Blog Archives

Touch Radio 152 | Patrick Franke

01.09.21 – Patrick Francke – Iceland Miniatures for Inga Martel – 32:49 – 320 kbps

During my travels to and in Iceland, I was repeatedly reminded of the film “Despair” by Rainer Werner Fassbinder. My desire to immerse myself in a peaceful environment for some time and also my naïve projections, unexpectedly and drastically caught up with reality.

Hundreds of thousands of people visit Iceland every year for comparatively short trips. Many escape their ecologically and aesthetically depleted places of origin to seek the salvation of unspoiltness on the island. One could get the impression they are driven by the belief that they are entitled to it – as if someone else were cheating them out of this salvation at home, that there is no connection between them and the cause of the condition of the ecosystems there.

From this desire, the natural history and ecology of Iceland, but also the lifeworlds of the inhabitants are often ignored. All irritations are suppressed in order to be able to hold on to the sentimental image of the magical, untouched island. To this end, some of these holidaymakers may even expect the islanders to kindly maintain it in a state that does not stand in the way of their projections – a strange, structurally colonial habitus.

Oscillating between the ecosystem of Iceland, the Iceland of its inhabitants and the Iceland of my expectations, I tried to focus entirely on the sounds themselves, during the recording and organisational processes for this piece.

I didn’t want to give much room to my preconceptions about how sonographic sketches of the island should sound. I simply wanted to forget them.

Therefore, the Iceland Miniatures can be understood as reconstructed subjective, sonic impressions. They are based on long listening sessions which preceded the actual sound recordings as well as my notes of the respective places.

Ambisonic mix

Touch Radio 151 | Adie Mueller & Armin Lorenz Gerold

26.06.21 – Adie Mueller & Armin Lorenz Gerold – Another Goodbye – 51:54 – 320 kbps

When artist Adie Muller’s mum decided it was time to stop intensive medical treatment, Adie promised herself that she would get to Germany and visit her regularly. Then the pandemic happened.

This is the story of a letting go, a passing on, another goodbye. A story told to see if we can find a way to talk about death and grief and about coming to terms.

Another Goodbye is an audio performance for an audience of one in your own home, combining spoken word and soundscapes.

Created by
Adie Mueller: Writing and Performance
Peader Kirk: Direction and Dramaturgy
Armin Lorenz Gerold: Composition and Soundscape

This version is the outcome of the first project phase from April to June 2021 funded
by Arts Council England and supported by The Place Theatre, Bedford and Cambridge Junction.

Touch Radio 150 | Jez Wells

29.07.20 – Jez Wells – Traces of Sound and Light – 13:06 – 320 kbps

Buildings, and the spaces and atmospheres that they enclose, are primarily experienced through seeing them and hearing them. Visions of them are the trajectories and alterations of light that travel within them to the observer. Audition of them is via the patterns of reflected and diffracted sound that repeatedly pass the observer as their energy decays and spreads. Just as buildings have a visual signature (what they look like) so they have an aural one. Each is dynamic: changing how a room is lit will change how it looks, making different kinds of noise within it will reveal different aspects of its sound. However, exploration is bounded by the laws of physics and perception and the fixed nature of the buildings themselves. Useful techniques and modes of expression such as feature exaggeration, time manipulation, rapidly changing or impossible perspectives and micro/macro-scoption require augmentation of reality, but enable boundaries to be exceeded. It becomes possible to experience not just what a building is, but how it is in our perception; how, for example, the different elements of its geometry and fabric relate to each other and the individual contributions they make to the whole.

The fixed nature of buildings is one of their defining characteristics. They often stand immutable amongst the peoples, their cultures and technologies, that create them and use them. They are perhaps the person made things that change most slowly over time and reach furthest into our present from their past. The National Centre for Early Music is housed within the Medieval church of St Margaret in the Walmgate area of York. Traces of Sound and Light was site-specific fixed-media installation created by this author and the visual artist Annabeth Robinson. Based on data obtained from light detecting and ranging (LIDAR) and acoustic impulse response measurement (AIR) it used technological augmentation of the both the observer and the space to literally enable the audience to see and hear the space which they are within in new ways that would otherwise be impossible. A 3D animation derived from the point cloud obtained from the LIDAR process was delivered to head-mounted smartphones worn by the audience, and audio created solely from the AIR measurements and readings of text fragments inscribed within the space was diffused via multiple loudspeakers.

This is binaurally captured (and therefore ideally suited to headphone listening) audio from the version of the installation presented in St Margaret’s at the 2019 Audio Engineering Society International Conference on Immersive and Interactive Audio.

Image: Annabeth Robinson

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Play “Traces of Sound and Light

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Touch Radio 149 | Aino Tytti

16.11.19 – Aino Tytti – Slicing the Troposphere – 18:36

i) Binaural surround mix for headphones
ii) Stereo mix for speakers
iii) Ambisonic B-format for decoding to a multi-speaker array (download)

This is a composition of field recordings taken at various wind turbine farms over the last year. They are recordings taken as part of a sound project I’m working on which looks at infrastructure; a sonic exploration into the unseen mechanics which underpin our daily lives: Power, transport, sewer systems, communications and supply logistics.

The recordings presented here are in a fairly raw state and will be developed and augmented within the wider body of work. However, I think they hold different value in their ‘solo’ and raw form – and may be of particular interest to listeners of TouchRadio.

The modern wind turbine is an awe inspiring machine – gracefully benign from two miles away, yet from within their shadow they assault an image of improbable violence on the senses. Designed to perform modern day alchemy through a screamed slicing of the troposphere, they detune the very skies which hang overhead and broadcast infrasonic resonances into the ground which i was able to record through a geophone from over half a mile away. Within the setting of ‘nature’, these machines are the very definition of unnatural; up close, their rotating violations of nature’s laws feel viscerally threatening.

But then these locations too are, by necessity, raw and unforgiving environments. Bleak moorland at raised altitude or wide unsheltered flatlands; horizon to horizon, exposed, desolate, dystopian. The wind howls across these plains, transforming the totally inert into the wildly volatile at an instant; bracken, heather, gorse, singing fence wires dissecting arbitrary shingle boundaries for mile upon mile.

The source material was recorded in multichannel spatial format using various ambisonic and stereo air mics, geophone and contact microphones matrixed to 5 channel surround. The composition was mixed in Ambisonic multichannel and is presented in three formats for listening:

1. Stereo mix for speakers
2. Binaural surround mix for headphones
3. Ambisonic B-format for decoding to a multi-speaker array

Equipment:
Sonosax SX R4+
Ambeo / DPA 4060 / MK-416 / Telinga Mk2
JRF contact mics matrixed to 5ch / JRF prototype geophone

Thanks to Jez Riley French for the geophone loan, Rudi at Helix Branch and Emily Mary Barnett for her photography/patience.

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touchradio.org.uk

Touch Radio 148 | Simon Fisher Turner

1.10.19 – Simon Fisher Turner – The Youth Choir – 24:21

If the mainstream media (MSM) won’t broadcast this, then we will.

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Play “The Youth Choir

touchradio.org.uk

Touch Radio 147 | Machinefabriek

1.05.19 – Machinefabriek – Moving Noises 2015 – 22:34 – 320 kbps

Sifting through his archive of live recordings, Rutger Zuydervelt (Machinefabriek) chose this performance from 2015 (in a very cold church in Bochum, Germany) as a favourite. As with most of his gigs, the concert was improvised, using an analogue tone generator as the main sound source, a radio, a contact mic, and a selection of pedals. Always a hit-and-miss venture, but always exciting (though at times nerve-wracking for the artist).

Photo by Constantly Consuming

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Play “Moving Noises 2015

touchradio.org.uk

Touch Radio 146 | Stuart Bowditch

10.04.19 – Stuart Bowditch – Noon bells in Sicily – 1:00:00 – 320 kbps

Whilst on holiday in Sicily Stuart wanted to capture the sound of the local church bells. Choosing to record at 12 noon every day seemed a reasonable way to record more elaborate bell combinations whilst also fitting in other holiday plans with his travelling companion.

An edit of ten minutes from each location is included here, with 12 o’clock being positioned in the middle at five minutes to afford some context of the local area. Sicilian dialect has been used to indicate each day. Church names have been used to indicate location rather than street names, and bells from nearby churches can also be heard as the timing on each church is slightly different. Some churches ring twice, and one church not at all. The bird sounds were made by an old man hiding behind the tree that I was recording under.

Recorded using a Sound Devices Mix-Pre 6, and a stereo pair of LOM Uši omni-directional mics attached to a coat hanger.

