14.10.16 – Farmers Manual – glague general gen (UNSUPERVISED LEARNING AND REFINEMENT OF RHYTHMIC PATTERNS) – 01:00:00 – 320 kbps
Farmers Manual is an electronic music and visual art group, founded in Vienna in the beginning of the 1990s. This computer set mode to c’mon in dictation on the B minor Asian. All ReachOut has paragraph and has a hot rod UART 13 of the real problems with seen a shift away levels here promotion and unsuccessful menu change and use the case yet this and this year amended in step 0 for restructuring and chill for Celsius until Vander all the four sources that are real and organs to be called from as a place you’ll Flushing’s police and how often initially and rendering rulz lives and the madness of all this is the hell is extreme frequencies fat and salt and flickering image’s bourse your office.
Photo: Nik Gaffney (CC BY-SA 2.0)
12.09.16 – Tim Shaw – Surrounding Air – 21:20 – 320 kbps
Victorian acoustician Herman Helmholtz studied sound and sensation in the 1800s; through his research he developed the Helmholtz Resonator, this object, usually made from glass or brass, is tuned to a specific resonant frequency and used to demonstrate the principle of acoustic resonance. Helmholtz writes about using these tuned devices to listen to sustained pitches from musical instruments. He also accounts hearing waterfalls, the howling wind and horse drawn carriages through his handheld resonators, using these devices to extract tones from the environmental sounds around him.
Inspired by the work of Helmholtz, this piece incorporates both ‘tuned’ and ‘un-tuned’ vessels to explore resonant sound objects. Using two large glass carboys (designed as liquid transportation vessels) partially filled with rainwater, alongside two smaller Helmholtz Resonators, ‘Surrounding Air’ comprises extended recordings of these acoustic objects. Each vessel contains its own unique sound space, a distinct resonating signature quietly bellowing and heard only at the point at which it meets the outside world.
Placing small omnidirectional microphones and hydrophones inside the glass reveals a unique perspective on this space. Recording a rainstorm through the vessels we hear a complex and ever-changing sound world from this fixed listening point. After capturing the sonic signature of the vessels I built a semi-generative synthesis engine in tune with the containers, moving towards a musical world tempered to these glass vessels, extracting tones from the surrounding environment in honour of Helmholtz. Listening through these objects allows us to hear the world as he may have done over 150 years earlier.
Recordings, processing and programming carried out in my home studio and rooftop in Newcastle-upon-Tyne, UK.
10.05.16 – Philip Jeck – Live at The Battery, San Francisco – 17:26 – 320 kbps
As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016. With thanks to Brooke Wentz.
Photo: Gun battery placement, Hawk Hill
10.05.16 – Mark Van Hoen – Live at The Battery, San Francisco – 19:58 – 320 kbps
As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016.
With thanks to Andrew Freid.
10.05.16 – Daniel Menche – Live at Chapel Space, Seattle – 24:00 – 320 kbps
As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016
Recorded by Jake Muir. With thanks to Steve Peters & Vance Galloway.
24.01.16 – Dave Knapik – Storm Jonas – 25:19 – 320 kbps
Over 18 people have died as over 40 inches of snow fell on the eastern seaboard of the United States. It was the second largest in New York City, where over 29 inches fell, since 1869… This recording was made in Williamsburg, Brooklyn using a Zoom iQ6 microphone and iPad Air 2.
Photo: Dave Knapik
04.01.16 – Thierry Charollais – Live at Les Digitales 2015 – Bern 29.08.2015 – 21:56 – 320 kbps
“Live performance on August 29th 2015, at the Botanic Garden in Bern (Switzerland) during the electronic music festival Les Digitales. Especially composed for this concert, this track has not only relaxing, but also disturbing parts. The purpose was to give to the audience a sonic environment which contrasts with the quietness of Bern’s Botanic Garden.”
photo : “Radioactivity 4” courtesy Cécilia Kapitz
9.12.15 – 333 – Touch :333 – 10:54 – 256 kbps
If ever there was a reason for 333 to break its own rules, this is it: the 33rd anniversary of the very first Touch release. So we skip our proverbial anonymous random modus operandi just this once. We even managed to produce proper liner notes to a 3-track extravaganza. And just this once, we -are- naming our sources.
26.10.15 – Patrick Franke – Oriental Chrorus – 29:26 – 320 kbps
“In Spring 2013 I was part of an ornithological survey (bird migration census) in a desert area in the Nile Valley, Egypt. Our team lived, considering local conditions, in a rather modern building in a town called Sandafa Al Far.
