and objects.
2015.

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Reviews:

11 oportunidades de satori acústico a las que merece la pena someterse. Espacio donde desaparecer uno mismo y dejar que se manifieste. Se agradece mucho, tan rodeados estamos de autoritarismo sonoro... y de paso añado... ofrece opciones que un Feldman no. Por lo menos a mí. Bueno. Son sólo palabras... poco podemos decir.

A.L. Guillén / Morada Sónica

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Licencia de Creative Commons
Eleven Koans by Hashigakari (David Area & Tomás Gris) is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://www.audiotalaia.net/catalogue/at081-hashigakari/.
Date of release: 21.09.15
Format: FILE - MP3 / WAV 
Length: 41:00 min
Artwork: Audiotalaia / NASA

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Godafoss is one of the many aliases of Madrid-based electronic musician Carlos Suero. He’s been for many years producing a wide variety of styles always keeping an eye into the realm of experimentation, dark ambient and other obscure genres of the electronic universe.

After a few months of work Carlos Suero is in charge of opening the season at Audiotalaia with Trans-Neptunian Objects a dense album presenting the most gloomy side of his alter ego Godafoss.

Trans-Neptunian Objects opens with Fro a foggy landscape of Drone Pillars that withstand in front of us as the gates of an obscure territory. The piece serves as an introduction to the world Godafoss is taking us. From the outer-space wink we get to know its utter inspiration, the common territory in Western Culture where all the spacial mythology pops up in our mind as a shared pop culture. Suddenly we see the Nostromo travelling space and carrying evil with two jaws, or the Deckard driving towards sunset, or Galactus swallowing planets… and I could go on forever…

Obviously here I am not referencing the musical aspect, and its relationship with the soundtracks of those films, I am just acknowledging the visual reference and inspiration of certain parcels of pop culture that inevitably arose while listening something like Trans-Neptunian Objects. There is always a fascination, a mythology and a whole universe embedded into the imagination a few generations that we cannot forget nor deny, beyond music, aesthetics and tastes.

Finally, Trans Neptunian-Objects presents itself as an album focused on music to be enjoyed, beyond concept and technical constrains and techniques, we love to publish work that has been created just for the pleasure of listening it, no pretentiousness, no conceptual dissertations, just music.

Hope you enjoy it!
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Tracklist.

01. Fro
02. Alku
03. Absolus
04. Malaren
05. Pholus

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Credits.

All tracks produced and arranged by Carlos Suero, 2015.

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Licencia de Creative Commons



 Trans-Neptunian Objects by Godafoss is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://carlossuerogodafoss.weebly.com.
Date of release: 07.07.15
Format: FILE - MP3 / WAV 
Length: 32:59 min
Artwork: Audiotalaia.

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Before we go for the summer we wanted to release one last album. Always keeping in mind the hot Spanish summer, Daniel Blomquist Nascent / Egress is the right recipe for that weather. Blomquist language navigates between the digital imagery and the analogue warmth of tape looping. In this two pieces release we can have a grasp of his way to work, approach and view over sound, composition and sonic texture.

Beyond the first glance, Nascent / Egress unveils a whole horizon of sonic imagination that unfolds in front of us. Blomquist work it has always a certain remembrance of being part of a cinematic experience, it has narrative, drama and epics embedded on its DNA. Blomquist music has a soul, and emotivity, and this is a breath of fresh air after too much emotionless sound art.

We also highly recommend to take a detour and listen to what Blomquist has on its Bandcamp page and Soundcloud.

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Ash blows away in the wind while the physical structure stays tied to the ground. The title of the work, Nascent/Egress, refers to this changing constitution of matter. Each composition moves through different moments leading up to these points. The transient nature of existence can be felt in waves of fear, joy, euphoria, pain and acceptance. With this in mind I think about the music as an environment that the listener is moving through. It carves paths, casts shadows, and creates places in the changing landscape of life.