Màrtiri – San Francesco di Paola, Palermo
Mèrcuri – Cattedrale di Palermo and Parrocchia Ss Maria Assunta
Iòviri – Parrochia San Girolamo, Mondello
Vènniri – Chiesa di San Domenico, Palermo
Sàbatu – Cattedrale di Monreale
Dumìnica – Chiesa del Gesù, Palermo

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Play “Noon bells in Sicily”

touchradio.org.uk

Touch Radio 145 | Ian Wellman

1.03.19 – Ian Wellman – Between the City and the Forest – 12:31 – 320 kbps

“Between the City and the Forest” collects field recordings made between 2015-2018 in areas around Los Angeles, Mojave, and the Sierra Nevada. The piece features a millipede walking on a tent, many species of birds, treefrogs, electromagnetic and other urban city textures, as well as some websdr recordings.

Special thanks to Bill, Laurel, Greg, Russ, and all those I met on the Sound Recording and Analysis Workshop in June 2018.

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Play “Between the City and the Forest”

touchradio.org.uk

Touch Radio 144 | Michèle Peron & Peter Caeldries

13.01.19 – Michèle Peron & Peter Caeldries – 24 Hour Estonian Spring – 1:13:32 – 320 kbps

Estonia has a rich and powerful nature orchestra, and this might be because two thirds of the country is covered with forests and bogs which are often almost untouched. Estonian nature sound is sometimes discrete and quiet, sometimes powerful, but it is always magical.

This sound piece features the magnificent performance of the orchestra over a period of 24 hours in the spring. The recording opens with a dawn chorus in the Alam Pedja nature reserve. It then travels to the primeval forest of Järvselja and the wetlands south of the Ahja jõgi, close to Lake Peipsi and the Russian border. The latter is a boreonemoral, drained peatland and swamp forest area.

Chirping birds, croaking frogs, a barking deer and a rumbling thunderstorm make up the choir. The star performers, howling wolves, end this nature symphony just before the sun rises over the forest.

Great care has been taken to make the sound piece time and rhythm coherent as well as biogeographically consistent. Man-made noise such as wood-working has been kept as it is, an integral part of the soundscape. The intention is to render the reality as is, not to change it: quiet sounds have remained quiet and might require more concentrated listening on the part of the listener.

The music of nature moves slowly. The recorded piece invites the listener to an immersive experience. Take the time to listen through the full length and hopefully be transported.

Our thanks go to Robert Oetjen and Triin Libe of the Palupõhja nature school, to Andrus Kannel as well as to Mariell Jüssi and Rene Valner who have helped make these recordings possible.

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Play “24 Hour Estonian Spring”

touchradio.org.uk

Touch Radio 143 | Ken Hollings

13.10.18 – Ken Hollings – Ekphrasis – 12:54 – 320 kbps

This recording was made at the Block Gallery in New Cross on May 27th 2018 to mark the closing of the ‘Maquettes’ exhibition. The full text of the reading is available in issue 3 of Satori magazine. Richard Bevan supplied the recording. The photograph is by Rachel Hollings.

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Play “Ekphrasis”

Ken Hollings
touchradio.org.uk

Touch Radio 142 | Stephanie John

08.09.18 – Stephanie John – Through the Night, Glenshee, 09/06/18 – 43:10 – 320 kbps

Through the Night was recorded on June 10th 2018 at Glenshee, Scotland during ‘Murmurations’.

Mixed with Rob Aitken, with thanks to Chris Watson + Jez Riley French

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Play “Through the Night”

Stephanie John
touchradio.org.uk

Touch Radio 141 | Zachary Paul

28.07.18 – Zachary Paul – Under the Skin – 37:28 – 320 kbps

An extract from Zachary Paul’s live scoring to the 2013 movie “Under the Skin” (dir. Jonathan Glazer, original score by Mica Levi). Recorded live at PLUM, Stories Books and Café, Los Angeles, on Monday 16th July 2018.

With thanks to Lena Pozdnyakova and Eldar Tagi at The 2vvo.

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Play “Under the Skin”

Zachary Paul
touchradio.org.uk

Touch Radio 140 | Stephan Moore

25.05.18 – Stephan Moore – Moira, Dusk – 18:18 – 320 kbps

This recording is made off the back balcony of the Cube Gallery in the village of Moira, Goa at around 8:15pm on March 17 (St. Patrick’s Day), 2018.

The balcony looked out onto an area of open land, with a Hindu temple on one side and an old Portuguese-style cathedral on the other. I am struck by the merging of layers of sound in this scene — birds and insects, but also sometimes traffic (though the road is distant), voices, power tools and non-power tools, dogs, and various unknown activities. In the middle of the recording, an unseen train passes and somehow overtakes everything for a moment. There are sounds I cannot identify no matter how hard I listen to them.

This piece is composed by all the forces that had assembled themselves in that place at that time, on the edge of night.

Many thanks to Satinder Singh and Eric Patrick for making this recording possible.

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Play “Moira, Dusk”

Stephan Moore
touchradio.org.uk

Touch Radio 133 | Pascal Wyse

18.09.17 – Pascal Wyse – tic-tac-toe – 9:26 – 320 kbps

“tic-tac-toe” was written for Gilbert Ratcliffe, who in 2017 was a final-year dance student at the Trinity Laban Conservatoire. For this performance, called “You Watching Me?”, choreographed for a small group of dancers, Gil wrote:

“My research was centred on the physical and mental manifestation of my journey with Tourette’s Syndrome. I explored it through the collaborative process between choreographer and dancers to see if we could create a non-narrative, abstract dance work that was able to elicit an emotional, performative response.”

Gil knew what the broad structure needed to be, and the dancers had ideas about sounds that would resonate well with the subject – but there was lots of freedom between those staging posts. I loved how the dancers only needed occassional markers, between which they related to the sounds but weren’t bound by them. No need for anything as prosaic as counting out beats.

Gil’s research involved talking to lots of people with TS, and reading through it I got keen on the simple idea of the electrical impulses that run through the body as it moves – whether voluntarily or involuntarily. In the end, it’s all a synaptic dance.

I recorded the feet of the dancers as they rehearsed, so that the piece could conjour up unseen dancers around the stage. Elsewhere metal spins against metal, balls bounce to a stop, there is a visit to the sea shore and a recording I made of the old editor of the Guardian being “banged out”, in the tradition of old Fleet Street.

The painting is courtesy of Gil’s mum Melanie – an artist and painter who has often worked with dancers.

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Play “tic-tac-toe”

pascalwyse.com
melanieyoungart
touchradio.org.uk

Touch Radio 132 | The Man with the Glasses

21.08.17 – The Man with the Glasses – Through a Lens, Darkly – 5:25 – 320 kbps

Recorded from 10:00 to 10:25 on the day of the partial eclipse (approx 65%) at UCLA Court of Sciences, California. Photo sequence by Lizzie Mickery.

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Play “Through a Lens, Darkly”

touchradio.org.uk

Touch Radio 131 | Bill Thompson

28.06.17 – Bill Thompson – Live at the Brunswick Club, Bristol, June 19th 2017 – 31:37 – 320 kbps

This is a two channel recording of a live solo performance using the Moog guitar plus stuff. The set was improvised and only the second time I’d performed solo with the Moog (the first being the night before in Swansea). The gig was at the Brunswick Club in Bristol which houses several arts groups including BEEF (Bristol Experimental Expanded Film) who, via sound and video artist Kathy Hinde, had invited me to perform. When I arrived in Bristol and gave the taxi driver the address, he told me that the Brunswick Club was closed down, and even if it wasn’t, he doubted I’d be performing there. Apparently it used to be a Working Man’s Club frequented by taxi drivers. Not any more.

Equipment: Moog Guitar, ebow, shortwave radio, tone generator, guitar pedals (reverb, delay, distortion and fuzz factory), plasma and bicycle lights, a child’s light wand, two vibrators, portable CD player (unplugged), modified fans, mixer, and miscelaneous debris.

Recorded by Kathy Hinde.

You can read a review by Massimo Ricci here

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Play “Live at the Brunswick Club, Bristol, June 19th 2017”

billthompson.org
touchradio.org.uk

Touch Radio 130 | Félix Blume

20.05.17 – Félix Blume – A La Orilla (On the edge) – 45:01 – 320 kbps

On the edge of the jungle, where the Amazon Rainforest begins in southern Venezuela, where the Gran Sabana ends, humans are still trying to enter a world dominated by nature. Trees, rivers, animals and insects extend to the horizon, and the sounds reach our ears to remind us of their empire.