22.09.15 – Bethan Parkes – Live in Los Angeles – 24:00 – 320 kbps
Performed live at Resonant Forms on 11th September 2015 in Hollywood, Los Angeles. Also live that night were Simon Scott & Jen Boyd. With thanks to Volume, Rafa Esparza and Los Angeles Contemporary Exhibitions.
29.08.15 – Willem Sannen – End of Summer – 14:49 – 320 kbps
“After a heat wave of almost one month in the south of France this is the sound of that first rainy morning at the swimming pool. I recorded the rain and thunder in the countryside near Quissac (between Nîmes and Montpellier) with 2 Line Audio CM3 microphones in a spaced pair configuration into a Mixpre-D into a Sony PCM-M10.”
25.06.15 – Vault! – 25:43 – 320 kbps
“Mark [Van Hoen] and I visited the tunnels underneath downtown Los Angeles on Tuesday. Many miles of these tunnels are closed to the public, but a section underneath the city archive collection is open. We recorded using an iPhone 6 and a Zoom H6. One of the signs had been adapted to read: “SOUNDs HORNy”.
01.06.15 – Pascal Wyse – Any Port in a Storm – 09:34 – 320 kbps
To call this field recording would be crediting the situation with more adventure than it deserves. At five in the morning, with a hangover starting to percolate, the ideal conditions are surely to just roll over, hit record and go back to sleep – and that is pretty much what happened here. End of disclaimer.
27.04.15 – Simon Scott – Caxton Gibbet – 31:36 – 320 kbps
The word ‘gibbet’ is used both to refer to an executional structure and to a hanging iron cage that used to display the remains of executed prisoners; when someone is thusly displayed, it is known as ‘gibbeting’.
06.04.15 – Bethan Parkes – Krafla Geothermal Power Station/Hverir, Iceland June 2014 – 27:28 – 320 kbps
This composition features unprocessed recordings from Krafla Geothermal Power Station and the nearby mudpools and steam vents of Hverir in Northern Iceland. The recordings were made in June 2014, on the Wildeye sound recording course led by Chris Watson and Jez Riley French, using a SoundField SPS200 and JrF contact microphones.
The composition draws upon the spatial experiences of recording at these sites, journeying from the booming, all-encompassing drone emitting from the boreholes; through the uncontained, explosive energy of steam vents and bubbling mud-pools; and into the inner sonic worlds of the metal pipes and geodesic structures that punctuated the lava field.
17.02.15 – Mark Van Hoen – Anthem for the Homeless – 21:40 – 320 kbps
“Inspired by BJ Nilsen’s performance at LACE in Los Angeles last month, I decided to attempt my own composition using field recordings. The source recordings are quite crude in comparison to those made by the great Mr Nilsen; I even used only an iPhone to collect the recordings; but after a little judicious use of processing back at the studio, I am pleased with the results. On leaving LACE after the show, I noticed how many homeless were sleeping in the doorways at the back of the venue, where my car was parked. There were several droning air-conditioners, some emitting quite rhythmic sounds. It occurred to me that there are many that would hear this as music (myself included) but it’s very doubtful that those sleeping in those doorways do… or perhaps some do find some comfort or music in such sounds. I assembled several of them to create this, an anthem for the homeless.”
Photo by Mike Harding taken in downtown Los Angeles
22.01.15 – Pinkcourtesyphone – Live at LACE – 35:40 – 320 kbps
Recorded by Myke Dodge Weiskopf at Touch presents… Live in Los Angeles, 21st January 2015. With thanks to LACE, VOLUME and especially Yann Novak.
04.01.15 – Before Surgery – Potlatch – 16:19 – 320 kbps
Field recording of fireworks on Saint John’s Night, June 23, 2014, the local pagan inheritor celebration of the Summer Solstice. Recording by Heitor Alvelos on Bruce Geduldig and Bernadette Martou’s balcony, Porto, Portugal. The vantage point, overlooking the tail end of the Douro river from a considerable height, allows the acoustic experience to become as impressive as the visual: the sound of the fireworks travels back and forth through the valley in considerable detail.
1.12.14 – Audialsense – Industrial Revolutions – 19:02 – 320 kbps
In May 2014, we were lucky enough to have direct access to the great machines of the industrial revolution on display in London’s Science Museum; the Mill Engine, by the Burnley Ironworks company, 1903, the Difference Engine No2, by Charles Babbage 1849.
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The British Library is home to the UK’s national collection of radio recordings in its Sound Archive. On 18th November 2010, the entire collection was handed over to and shared with The British Library, and is now a “named collection” within the Library’s Archival Sound Recordings website. You can read more about this here.