 My work is process based, beginning with samples gathered and manipulated digitally, then dubbed down to analog tape; eroding away music, field recordings and other found media. Effectively reconstituting the quality and predictability of the digital source material. The combinations used in this approach examine the nature of the chosen media, how it is stored, distributed and ultimately how it evolves over time. One sound’s initial intention begets an all-together new purpose by setting points of failure and degradation. His final compositions are warm, textured, emotive environments.

 Daniel Blomquist.

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Credits.

Daniel Blomquist – samples, tapes, processing.
Mastered by Lawrence English @158
Text by Daniel Blomquist.
Artwork by Audiotalaia.
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Gear:

Mini Moog Model D
Roland SRV 2000
4 Sony TCM-353V tape recorders
1 Sony Sports Walkman
Cassette tapes
ART Tube Compressor
Arion SMM Metal Master Stereo Distortion
BIAMP EQ 210
Boss DD 5 Delay
Digitech PDS-1002 Delay
Mackie 1402
Homemade Circuits
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Reviews:

Soothing and challenging in alternate measures, Daniel Blomquist’s two-track Nascent/Egress is an exercise in erasure and composure, a series of movements abraded like glass in the waves until it possesses a new allure.

 This happens. This is something that happens. The sparse narration lends the album the feel of a book, but not just any book ~ a book that has been found on the shore, ink smeared, pages torn out, spine bent and frayed. With no title or author, one is drawn into the mystery. Did a trauma occur? How did the protagonist survive? And yet, this is not a frightening recording, but a hopeful one. Help – as clear as a whispered voice and as shaded as a shaven loop – is apparent at every turn. It’s as if Blomquist wrote the album for a loved one in empathy and as consolation. Just as everything is about to break, emotions erupting and sorrow spilling forth, a soft reassurance is provided, like a soft hand on a stooped shoulder. I’ll bring you back.

 Blomquist’s orchestral loops can be heartrending, but they are balanced by unusual field recordings, scrubbed of recognition. One thinks one hears a bird, a wave, a footstep in a thicket, but one is never sure. The emotional landscape is clearer. Blomquist refers to his music as reflecting “the changing composition of matter”, but the phrase can also refer to mood. When sentences arrive from different speakers (right and left), one senses a dialogue, as likely internal as external. What to think of these sounds is less important as how to feel. In this sense, the fogged miasma comes across as a reflection of emotional processing, working its way toward resolution.

 One’s appreciation of the album may hinge on one’s interpretation of the cover. Are the skies clearing or clouding? Is the boat stranded or docked? A clue may be found in the liner notes, which reference the stages of grief. The final stage, acceptance, is the port that Blomquist seeks. In the end, he seems to have found his safe haven, yet restless, he immediately yearns to set sail again.

Richard Allen, A Closer Listen.

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Licencia de Creative Commons



 Nascent / Egress by Daniel Blomquist is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://www.danielblomquist.com.
Extracto del concierto ofrecido por xguix con motivo de la presentación del disco "a Ragudo". El concierto se celebró en la bodega del Hotel Bellmirall de Girona el pasado 12 de Junio de 2015.

Excerpt of the concert held by xguix as part of the presentation of the album "A Ragudo". The concert was held on the basement of the Hotel Bellmirall at Girona (Spain) the 12th of June 2015.



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In 1983 three hundred copies of a vinyl LP entitled “Dark Fields” was released as the one and only album by mysterious band “La T”. Since that time, this industrial, minimalistic and complex album has become one of the most representatives pieces of the underground experimental music scene of the late 70s in Barcelona.

Since then, xguix, co-founder of the mythical band, has hardly performed concerts, nor released any albums, the whole body of his work and oeuvre hasn’t seen the light of the day.

But nevertheless, xguix has dedicated his whole life building his own universe through three main letters, basing it on sound, image, staticity and minimalism “A Ragudo” it’s the second letter, a witness of a way to work, understand and reference and environment a life experience.