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Play “A La Orilla”

felixblume.com
touchradio.org.uk

Touch Radio 129 | Jana Winderen

11.04.17 – Jana Winderen – Daybreak; Kochi (Kerala), India – 38:03 – 320 kbps

This crepuscular recording was made from 4:45am on the 14th December 2016 in the south Indian city of Kochi. I was there to play “Drifting”, a performance at Vasco da Gama Square, for Convening #2 hosted by the TBA21 Academy on the following day.

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Play “Daybreak; Kochi, Kerala, India”

janawinderen.com
touchradio.org.uk

Touch Radio 128 | Geneva Skeen & Sarah Rara

23.03.17 – Geneva Skeen & Sarah Rara – Live in Los Angeles – 37:03 – 320 kbps

Live at Human Resources, Los Angeles, February 18, 2017

1. Geneva Skeen – Pop Song 16:48
2. Sarah Rara – Separating the Air 20:12 – Projected Text

For the closing of Yann Novak’s exhibition Repose, Novak invited Geneva Skeen and Sarah Rara to perform inside/alongside his installation. Each artist’s performance was accompanied by the sound of Novak’s installation demonstrated here via a room-recording from the event.

Skeen’s Pop Song is a temporal response to Novak’s drone work, and a cultural response to our times. In harmonizing with Novak’s loop – divided into 3-4 minute segments (the average acceptable length of a pop song) – Skeen’s Pop Song acknowledges that populist times call for populist measures, but refuses populist comfort, acceptance, and pale standards of beauty as means of resistance.

Rara’s Separating the Air: games of listening and learning between voice and computer at the boundary between music and speech. Each part is a device to punctuate silence, divide time, move the air.

Photo: Christopher Wormald

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Play “Live in Los Angeles”
soundcloud.com/geneeeeves
www.sarahrara.com
www.touchradio.org.uk

Touch Radio 127 | farmersmanual

14.10.16 – Farmers Manual – glague general gen (UNSUPERVISED LEARNING AND REFINEMENT OF RHYTHMIC PATTERNS) – 01:00:00 – 320 kbps

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Touch Radio 126 | Tim Shaw

12.09.16 – Tim Shaw – Surrounding Air – 21:20 – 320 kbps

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Touch Radio 125 | Philip Jeck

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

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Touch Radio 124 | Mark Van Hoen

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.

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Touch Radio 123 | Daniel Menche

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.

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Touch Radio 122 | JUNTA

26.01.16 – Francisco Alvelos – JUNTA: VIVA PORTUGAL! (1974) – 26:16 – 320 kbps

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Touch Radio 121 | Dave Knapik

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

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Touch Radio 120 | Thierry Charollais

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

Touch Radio :333 | 333

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.

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Touch Radio 118 | Patrick Franke

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.

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Touch Radio 117 | Bethan Kellough

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.

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Touch Radio 116 | Willem Sannen

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.”

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Touch Radio 115 | Vault!

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”.

Touch Radio 114 | Pascal Wyse

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.

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Touch Radio 113 | Simon Scott

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’.

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Touch Radio 112 | Bethan Kellough

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.

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Touch Radio 111 | Mark Van Hoen

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

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Touch Radio 110 | Pinkcourtesyphone

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.

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Touch Radio 109 | Before Surgery

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.

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Touch Radio 108 | BJNilsen

31.12.14 – BJNilsen – NYE Berlin-Schöneberg 31.12.2014 – 38:26 – 320 kbps

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Touch Radio 107 | Audialsense

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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Touch Radio 81 | Jiyeon Kim | Maia Urstad | Dawn Scarfe with interventions from Sandra Jasper

31.07.12 – Touch invites… Live at Café Oto 17.07.12 – 26:29 – 192 kbps

The first in a series of Touch invites… held at Café Oto on 17th July 2012.

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Touch Radio at The British Library

The British Library is home to the UK’s national collection of radio recordings in its sound archive. They range from 1924 through to the present day and include programming of all kinds, both public service and commercial. The arrival of the internet, and internet radio, has freed creative programme makers from the need for transmission equipment, broadcast schedules and sponsorship, and ushered in an era in which almost every imaginable approach to programme making is now possible.

Although the artistic possibilities of radio were recognised almost as soon as the medium was introduced back in the early 1920s, the full possibilities of art radio and of radio art are even now only being explored by a small number of pioneering stations around the world, of which Touch Radio is one. The range of approaches adopted by these stations can be as diverse as the interests and personalities of the producers themselves. Freed from the concerns of advertisers, charters, sponsors, licenses, departmental policies or house styles, the programme contributors are allowed to be as straightforward or as creatively original as they like.

This collection represents the complete Touch Radio archive to date: around one new programme released monthly since January 2005, each varying in duration from a few minutes to over an hour. The collection will be updated from time to time as new recordings become available.

The British Library is the national library of the United Kingdom and one of the world’s greatest research libraries. It provides world class information services to the academic, business, research and scientific communities and offers unparalleled access to the world’s largest and most comprehensive research collection. The Library’s collection has developed over 250 years and exceeds 150 million separate items representing every age of written civilisation. It includes: books, journals, manuscripts, maps, stamps, music, patents, photographs, newspapers and sound recordings in all written and spoken languages.

Touch Radio on the British Library’s Archival Sound Recordings website

Touch Radio 53 | Tom Lawrence

26.06.10 – The Lough’s Breath – 29:05 – 192 kbps

During 2008/9 while working as a sound recordist for BBC Radio 4 Natural History Unit, sound recordist and composer Dr. Tom Lawrence spent six months recording and documenting the sounds above and below the waves of Lough Neagh, the largest water-mass in the British Isles. This programme is a compelling audio-log of those recordings, featuring breath-taking underwater sounds of beetles, frogs, eels, fish and other life. The programme also presents sounds above the water including migratory birds, industry and evocative soundscapes of forestry and the elements.

Recorded and produced by Tom Lawrence.

Equipment:
SQN Mixer, DPA Hydrophone, DPA omni-directional mics, SD702 recorder, Sennheiser M-S rig, Neuman 82, contact mics (piezos).

Touch Radio 51 | Zon On N

01.05.10 – One Long Track – 1:00:38 – 192 kbps

Radio51

Live zoning and droning trance meditative exploratory improvised music is created by:

Mario Radinovic (Oscillators and multiple effects units) is a London-based musician with a keen interest in frequencies and their effect on human body and mind. Past few years he played with “Break Ups”, and art band that eventually broke up, followed by “Oscillosonics”. For many years Mario has been occasionally sonically collaborating with Kaffe Matthews, and Iris Garrelfs.

Howard Jacques (Melodica, singing, percussion and electronics) is a musician interested in surreal terrain. Other bands played in include Put Put, The Topsy Turvy Band, Proxy Music, Comfy Moss, Almost Real &c. He Produces The Bermuda Triangle Testtransmission Broadcasts for Resonance104.4FM, a London community arts radio station.

Touch Radio 50 | Achim Mohne

08.04.10 – Aufzeichnungen im Kellerloch (Recordings in the Cellar) – 36:45 – 192 kbps

Performed @ Museum Ludwig Köln, July 2000

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Touch Radio 49 | Chris Watson

08.02.10 – A Journey South – 50:21 – 192 kbps

Chris Watson journeys to the South Pole for the forthcoming David Attenborough series “The Frozen Planet” (BBC, 2011). Here he reports back with his experiences…

Photos by Jason Roberts & Chris Watson

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Touch Radio 48 | Biosphere

28.01.10 – Live in Den Haag – 37:05 – 192 kbps

Touch Live on September 26th 2009 at Todaysart 09, Den Haag featured Biosphere, Philip Jeck, Hildur Gudnadottir, Jana Winderen & The Eternal Chord. Biosphere gave an intimate performance in the Lutherse Kerk, a very small church.

Recorded straight from the mixing desk to an Ares Pll Nagra digital recorder.

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Touch Radio 47 | Pascal Wyse and Tom Haines

01.01.10 – A Rock and a Hard Place – 11:45 – 201 kbps [VBR]

Eighty miles off the coast of mainland Scotland, the archipelago of St Kilda is host to almost a million seabirds each summer. Beginning underwater, this journey takes in the remote island group – with its gurgling seawash, gannets and storm petrel – before sailing east to the Shiants, home to puffins, guillemots, fulmars and razorbills. Finally, a mix of the exotic and commonplace – Carrion crow, wren, herring gulls. heron, ringed plover, cuckoo, oystercatcher, song thrush, common sandpiper – heard at dawn on the island of Rhona.