“A Ragudo” its just xguix showing us its way to understand sound, in a world where the verse it's being interiorised as a poem, from a land and soil that only makes sense to whom it lives it.

From “T” to “A” there is a path, an immersive experience and the will of emerging from a forgotten landscape into a new scenario. A scenario that might as well take us to the next letter.

The album contains a few "easter eggs" for those with keen ears. Fragments of "Recurrence" by Richard Chartier can be found as a creative homage to the influence over xguix work.

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Licencia de Creative Commons 

Live at Bellmirall, Girona by xguix is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License.
Date of release: 8.06.15
Lenght: 30:59 min
Format: 100 Copies of a CDr Limited Edition (Grey Handcrafted Carton Sleeve + Japanese Paper Booklet + Four B/W Postcards). Digital MP3 + FLAC download available.
SOLD OUT



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In 1983 three hundred copies of a vinyl LP entitled “Dark Fields” was released as the one and only album by mysterious band “La T”. Since that time, this industrial, minimalistic and complex album has become one of the most representatives pieces of the underground experimental music scene of the late 70s in Barcelona.

Since then, xguix, co-founder of the mythical band, has hardly performed concerts, nor released any albums, the whole body of his work and oeuvre hasn’t seen the light of the day.

But nevertheless, xguix has dedicated his whole life building his own universe through three main letters, basing it on sound, image, staticity and minimalism “A Ragudo” it’s the second letter, a witness of a way to work, understand and reference and environment a life experience.

“A Ragudo” its just xguix showing us its way to understand sound, in a world where the verse it's being interiorised as a poem, from a land and soil that only makes sense to whom it lives it.

From “T” to “A” there is a path, an immersive experience and the will of emerging from a forgotten landscape into a new scenario. A scenario that might as well take us to the next letter.

The album contains a few "easter eggs" for those with keen ears. Fragments of "Recurrence" by Richard Chartier can be found as a creative homage to the influence over xguix work.

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Credits:

Produced mixed and arranged by: xguix.
Edited by: Edu Comelles.
Artwork & Image: Audiotalaia + xguix.

Track "U" between 1:35m and 2:49m; and track "O" between 4:00m and 5:50m contain recorded passages taken from 'Recurrence' by Richard Chartier (LINE, 2013, LINE_059) published by Songs of Virtual / Touch Tones Music. 3particles.com / lineimprint.com

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Thanks:

Edu Comelles, Ichiro Hirose, Jesús del Cerro, Andrés Noarbe, Marta Montcada, Jaume Camp and Richard Chartier.

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Images:






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Licencia de Creative Commons
a ragudo by xguix is licensed under a Creative Commons Reconocimiento-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://www.audiotalaia.net/store/atp006-xguix/. 
Date of release: 27.04.15
Format: FILE - MP3 / WAV / Video
Length: 23:20 min
Artwork: Sara Galán.

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December 2013 was the last time Cello + Laptop played live. That happened down Las Ramblas in Barcelona at Eufonic Urbà Festival. Since then an awkward silence expanded till today. In between a certain amount of live recordings, studio sessions and infinite mixes wait in line as orphans the endless hesitancy.

During this long period those files have become a burden, witnesses of the absence of bearing of a project apparently way to easy to re-write. Those files were unresolved issues, segments of an exhausting period of real time composition and production that ultimately lead to a crossroad with far too many options.

Awkwardness followed more awkwardness and many attempts of restarting the project happened. The effort was to big and the laziness of confronting the question: “what to do” won over the will of moving forward.

Finally, the answer was easy: lets do it: fast, clean and neat.

So after almost one year here we have a small grasp of what was hidden in the closet a thorough selection of four little gems we have kept for a long time. Those are the outcome of various recordings done in Valencia. All pieces are segments of longer live improvisations between cello and live electronics. The process of work, as usual, is a two-ways stream of cello lines and the re-appropriation of those same string lines, and the dance and dialogue that happens in real time.