Sound and photography: Pascal Wyse and Tom Haines. Recorded in June 2009 with Dolphin Ear hydrophones, Sennheiser and DPA microphones and Sound Devices recorders.

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Touch Radio 46 | Ken Montgomery

10.12.09 – 1/f Noise | Smoothing Out The Press – 59:55 – 151 kbps [VBR]

1/f Noise – While teaching sound art in Cincinnati Ohio’s art school DAAP, Montgomery organized sonic tours of the Ceramics Department. The audience was blindfolded and led one by one down 8 flights of stairs into a series of listening stations where ventilators, burning kilns and other machinery were in use (2008).

Smoothing Out The Press was composed using the Sound of Sanding from the Crest Hardware Show plus recordings made at Ben Owen’s Middle Press in Brooklyn while printing the Ministry of Lamination’s Almost Blank Notebook letterpress edition (2007).

Touch Radio 45 | Sohrab

21.10.09 – Tanhayi – Live in Tehran – 42:24 – 320 kbps

Biking in Holland | Tears (Sohrab version) | Tanhayi | Satyr | Tears (Esteban Olenikov version Tundra) | There is an ashtray between us | Tears (Yozhik version) | New Zealand | Barf

Recorded and played live in October 2009. Sohrab used Reason 3, his midi controller (R)evolution UC-16 and a sampler, recorded live through Ambrosia recording software.

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Touch Radio 44 | Laurent Jeanneau

17.09.09 – Ghulja – 44:20 – 192 kbps

“Xinjiang (“new frontier” in Chinese) or Eastern Turkestan is without doubt the first extremely sensitive zone in China, at least in terms of ethnic conflict between the Hans newcomers and muslim minorities who have a longer history of occupation of those areas. Spread from Mongolia to Afghanistan, it is the biggest Chinese province. I was in the north western part of Xinjiang in the prefecture of ILI, called Yining outside of China and Ghulja by the Turkophones, in May and June 2009…”

The radio mix contains unedited acoustic recordings made with a pair of RODE NT5 microphones with a NAGRA ARES M digital recorder, and computer modified parts, sound collage and composed processed DONGBRA (Kazakh 2-stringed plucked instrument) and DUTAR (Uyghur long neck 2-stringed plucked instrument).

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Touch Radio 43 | Philip Jeck & BJNilsen

21.08.09 – Rehearsal Tapes – 16:44 – 196 kpbs [VBR]

Photo: Jon Wozencroft

Rehearsal tapes from The Suffolk Symphony – recorded and edited during the residency (August 16th – 22nd).

On August 22nd 2009 Touch will present a multimedia performance of The Suffolk Symphony – the culmination of the week’s work undertaken during the residency.

Faster than Sound bring more imaginative experiments with sound and image to the Snape Proms with The Suffolk Symphony, a specially commissioned residency and new work by leading sonic and visual production company Touch. Inspired by the historic coastline of Aldeburgh and its surrounding area including Aldeburgh Music’s Snape Proms and its history, Touch will create a new audio-visual symphony from scratch, using only locally sourced sounds and images. Beginning on 16 August, Philip Jeck, BJNilsen, Jon Wozencroft, Philip Marshall and Mike Harding will go on a week-long treasure hunt to unearth old records, field recordings, home-made sounds and images to create a new multimedia Suffolk Symphony, culminating in its first performance on the 22 August.
Subscribe to the TouchPod podcast of TouchRadio via the iTunes Music Store
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Touch Radio 42 | Charles Matthews and Hildur Gudnadottir

21.07.09 – Nacre – 46:39 – 256 kpbs

Nacre was composed for the experimental music festival ‘Skanu mezs’ in Riga, Latvia. The premiere of Nacre was held there on 23rd May 2009 in St. Saviour’s Anglican Church. [With thanks to Viestarts Gailitis.]

A video of the installation by Elín Hansdóttir and Hildur Guðnadóttir can also be viewed, when you subscribe to the TouchPod podcast of TouchRadio via the iTunes Music Store.

For a church organ and light organ.
Composed by Hildur Guðnadóttir
Performed by Charles Matthews and Hildur Guðnadóttir
Installation by Elín Hansdóttir and Hildur Guðnadóttir
Light organ programmed by Derek Holzer

Nacre is dedicated to Hildur’s grandmother Margrét Guðnadóttir, who celebrated her 80th birthday in July 2009. The title refers to her name, since both the noun ‘Nacre’ and the name ‘Margrét’ mean ‘Mother of Pearl’.

Nacre is a written for 2 types of organs; a church organ and a light organ, therefore the score is twofold.

1. Church Organ/DNA:
Nacre’s score is in the shape of a 360 degree helix of a double strand DNA. This form was chosen as a connection to Margrét’s passionate work as a virologist. DNA forms the basis of inheritance in all organisms, except viruses, although DNA can be found in a few viruses such as herpes. DNA also connects grandmother and granddaughter, whereas it holds genetic information to be passed on from one generation to the next.

2. Light Organ/Newton:
The basis of the light organ is Newton’s color circle. He was the first person to connect colour to wavelengths of light and made the colour circle based on that theory. His circle consists of 7 colours and he assigned musical notes to each colour. Newton’s scale starts with red, to which he assigned the note D. The scale continues as a diatonic scale from D (also known as the Dorian mode); E=orange, F=yellow etc.
A light system was made specially for Nacre, which reads the frequencies being played on the church organ and triggers coloured lights for each note in Newton’s color circle. When the note D is played on the organ, for example, a red light shines in the light organ.
The light organ hangs above the audience. 70 LED lights are arranged in mirror modules that are held up by giant balloons. The floating lights are therefore multiplied and create a slight spatial distortion.

[more photos can be seen at www.hildurness.com]

Score/Performance:
The 21 angström width of the DNA is divided into 3 sets of Newton’s 7 colour circle. Each set of colours are played on different manuals of the organ; one set is played on the pedals, another set is played on the 1st manual and the third set is played on the 2nd manual. The 34 angström length of the DNA serves as a timeline for Nacre. The form of the DNA determines when each note should be played. When the DNA rises or falls to a note in Nacre’s score, it should be played until the DNA rises or falls on the same note, then the note is released. All the notes are indicated in the score with corresponding colours lighting up in the color organ. The result of this is a giant chord, where the overtones engage in a war as to which note shines the brightest in the light organ. Newton’s colour circle is also spread horizontally over the length of the DNA, starting at red with low frequencies and working its way up the frequency scale up to purple.
The “musical colours” of the chord are controlled by the 2nd performer next to the organist, who pulls or pushes the church organ stops in and out, creating an overtone resonance beat according to the horizontal colour circle. Starting with the lower stops and slower beat, working its way up to the higher stops and faster beat.

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Touch Radio 41 | The Honey Bees of Cherry Garden Farm

12.06.09 – The Act of Being Stung – 08:47 – 192 kpbs VBR

Recorded 10.06.09

Mike Harding was commissioned by The Southbank Centre to record bees for The Bee Symphony, to be performed on Sunday 6th September 2009 at The Queen Elizabeth Hall, London as part of Pestival. The Bee Symphony, with music composition by Marcus Davidson (Spire) and bee recordings by Mike Harding diffused by Chris Watson, will be performed at “Cross Pollination – An Evening of Experimental Insect Music”, curated by Chris Watson.

The recordings took place at Cherry Garden Farm, Stelling Minnis in Kent, England. The hives are owned by Olivia Grove on her seven acre small-holding. Also present were Marcus Davidson, who took the photos, and bee expert Mary Hill from Old Wives Lees. You can hear the voices of all four on the episode…

Equipment used includes 2 x dpa 4060 mics, recording onto a Nagra Ares P-ll at 48k 24bit, and of course, a coathanger and bee suit… with thanks to Jane Beese at The Southbank Centre.

You can hear a mix of this recording on WFMU’s Do or DIY with People Like Us – June 24, 2009 here

Touch Radio 40 | Edwin Pouncey

03.04.09 – R’Occult ‘n’ Roll – 23:52 – 192 kpbs VBR

Radio40

Recorded 02.04.09, at “R’Occult ‘n’ Roll – Music and Magic on the Wild Side”

Readings by Sandy Robertson and Edwin Pouncey at Treadwell’s Books, London.

“The connections between rock music and the occult range from the legends of bluesmen selling their souls to the Devil for success, through to the influence of Aleister Crowley on the Rolling Stones, The Beatles and Led Zeppelin in the 60s and 70s, and the Satanic music and imagery of today’s Black Metal underground. This talk will cover all these subjects, together with lesser-known examples of ‘rockultism’. You may even get to hear some mad, bad and occasionally dangerous musick too. Earplugs optional.

Sandy Robertson is the author of The Aleister Crowley Scrapbook (now in print for 20 years) and has written for Mojo, NME and other publications. As well as being a music writer and illustrator for The Wire magazine, Edwin Pouncey (aka Savage Pencil/Sav X) is an artist whose work has been shown in galleries in the UK, Europe and America. Sandy Robertson and Edwin Pouncey were colleagues at the legendary rock paper Sounds during the 80s.”

In this excerpt, Edwin Pouncey discusses the genealogy of Black Metal.

Touch Radio 39 | Paulo Raposo & Joao Silva

24.02.09 – Book of Hours – 23:24 – 320 kpbs

guest: Carlos Santos
Recorded 12.12.08
Dome of the National Pantheon, Lisbon
João Silva: crystal bowl
Paulo Raposo: space multi-channel diffusion and real-time processing
Carlos Santos: glass and bell

“Book of Hours” was recorded in the remarkable baroque central dome of the National Pantheon in Lisbon.

The musicians (and the audience) were 40 meters above ground level on a narrow circular balcony looking out over the abyss. The main sound source was a crystal bowl, played by João Silva, which was struck and resonated with a stick. Paulo Raposo processed these sounds and diffused them throughout the space via 6 channels, 4 of which were small self-powered speakers, arranged symetrically around the circumference of the dome. Carlos Santos also moved throughout the space and the audience with a small glass and a Tibetan bell.

The sonic interactions in “Book of Hours” aimed to reveal the inherently active qualities of the space, itself a performer in this acoustic dialog.

Touch Radio 38 | Philip Marshall

02.01.09 – Ost – 14:21 – 192 kpbs

An edited version of the track “Ghost”, commissioned as part of “The Space Between Seeing and Knowing is Haunted,” an exhibition curated by D–L Alvarez at Exile and Arratia, Beer, Berlin [07.02.2009 – 04.04.2009]. Arranged and produced by Philip Marshall. Voices sourced from “The Ghost Orchid – an Introduction to EVP” [PARC, 1999]. Rain recordings courtesy of Dale Cornish.

The unedited version of “Ghost”, can be found on the cassette-only release, Three Questions and an Answer [Ash International # Ash 7.5]

Touch Radio 37 | Pascal Wyse

09.12.08 – Barbialla – 12:50 – 192 kpbs

How to catch a truffle.

Ancient Greeks, as much in the dark as anyone else when it came to where the white truffle is to be found, shrugged and announced that the tuber magnatum occurred wherever lightning struck the ground. Cobblers, of course, but that’s the excuse for beginning this piece with a burgeoning thunder storm — in September 2008, on the Barbialla Nuova estate near San Miniato, Tuscany. This is an area famed for its white truffles.

Then a truffle hunt, with Imperio, Bobbi and Sabali. Bobbi is a dog, a breed called Lagotto. Imperio is the hunter. Sabali translates Imperio now and again, but most of the time he is chatting to the dog, saying “Find!”, “Is it or isn’t it?” He gets very angry with the cat (“Go home!”) who, feeling sociable, joined us on this three-hour walk.

A truffle is found and Bobbi, having pulled up a 12-inches of earth, doesn’t want to surrender it. At least with a dog you can yank him away by the scruff of the neck, and Bobbi was occasionally seen flying over Imperio’s shoulder. Not so easy with pigs, who used to be employed as truffle hunters — but enough of an excuse to include the sounds of Silvio here, the biggest of the farm’s Cinta Senese breed.

There the tenuous links end, unless anyone knows of a connection between truffles and the crickets, tawny owls and mystery birds that chattered deep in to the night.

[Recorded on DPA miniature omni microphones and Sound Devices 702 recorder]

Pascal has also contributed a truffle recipe to Touch’s online Recipe Book.

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Touch Radio 36 | Will Montgomery

18.11.08 – Submarine – 9:12 – 192 kpbs

A submarine-like structure sits on a traffic island in the middle of Akerman Road, London SW9. It was built in the 1970s above the large underground boiler room that provides heat for the Myatt’s Field estates, which lie on either side of the road. The boilers still heat more than 300 buildings to the south of the road, but their unreliability caused the north-side estate to switch to another heating source in the early 1990s. The heating system was sited underground because to do so was considered ‘best practice’ at this stage of the Cold War, when a nuclear conflict sometimes seemed a distinct possibility. At the time the estates were built, both the US and the USSR maintained large fleets of weapon-bearing submarines: ocean-going doubles of the Akerman Road structure. In spring 2008 I made some recordings of the machinery in the boiler room. These have been organised into a composition. I have filtered some of the sounds but no digital processing has been used.

Photography by Dollan Cannell.

Thanks to Stuart Dixon and Lambeth council for letting me in!

Touch Radio 35 | FREQ_OUT ORCHESTRA

1.10.08 – THE FREQ_OUT ORCHESTRA – 28:46 – 192 kpbs

freq_out 7 took place in September 2008 as part of The Happy New Ears Festival in Kortrijk, Belgium. There was also a performance by THE FREQ_OUT ORCHESTRA on Saturday 13th September, which was recorded by Finnbogi Pétursson on a Zoom H2 and mastered by BJNilsen. Crows recorded by Pascal Wyse.

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Touch Radio 34 | Diane Hope

3.09.08 – Elk Song – 11:14 – 192 kpbs

Headphones recommended. Recorded 24/48 with a Rode NT4 stereo mic.

The forests and meadows of Northern Arizona’s high country are populated by herds of elk, packs of coyotes and a variety of frogs, owls and other wildlife. Camping out overnight can be an exhilarating acoustic experience – as I found out…

Waking up in my tent just after 1 AM my immediate thought was that I had entered some weird spirit realm and was hearing the wail of a banshee – what turned out to be a bugling elk. The initial recordings were made on 4th September 2007. The main portion of the recording, an ethereal song consisting of a series of explosive elk calls, was made more recently on 10th June 2008.

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Touch Radio 33 | AER

33. 5.08.08 – Without Number – 45:53 – 128 kpbs

Jon Wozencroft writes: “The earliest tape used in this radio show comes from 1982 and the most recent is ten years old. AER is/was a name I gave to sound recordings used for the Touch samplers (in particular) and this is no more than an opportunity to “clear the cupboards” and make the best of them available in one location. None of them benefit from studio production and in the age of easily-available sound recording software, I suppose part of the point is that they are all cassette or minidisk recordings assembled on pre-digital recording equipment.”

A full index of the tracks and information can be downloaded here

Touch Radio 32 | Tom Lawrence

32. 1.07.08 – Donadea Forest – 30:47 – 192 kpbs

Donadea Forest Recordings, December 2007 to May 2008.

00:00-04:27 Castle Crow’s Cacophony (31st December 2007, 7.20am)
04:28-10:23 January Gales 9th January 2008 10.45pm (contains references to 9/11 forest monument and the avenue of trees, captured with contact mics)
10:24-14:48 Forest Rain 12th January 2008 1.15am (extensive flooding)
14:49-20:36 Forest Harmonics 8th March 2008 6.20-11.50am (sampled forest chimes, forestry felling, and the ‘carbon chorus’ [surrounding motorways]).
20:37-30:47 The Dawn Chorus (recorded on National Dawn Chorus Day 20th May 2008, 4.35am)

Principal photography by Eddie Mallin from Dublin, currently living in Kildare. Using film-based cameras, he prints using traditional darkroom techniques and favours fibre-based papers. Images for this project are mainly scanned negatives. Monochrome images © Eddie Mallin. For more information, click here.

Supplementary photography captured during recording sessions by Tom Lawrence.

Special thanks to Karen Bothwell, Forest Manager Kildare & E.Laois and all the staff at Coillte Teoranta. For more info on Donadea Forest, click here.

These recordings were made using a Sennheiser mkh20 binaural rig, a Neumann kmr82, contact microphones, a hydrophone, a Sony C1 and a Sound Devices mixer and recorder.

You can read an article from Leinster, Ireland here and a review by John Coutanche here

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TouchRadio

All these recordings are exclusive to TouchRadio and are free to listen.