Finally the four tracks come with a couple of videos “Waggle Dance” and “Sinia” done by Merisma. "Waggle Dance" is a free depiction of another creative process that hasn’t seen the light yet. This is the creation of live improvised compositions using only acoustic cello and microphones. The piece presents Sara playing live improvisations on an abandoned house, while Edu Comelles records the scene. Through the recording process Comelles re-mixes Galan’s improvisation. Microphones become instruments and panning becomes interpretation and the acoustics of the cello are processed for future re-configuration.

On “Sinia” we can see a sonic intervention that directly relates with Edu Comelles latest album and its track “Dry Land” in which the sound of an abandoned watermill is used to improvise with cello on location. Both works were recorded in two consecutive days in Tarragona (Southern Catalonia) in Summer 2014.

That was it, now they are back to work. This album, apart from closing a period enables a new one. This summer, Cello + Laptop will be recording a new full-length album.

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 Tracklist.

01. Welcome
02. Intermission
03. The Garden
04. Farewell

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Bonus content:
Waggle Dance - Cello + Laptop (by Merisma) from Audiotalaia on Vimeo.
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Sínia - Cello + Laptop (by Merisma) from Audiotalaia on Vimeo.

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Credits.

Sara Galán: Cello.
Edu Comelles: Electronics.
Merisma: Vídeo.

Editing and mastering: Edu Comelles.

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Reviews:

 The last time we heard anything concrete from Cello + Laptop, the year was 2013 (but only just – it was December). Since their live performance at Barcelona’s Eufonic Urbà Festival, studio sessions, recordings and mixes have taken up much of their time, but in that period there was very little of what you may call a definitive return. As the months went on, the prospect of a new album became dimmer and ever more distant. Multiple attempts were made to restart the successful project, but a kind of malaise had gripped the musical process. Kick-starting the project back into gear seemed like an insurmountable task.

 One year later, the four tracks of Segments are thankfully here, and it’s available as a free download at the link below. Recorded in Valencia, Segments is made out of longer, live improvisations. Sara Galán & Edu Comelles blend the incredibly thick, soulful tone of the cello with a subtle electronic sprinkling of loops and drones, and it’s still just as beautiful. The cello’s rich sound sits like a Queen on a golden throne, while the light electronics coolly move around it. Experimental in nature, the cello nonetheless dominates the sound. Sparse lines sit majestically beside the cello’s drone, circling it and progressing the music in a way that’s always unhurried. Segments is the start of a road that will come to define, separate and split the duo’s past from their future. The music is always intelligently played, and that’s one of the reasons why the music resounds with such power.

 Segments begins with “Welcome”. It’s grandiose and reassuringly friendly. And it should sound that way, because Segments is a reunion with old friends. The chambers and the halls are once again surrounded by the music of kings. The olive wreaths of “The Garden” wrap around the cello. Vines that snake around the music’s house slowly become notes that echo, diminish and fall away, and then a stuttering electronic rhythm suddenly appears. The time to say “Farewell” comes around too quickly, but it’s a pleasure just to be able to listen to their music once again, and it bodes well for the future. It’s a darker, slower piece that drags its feet; the music has returned. Thankfully, a new album is set to be recorded this summer. Segments is just the right length to get reacquainted with their music. Cello + Laptop have shed their skin; their music has, too. They have been missed.

 James Catchpole. A Closer Listen.

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Licencia de Creative Commons
Segments by Cello + Laptop (Sara Galán & Edu Comelles) is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en http://www.audiotalaia.net/catalogue/at078-cello--laptop/.
Date of release: 19.12.14
Format: FILE - MP3 / WAV 
Lenght: 21:00 min
Artwork: Adrià Bofarull / Audiotalaia

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Shadows. Paco Rossique

I

The colors are erased in the words that name them.
The music becomes fossilized in a shadow when scored.