When you click on the audio title you will be directed to a mp3 file. On editions with multiple mp3 files, the link directs to a single .m3u playlist file which will play the mp3s in sequence when opened in your audio player. You can also subscribe for free to the TouchPod podcast of TouchRadio, via the iTunes Music Store, by clicking here, or our podcast feed here

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.

Touch Radio 31 | Simon Fisher Turner

01.06.08 – Lifesounds – 23:08 – 96 kbps

Photo: Jon Wozencroft

1. Lindsay Anderson recorded at the memorial service for Andrei Tarkovsky [1932-1986] at St. James’s Church, Piccadilly, London
2. Filming The Garden [Derek Jarman, 1990] at Dungeness, Kent.
3. Mrs. Oyler in conversation with Derek Jarman
4. Brick Lane Man, 1988

“I always recorded sounds since my PA gave me a cassette recorder when I was about 15 I think. With Derek Jarman I liked to record the sounds from the filming because often we had no official sound recordist, and he used to think the Italian way and record mute anyway. From Caravaggio [1986] on I was always on location with him if possible. Derek had a habit of super 8 mm filming whenever he could because it was cheap, fun, and easy-ish to organise.”

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Touch Radio 30 | Enrico Coniglio

01.05.08 – Sapientumsuperacquis – 23:13 – 192 kbps

As part of an ongoing series of recordings of unusual sounds of the Venice lagoon, these tracks were made on 29th april 2008 at 2100 in a night-depot of boats of the public transport service at “Riva dei Schiavoni”, not far from San Marco square.

Headphones are recommended. Recorded 24/96, with binaural stereo mic.
“Sapientum super acquis” is the title attribuited to the “Magistrato alle acque” of the Serenissima Venetian Republic, an organ istituited on 1501 by the “Council of ten”, that had the job of keeping safe the delicate natural/artificial balance of the lagoon, and looking after the “health” of the water.

Today the water is mostly polluted because of Porto Marghera, one of the biggest industrial areas in the whole Europe.

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Touch Radio 29 | Novi_sad

29.03.08 – Dramazon – 22:52 – 259 kbps

Recorded, assembled and produced by Novi_sad, March 2008. Mastered by Electroware and Novi_sad at Dsp Lab, Athens

The whole piece is based on field recordings from:
Mamori Lake, Amazonia, Brazil
Alphios Bridge, Ancient Olympia, Greece
Vibrations from the bridge which connects Denmark with Sweden
A bottling plant in operation
and hydrophone recordings* from Mamori Lake.

Also used were sounds and notes from a church organ.

Output signals have been manipulated and electronically treated.
Dramazon is made in memory of a long rainy night in Amsterdam…
In the era of 01110011000111010110, one thing remains stable and it will remain stable and non-mutated for eternity. The way people kiss, the way bodies are connected…

[*thanx to Scott Konzelmann]

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Touch Radio 28 | Jana Winderen

20.01.08 – Utvær – 12:24 – 192 kbps [headphones listening recommended]

Latitude: 61° 2 Min. 12 Sec.
Longitude: 4° 36 Min. 36 Sec.
Name: Utvær Light
Nearest Town or City: Hardbakke, Norway
Location: About 4 miles west of Ytre Sula.
Managing Organization: Coast Directorate
Tower Height: 101
Height of Focal Plane: 148
Characteristic and Range: White flash every 30 seconds; range 19 nautical miles.
Description of Tower: Red round cast-iron tower.
This light is operational
Date Established: 1900
Date Present Tower Built: 1900
Current Use: Active aid to navigation.
Open To Public? Yes.
Directions: Guided tours are available

You can read a review of this episode at www.thefieldreporter.com

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Touch Radio 27 | Gudni Franzson

02.12.07 – notturno – 55:18 – 96 kbps

Photo: Jon Wozencroft

Snipe, redpoll, redwing…

“It was last July, summer 2007, we went to a party at Laugarvatn, one of the few places where there grow natural trees in Iceland, approximately one hour’s drive east of Reykjavik. The party was good and went far into the bright night but we had put up a tent to lie down in the morning. I wasn’t at all tired in the morning but started listening to the incredible birds in the woods and down in the wet low-land until day broke. I was sorry not to have the recording machine with me that night but decided to return the night after with my gear, hoping the birds would still be there. They were and this time I was alone in the place, did but up a small mic and pressed the rec. button, the result is on the Touch Radio.”

 

In August 2007 Guðni started Toney, a centre for music in Iceland. He also conducted Virðulegu Forsetar by Jóhann Jóhannsson [Touch # TO:64, 2004]

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Reviews

The Wildlife Sound Recording Society have written a piece on their blog…

The Guardian (UK):

Touch, an independent arts organisation that turned 25 last year, is home to artists such as Christian Fennesz, Biosphere and Chris Watson. Touch Radio features challenging and entertaining material, including field recordings, interviews and live performances. There are audio diaries from Chris Watson, where he illuminates his work as a wildlife sound recordist in the Galapagos Islands, taking in the Alcedo volcano. If you are truly tired of words by this stage, you will find an antidote in Touch 10: The Bits Inbetween by Vicki Bennett, whose own show on WFMU, a glorious mashup (peoplelikeus.org), will leave you in a spin. [Pascal Wyse]

Gonzo Circus (Belgium):

For lovers of intelligent music and extremities is the British Touchlabel a standard. Not only in their output of music, but also in their design & packaging of their cds and website is Touch unique. On Touch Radio they add constantly new radiophonic pearls to their archive, all pieces are exclusively composed for the site. [Peter Deschamps]

Turbulence (net) on TouchRadio 29

diquit review on TouchRadio 50

Ears Peeled (UK):

I also highly recommend the latest releases at TouchRadio. Jana Winderen’s Utvær is a short piece based on recordings from the remote Norwegian island of the same name, and sounds appropriately isolated. Notturno by Guðni Franzson is a very relaxing, unhurried recording of birds in Laugarvatn, Iceland.

musicaindustrial (Spain):

Como parte de una serie de grabaciones de sonidos inusuales en la Laguna de Venecia, Enrico Coniglio grabó esta pieza una noche en un depósito de botes del servicio de transporte público, no muy lejos de la plaza de San Marcos. El título del tema, Sapientum Super Acquis, hace referencia a un organismo creado en 1501 para salvaguardar el delicado equilibro de la laguna y cuidar la salud del agua. No tuvieron mucho éxito, actualmente la laguna es un pozo de contaminación debido a que está próxima a una de las áreas industriales más amplias de Europa.

thefieldreporter.com:

For the past seven years Touch Radio has commissioned an impressive series of audio gems that cover a range of recording subjects and styles. Audio diaries sit alongside pure field recordings, experimental music pieces and live performances from the likes of Chris Watson, Signe Liden, Philip Jeck and other noted figures.

scoop.it:

Touch Radio offers access to a range of programmes made exclusively by musicians, recordists and artists affiliated with Touch. The current collection contains 79 programmes spanning the past seven years and is full of wonders.

Cheryl Tipp from The British Library wildlife section of the Sound Archive offers a new mix of extracts from TouchRadio, which you can listen to here.

Touch Radio 26 | Lasse Marhaug

21.08.07 – Into The Pandemonium – 32:11 – 194 kbps

Photo: Jon Wozencroft

A commissioned sound installation for the Hole In The Sky festival in Bergen, Norway August 21-25th 2007. The installation was made using six channels. This is an edit/simplified stereo mix made for Touch Radio. “Into The Pandemonium” is a de-composition/ celebration of 25 years of extreme metal music. Fragments of classic moments in death/thrash/black metal music have been mangled, disfigured and reworked into a festering pulp of distortion, doom and noise.

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Touch Radio 25 | Chris Watson

12.06.07 – The Sound of Islay: a report from The Hebrides – 24:20 – 192 kbps

Saligo Bay sits in the north west corner of the Island of Islay in the Scottish Hebrides. Atlantic waves break on the shore and westerly winds drive straight up the beach and create mosaic patterns of sound in the low-lying vegetation. ‘The Sound of Islay’ then waits for the winds to die and the sun to dip into the ocean before investigating the nocturnal sounds on the wetlands of Loch Gruinart. [Photos by Chris Watson]

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Touch Radio 24 | Steve Roden

12.05.07 – 9-Sided Room – 27:00

“‘9-sided room’ was created in May 2007 by layering 9 sides from some of the vinyl I’ve released over the years. it is basically what would happen if I had 9 turntables in my studio and was able to play these records all at the same time. There’s a bit of mixing things in and out but no processing or manipulation. Along with some recent things, I’ve included the very first record I ever made – a 6″ cardboard recording from a phono booth machine at a Los Angeles amusement park c. 1969. ‘9-sided room’ is intended to be heard at a relatively low volume.”

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Touch Radio 23 | Leif Elggren

21.03.07 – Live in London – 20:11

Live concert as a part of the xxxxx23, Limehouse Town Hall, London, March 23rd, 2006.

“This basic sound material was recorded in my biological mother’s uterus with my not-yet developed teeth used as a fundamental and simple recording device a few days before my birth. This sound material was kept recorded and hidden until recently inside one of my wisdom teeth, but has now been brought to daylight and exposure.”

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TouchPod

TouchPod is the podcast for TouchRadio, which offers a new platform for a selection of recordings, live or otherwise, from artists who are affiliated to or whose work appear on Touch, including Leif Elggren, Christian Fennesz, Carl Michael von Hausswolff, Philip Jeck, Jacob Kirkegaard, BJNilsen, Stephen O’Malley, People Like Us, Peter Rehberg, Chris Watson, z’ev, and others.

TouchPod – click here

Touch Radio 22 | Scott Taylor

13.02.07 – Silver – 25:00

‘Silver’ was conceived for TouchRadio as part of their 25th anniversary.

As a starting point, electronic sounds were created using a malfunctioning Sequential Circuits Prophet 5 synth, recorded in 5 improvised passes of 25 minutes each – 5×5=25. The title also reflects this, silver being the material that denotes a 25th anniversary. Field recordings were made in Thailand and New Zealand over December 2006 and incorporated into the sonic jamboree – the piercing, feedback like tone at the start is the actual sound of cicadas in the Thai sub-tropical rainforest, untreated, the sound they produce as individuals synchronizing every 60/90 seconds to produce almost a pure sine wave. Further on is the dawn chorus in Wellington, New Zealand with the distinctive, clacking call of a bird called a Tui sounding out. Close to the end of the piece is the singing of a young Thai lad, sat around the neck of an elephant as we both rode into the rainforest, ‘home’ never too far away for me as he was wearing a t-shirt on the back of which was printed the front page of a US newspaper from 1979 announcing the death of Sid Vicious!

Recordings made with an Edirol R-09 and Soundman binaural, in-ear microphones..

Technical Information

Touch Radio is internet audio broadcast streaming direct from the server. To listen you need a mp3 player app. that supports streaming such as Apple’s iTunes for Mac and PC.

All content is published by Touch Music or is in the public domain. Touch Radio © 2005-16 Touch.

Technical support by fetznetz. With thanks to Barry Nicholls and Fredrick Olofsson.

Touch Radio 21 | The Skull Defekts

29.12.06 – Live at Fylkingen – 36:02

Recorded at iDEAL Noise Fest, Stockholm. On this occasion, The Skull Defekts were Carl Michael von Hausswolff, Henrik Rylander, Joachim Nordwall and Jean-Louis Huhta.

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Touch Radio 20 | Daniel Menche

20. 29.11.06 – Apostate – 36:50

Photo: Mike Harding

These ‘fragments’ were constructed for TouchRadio throughout 2006… Daniel Menche says: “Sound of Vehemence!” Music is like one’s own blood, so amplify it! As loud as possible – make the speakers bleed!”

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Touch Radio 19 | Fennesz/Rehberg/Toral & Feliciano

26.09.06 – Live at Vila Nova de Foz Coa, May 29th 1999 – 1:01:53

Photo: Mike Harding

Performed in a garden at the top of a hill in Foz Côa, at the remote northeast of Portugal. Overlooking the valley and the far slope of the opposite hill, at dusk, Peter Rehberg, Christian Fennesz (computers) and Rafael Toral (modular synth) played as João Paulo Feliciano mixed live into a sound-modulated light generating cube. The scale of the cube, the throbbing, rich colors emanating from it and the electronics setting gave the event an otherworldly feel, pretty much as if an alien spaceship had landed there.

Touch Radio 18 | Chris Watson

1.07.06 – Alcedo Volcano – 15:00

Chris writes: “The Alcedo Volcano sits, astride the equator 1000m above the Pacific ocean on the central ridge of Isla Isabella the largest of the Galapagos Islands. For tens of thousands of years within the micro climate of the Caldero a strange and beautiful habitat has been created – an isolated and lost world which I was privileged to live within for several days during May 2006.”

Photo by Chris Watson

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Touch Radio 17 | Brandon LaBelle

1.06.06 – CD=text (psycho-acoustical speech) – 36:57

‘CD=text (psycho-acoustical speech)’ was recorded in different cities with different friends, inspired by other notions of sampling technology and the remix-format, and the dynamics of mishearing.

Special thanks to Lupe Nuñez-Fernandez, Ken Ehrlich, Giles Lane, and Lun*na Menoh for their participation.

Brandon LaBelle is an artist and writer working with sound, location, and performance. His ongoing project to build a library of radio memories, “Phantom Radio”, will be presented this autumn as part of Radio Revolten, Halle Germany. He lives in Berlin and is a member of freq_out.

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Touch Radio 16 | Jana Winderen

6.05.06 – Live at Ash 13, Fylkingen 26.02.06 – 15:04

Photo: Mike Harding

This piece is solely based on Hydrophone recordings, made by Jana Winderen in Berlin, Mjøsa, Halifax (Canada) and Oslo. With thanks to Doug Quin, samples of whose work also were used in this piece.

[Recorded in Stockholm by BJNilsen on the 13th anniversary of the founding of Ash International. Also performing that night were Alvars Orkester, Elgaland-Vargaland, BJNilsen and OCSID.]

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Touch Radio 15 | Stephan Mathieu

1.04.06 – Radioland – 28:35

“‘Radioland’ is a live recording from the premiere performance of the piece played on September 24th 2005 during the EMF Festival at Igreja de Santiago, a 15th Century chapel in Palmela, Portugal. ‘Radioland’ is based on live radio input re-arranged by my computer. The original 6-channel diffusion is presented here as a stereo mixdown. The piece is dedicated to Vitor Joaquim.”

Touch Radio 14 | Press conference/panel at Roskilde Festival 010705

9.03.06 – Press conference/panel at Roskilde Festival 010705 – 31:55

Photo: Dave Knapik

Panelists consisted of Ivar & Grutle (of the Norwegian group ENSLAVED), Stephen O’Malley, Oren Ambarchi & Attila Csihar (all of whom had performed with SUNN O))) that day), and Aaron Turner of ISIS.

This piece contains explicit language…

Touch Radio 13 | Leif Inge

13.02.06 – Nææ… – 64:10

Photo: Mike Harding

Leif Inge is an ideas-based artist who works with time-stretching sound to create beautiful but thrilling and powerful soundscapes. As with his epic ‘9 Beet Stretch’ – a 24 hour long concert with the time-stretched 9th Symphony by Ludwig van Beethoven – the work featured here is a granulated piece of sound sculpture made on the superb CLM software by Bill Schottsteadt. He lives and works in Oslo, Norway

Touch Radio 12 | Jacob Kirkegaard

8.01.06 – Eldfjall Live at Observatori Festival, Valencia, 6th November 2005 – 33:00

“The sounds I here perform with were recorded in two ways: with an acoustic microphone and with an accelerometer. For the acoustic recordings I used a Sanken CSS-5 which I held very closely to the tiny bubbling surface. The accelerometer was inserted approximately 4 cm into the earth and picked up a denser timbre than the acoustic microphone. As opposed to the Eldfjall CD release (where I chose to let the sounds stand by themselves), I here mixed the different sounds with each other to create a more organic sound and a narrative. I began the concert with creaking ice from different lakes in Iceland. These were also recorded with accelerometers. None of the sounds have been processed. For more info please go here.”

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Touch Radio 11 | Devolution/Evolution: Stephen O’Malley interviews Dylan Carlson

21.12.05 – Devolution/Evolution: Stephen O’Malley interviews Dylan Carlson – 30:58

“Last August I was invited by the american metal magazine, Decibel, to interview Dylan Carlson for a regular feature they run called “Under The Influence”. The idea of the feature is basically musicians interviewing their main inspirators from the prior time, or something. Although this could be a bit silly and demeaning, Dylan and I have become friendly over the past few years and we both thought it would be a fun opportunity to talk shop and have this published! I can’t count the number of times we have been nerding out over tube talk, guitars etc… which is almost the result of this piece. The editor of said mag agreed to handle the transcription, so I added some initially Ambarchi-inspired bass waves to the recording in order to increase the pressure and atmosphere for the sorry intern who inherited the work. The feature ran with a ridiculous editorial introduction recently, but I think the recording itself turned into a gem of interest. The most memorable part of the conversation included catagorization of guitar models by religious persuasion, and speed metal as an athletic event. This marked the second time I interviewed Dylan formally, the first being in 1993 for a fanzine I had at the time (which remains unpublished, I have the tape somewhere).”