II

I am a shadow.
I am a shadow that watches me when I sleep.
I am a shadow that crushes the distance strolling through the walls and I stare.
I'm slower than you, I am a shadow, but I try to touch you and i only get a sound whisper in your ears .

III

The world is a large living museum in which we, angels, statues and costumes, walk bitten by the shadow of the silence.

IV

Sink into the silence does not cost anything, how scary is coming back from there .

V

Painting and music encounter things.
The music you hear today will be gone forever with you. However, his shadow is immortal.

VI

Concerts are full of shadows, or rather, the shadow is full of concerts. In total darkness, shadows and music become their own doubles. Give me four lives like this and i have been able to combine all echoes to leave a trail. Everything is a shadow .

VII

Shadow of the shadow

I

Encapsulated glass shade
Shadow stitched to my heels
Undefined aroma Shadow
Shadow in the four cardinal points
Hat with light Shadow
Shadow without character of Plato
Shadow inside the pyramid
Shadow praised and promoted
Shadow of the changing face
Eastern patina Shadow
Shadow mutual and friendly
Shadow hidden in the corners
Shade coming for pages
Shadow gray grasshopper
Shadow untouchable and that does not touch
Shadow that does not support varnish
Shadow of the next day
Coral and smoked shadow
Shadow moving in silos
Shadow placid and restless
Shadow unqualified
Saharian shadow
haunted Shadow
Shadow where you can talk
Shadow ductile and capricious
female Shadow
Shadow overwhelmed
Shadow that crosses her legs
Shadow of the archaeological complex
Mailed Shadow
Shadow of a paused vocal
Shadow of plucked eyebrows
French and sugary Shadow
Shadow issued for periods
Shadow of coffee grounds
Shadow of the Polished Metal
Bipolar Mirror Shadow
Shadow of the executed
Shadow spilled at sea
Shadow onrushing
Shadow added to the rest
Shadow of the shadow.

II

Shadow of the phial
Shadow that does not support costumes
Shadow in conflict
Shadow of a night
Shadow of the lesson
Shadow off, in the dark
Perpetual shadow
Shadow fallow
Shadow asleep and awake
Baroque Shadow that moves
Mirroring widow Shadow
Shadow that accepts no company
Magnet shadow
Shadow cutout with scissors
Linked tablets Shadow
Shadow of a comma
Rusty Mirror Shadow
Shadow by chance
Shadow that strip
Shadow to devour
Shadow I hide in pockets

Shadow

Shadow constrictor
Juggler Shadow of impossible balance
Shadow behind your back
Shadow becoming sounds
Shadow of laughter and drum
Shadow under the sea and the sound
Shadow of the hat two heads
Shadow of the taken house
Infinite Shadow of the paper
Shadow of the talkative pencil
Shadow of the royal crown
Shadow of the Circus and the theater
metallurgical Shadow and sound
Shadow of the volcano background
Shadow of water that occurs
Shadow of suspicion
Shadow of the man carrying the trombone
Shadow of the burnt paper
Shadow of your transparent house.
Shadow of the shadow..

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Credits.

Pedro Chambel - electronic devices
Bruno Duplant - electroacoustic devices
Paco Rossique - piano, percussion and electroacoustic devices

Editing and mastering Bruno Duplant.
Text and images - Paco Rossique.

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Licencia de Creative Commons



 Sonho Perdido by Chambel / Duplant / Rossique is licensed under a Creative Commons Reconocimiento-NoComercial-CompartirIgual 4.0 Internacional License. Creado a partir de la obra en https://archive.org/details/at077SonhoPerdido.
Gap in the air: a festival of sonic art
15 November 2014 – 14 February 2015 at Talbot Rice Gallery, Edinburgh



















Gap in the air is a celebration of experimental music and sonic art at the University of Edinburgh’s Talbot Rice Gallery, including performances by experimental musicians and artists, work by staff and students, workshops and academic discussions. The programme is dedicated to the experience of sound, the neo-classical space of the Georgian Gallery becoming a sounding-box for the most prescient themes in contemporary sonic art. gap in the air will provide an accessible overview of this expanding field whilst also being a live testing ground for new and innovative ideas.

The season of events spans four thematic sections. And more detailed information about each section will become available in: place, reach, orientation and nature.

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The Reach Playlist.

Reach explores sound as a connector across distance. Selected from an open call to international artists reach is an endless playlist of 3D sonic art from around the world, reflecting the vast range of contemporary sonic arts practice, played through a specifically installed 16 channel ambisonic (3D) sound system.

The reach playlist is up featuring sounds and music from around the world. Special thanks to all contributions, it sounds fantastic in there and the range of work is incredibly rich. Below is a listing of the main contributors with links to details of each submission:

Spanish online label Audiotalaia submitted an expansive collection of works released between 2009 and 2014, curated by Edu Comelles. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-audiotalaia/

Screen Shot 2014-12-04 at 12.39.33Joseph Anderson, a specialist in ambisonic software development and composer based at DXARTS at the University of Washington sent in a vast list of old and new electroacoustic pieces in b-format. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-dxarts/

Composer and sonologist Paul Doornbusch sent in three tracks, two are soundscapes from the world heritage site in Hampi, India, the other is a composition called C1W. Full details of the pieces submitted are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-paul-doornbusch/

Digital composer José Rafael Subía Valdez submitted two b-format electroacoustic pieces, Yunka and Quantum. Details of the pieces are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-jose-rafael-subia-valdez/

Geometric LoveComposer Michael Brown from the University of Derby sent in three compositions inspired or derived from visual forms. You can read and see more on this page: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-michael-brown/

Edinburgh-based sound recordist and sound designer Kevin Hay sent in two lovely sound walks taken from his recent visit to Africa.

American sound artist Angeline Girard sent us two radio interference tracks … “Part of a project investigating the signal-to-noise ratio in radio and users’ interactions with the medium, this ‘instrumental’ piece was made using close miking techniques to capture electromagnetic noise and emergent signals from a variety of radios and frequency bands. Very little processing was used in composition and mixing of the track, as it’s meant to expose a volatile ambience that’s inaudible without the radio interface, but ever-present.”

Composer Michael Edwards sent in his powerful four-channel work anonymous obvious (aka several instrumental structures to annoy ludi) (2000), Michael said of piece “it was based around a prototype of an instrumental composition algorithm (called slippery chicken). Using instrumental samples, the algorithm generated short musical structures (and will generate longer ones); complete little pieces even, that are surprisingly convincing and somehow musically logical. They are, however, also rather anonymous, that is, to me they sound like a generic form of contemporary classical music that lack my own musical characteristics. Hence the “anonymous” part of the title. Hence the algorithm is still under development.” Further details are available here: www.sumtone.com/prog-note.php?workid=1.
Michael also gave us access to John Chowning’s classic work of computer music Turenas (1972), a now legendary work of electronic composition, especially notable for its four-channel spatialisation techniques. You can read more about this piece in an interview between Chowning and Bijan Zelli given in 1998: cec.sonus.ca/econtact/12_2/ChowningJo_Zelli.html

Composer and sound artist Owen Green sent us a b-format recording of his improvising piece Danger in the Air (2006). More details are here: digital.eca.ed.ac.uk/gap-in-air/2014/12/04/reach-playlist-owen-green/

We’ve also included a couple of recordings from other parts of gap in the air. We’re most grateful to Edimpro and Michel Doneda for allowing us to take extracts from their performance at Talbot Rice on the 27th November 2014.

Marcin Pietruszewski, who is giving a supercollider workshop on the 8th December 2014 gave us two tracks
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AUDIOTALAIA SELECTED TRACKLIST:
(Ordered from older to newer).

Artist: Super d’Orch (Pete Clarke, Gisli T Gudmundsson, Gavin Fort, Christian Baker and Liam Webster)
Track: Ring Cycle
Album title: TCP / EP
Catalogue Number: at024
Duration: 2:17”
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Artist: OffTheSky (aka Jason Corder)
Track: Silt Water Tear
Album title: Circles Around The World Compilation
Catalogue Number: at025
Duration: 5:56”
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Artist: Arturas Bumšteinas
Track: Waking Song (Instrumental Version)
Album title: Eterniday News (Vol.1)
Catalogue Number: at038
Duration: 5:37”
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Artist: Juan Antonio Nieto
Track: Starry Ring
Album title: Litium
Catalogue Number: at044
Duration: 3:43”
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Artist: Hydra (aka Adrià Bofarull)
Track: Atrezzo
Album title: L’Antimatèria
Catalogue Number: at049
Duration: 3:09”
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Artist: Carlos Suárez
Track: Paisaje Sonoro Alucinatorio
Album title: Desde La Atalaia
Catalogue Number: at050
Duration: 6:55”
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Artist: Elías Merino
Track: Oostructem
Album title: Desde La Atalaia
Catalogue Number: at050
Duration: 6:32”
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Artist: Oscar Inzo
Track: Delfeno
Album title: Desde La Atalaia
Catalogue Number: at050
Duration: 2:32”
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Artist: Tsone
Track: Pas de Chat
Album title: Pattern Recognition
Catalogue Number: at056
Duration: 3:45”
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Artist: Otra Carpeta + Pia Sommer (aka Carlos Edelmiro)
Track: Pia S
Album title: Transparente
Catalogue Number: at059
Duration: 3:45”
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Artist: David J. Fonseca
Track: Si Bemol
Album title: Re Menor
Catalogue Number: at060
Duration: 2:03”
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Artist: Lauki
Track: CEO
Album title: Gea
Catalogue Number: at061
Duration: 4:37”
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Artist: Avelino Saavedra
Track: Melting Point
Album title: MUD
Catalogue Number: at063
Duration: 6:56”
_

Artist: Javier Piñango
Track: Señal WOW!
Album title: I.r.real Space Music
Catalogue Number: at064
Duration: 6:10”
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Artist: Jorge Marredo
Track: 4
Album title: Uéyiga
Catalogue Number: at065
Duration: 6:40”
_

Artist: Lucas Bolaño
Track: Dócil Cildo
Album title: Amarga Anagrama
Catalogue Number: at069
Duration: 1:49”
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Artist: Paco Rossique
Track: Lentamente Geométrica
Album title: Caves
Catalogue Number: at070
Duration: 4:58”
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Artist: Atilio Doreste
Track: Ruined House
Album title: Shifting Boundaries
Catalogue Number: at072
Duration: 3:43”
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Artist: Cuneta & The National Star College
Track: Shipwreck
Album title: Raw Musics Vol. II
Catalogue Number: at073
Duration: 1:34”
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Artist: Árum (Juan Matos Capote & Lali Barrière)
Track: DAP 03
Album title: Diferents A Peu
Catalogue Number: at074
Duration: 7:02”
_

Artist: Various Artists
Track: Rel16 / VitGas 008
Album title: Relay
Catalogue Number: at075
Duration: 1:36”
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Artist: Various Artists
Track: Rel24 / Mad 007
Album title: Relay
Catalogue Number: at075
Duration: 5:12”
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Artist: L’Eix (Ferran Fages, Oriol Rosell, Julià Carboneras)
Track: L’angoixa del proïsme.
Album title: Empra Mots
Catalogue Number: atp003
Duration: 4:40”
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Artist: Edu Comelles
Track: Chairs for an abandoned Classroom
Album title: A Country Falling Apart
Catalogue Number: atp004
Duration: 4:29”
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