Touch Radio 10 | People Like Us

11.11.05 – The Bits In Between – Mic Break Outtakes on WFMU – 34:26

From the digital gutter, here lie all the soundbytes edited out of mic breaks for People Like Us’s radio show DO or DIY on WFMU from June to September 2005. The show is all about cutting together avant with pop, and the only aspect of this one hour a week that has ever felt slightly out of place has been the necessary mic breaks. So now we do them justice by taking the entire unedited 3 hours, and in Language Removal Service style we take out all the meaning and are left with 34 minutes of delicious background noise, voice glitches and hesitations.

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Touch Radio 9 | KK.Null

10.10.05 – [Radio-Animus/Anima] for TouchRadio – 32:11

Track 1 – Radio-Animus (composition/improvisation with electronics + voice) 23:32
Track 2 – Radio-Anima 1 (improvisation with a piece of metal) 04:49
Track 3 – Radio-Anima 2 (improvisation with a piece of metal + voice) 04:10

All tracks were recorded live at Super Deluxe, Tokyo, June 15, 2005. Final production at prima natura studio, August 30, 2005.

Performed + produced by Kazuyuki Kishino (KK.NULL).

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Touch Radio 8 | Peter Rehberg

17.09.05 – Paris Qui Dort: Recorded live at Centre Pompidou, Paris 11.09.2004 – 34:32

“In June 2004 I was asked by Cinemix to perform a live score to the silent movie ‘Paris Qui Dort’ (directed by René Clair in 1923) at the Centre Pompidou in Paris on September 11th of that year. ‘Paris Qui Dort’ (‘Paris Asleep’, or as the English version of the film is known: ‘The Invisible Ray’) was not only René Clair’s first film but the first film to investigate the theme of the ‘deserted city’. The night watchman on the Eiffel Tower comes off his shift to find people all over Paris frozen in motion.Eventually he meets a group of unfrozen people who arrived that morning on a plane. The group enjoys the luxury of the city, dining in restaurants and taking jewelry as they want, however boredom soon sets in and the men fight over the woman. Eventually they receive a radio message directing them to come to a particular address. There a scientist tells them how he invented a ray that has frozen the whole city. They were unaffected because the Eiffel Tower and plane were out of the ray’s range.

And so on…..

This is the recording of that live score. (ErikM also scored a soundtrack to the same film on the same day.)”

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Touch Radio 7 | Toshiya Tsunoda

21.08.05 – Appearance of physical vibration – 19:37

Photo: Dave Knapik

These recordings are studies of the sonic effects of physical vibration
Track 1 – high frequency on a plate glass – 05:46

“Seven piezo ceramic discs are connected with an sine wave generator – and the discs are on a plate glass. Same frequency is output to the piezo discs The frequency shifts slowly and continuously from 9000hz to 20000hz. Due to this, you can listen various sounds made by high-speed cyclic contact between piezo disc and a plate glass, like a ball dribbles. This recording is a private live performance at my room.”
Track 2 – top of amplitude – 08:25

“I detected the top and bottom of the amplitude from a certain audio signal by a precious gate device. L channel is top (plus level), R channel is bottom (minus level).”

Track 3 – on electromagnetic siren – 05:26

“Output an audio signal to the coil of an 100hz electromagnetic siren. The electromagnetic siren vibrates, so you can listen to the amplitude changes according to an audio signal on R channel. L channel, connected by an electrical wire to small metal reeds on the siren which acts like a switch to transmit any vibration from the coil. You can listen intermittently to any change in the vibration. In this work, there are two ways of description; the R channel is continual or linear, the L channel is intermit or dotted.”

[“The audio signals of tracks 2 and 3 are field recordings source material – environmental sounds from the suburbs. Track 2 was recorded by me, in Fukada-dai, Yokosuka City, Japan, c. 1997. Track 3 was recorded by Steve Roden somewhere in California. Track 3 was made for Steve Roden’s installation project several years before which was held in a certain museum of California.

This material has not been released on any recording media.”]

Touch Radio 6 | Philip Jeck

11.06.05 – from the archives – 47:55

Photo: Mike Harding

Track 1 – Wholesome Sunday
(A live mix from the 2004 Mor festival, Ireland 22.08.04) 9:20
Track 2 – In Loving Memory: Walter Gibbons and Arthur Russell
(Originally recorded for the TRACE CD, Audio Research Editions, ARECD102, Liverpool, 1999) 2:04
Track 3 – Nelson Surfs [from Touch Sampler 2, 1997] 6:33
Track 4 – 16/17 Rehearsal [from Touch Sampler 3, 1999] 8:18
Track 5 – As My Shadow Passes… [from Touch Sampler 00, 2000] 9:37
and a special bonus:
Track 6 – Instructions for Survival 1 5:59
Track 7 – Instructions for Survival 2 6:33

Extracts from the live soundtrack “Instructions for Survival”, a dance production choreographed and danced by Charlie Morrisey & Scott Smith on 3rd Fenbruary 2005 at the Corn Exchange, Brighton Dome. Recent performances were held at the Linbury Theatre, Opera House, Covent Garden, London on 22nd and 23rd July 2005.

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Touch Radio 5 | Chris Watson

8.05.05 – The Galapagos Islands – an audio diary – 37:55

Recorded in April 2005 on The Galapagos Islands, 1000km off the west coast of Ecuador…

During March this year Chris Watson was out in the Galapagos Islands recording for a forthcoming tv film series. In particular Chris made a series of recordings throughout the unique and highly specialised Galapagos habitats; from the mist shrouded Miconia zone at the higher altitudes of Santa Cruz down to the dense cactus and thorn scrub bordering the coast on smaller uninhabited islands. This trip was also the first opportunity for Chris to try out location surround sound recording both on land and then underwater, exploring the sonic potential below the surface of the Pacific Ocean with a four channel hydrophone array

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Touch Radio 4 | z’ev

1.04.05 – untitled – 50:03

Photo: Dave Knapik

50 minutes and 3 seconds of binary-acoustics produced 12-14 February 2005, studio dop in Peckham, London

“Note: if you listen with headphones you will as close as possible hear what I heard composing it as I always and only work wearing headphones for just this reason…
PS: contrary to some supposition I do not use audiophile headphones – just some old Sony mdr-cd580’s”

Touch Radio 3 | Christian Fennesz & Max Nagl

11.03.05 – Live at Amann Studios – 38:33

Photo: Mike Harding

Christian Fennesz & Max Nagl – live at Amann Studios, Vienna on 22nd December 2004 at 2200 hrs

Christian Fennesz and the renowned Viennese composer and saxophone player Max Nagl met at the studio during one of the studio’s recent live recording sessions and spontaneously decided to do a show together. Originally intended as a secret gig, the details were leaked to a newspaper and a rammed studio witnessed a memorable live event…

With thanks to Christoph Amann for making this possible, and for mastering the recording

Touch Radio 2 | Carl Michael von Hausswolff

14.02.05 – AS QUIET AS A CAMPFIRE or ANALOGUE MOTORIC AND ELECTRO-MAGNETIC SILENCE DISTURBED BY INTUITIVE SLUMBER c/w MINGLING or DODEKAPHONIC DRONES INTERFERED BY KNOWN AND UNKNOWN DIGITAL PHENOMENA – 40:48

Photo: Mike Harding

Side 1 – AS QUIET AS A CAMPFIRE or ANALOGUE MOTORIC AND ELECTRO-MAGNETIC SILENCE DISTURBED BY INTUITIVE SLUMBER:
[Dedicated to John Cage] 20:42

Side 2 – MINGLING or DODEKAPHONIC DRONES INTERFERED BY KNOWN AND UNKNOWN DIGITAL PHENOMENA:
[Dedicated to Arnold Schönberg] 20:06

Originally released on limited edition vinyl February 1997 [Ash International # Ash 3.7]

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Touch Radio 1 | BJNilsen

17.01.05 – Land of Lions [touchradio edit] – 37:46

Photo: Sarah Brownie

January 17th 2005 – to coincide with the UK release date of his new album, Fade to white [Touch # TO:65]. Live at Experimental Intermedia, New York City, on 15th December 2004 at 2145

“I was invited by Phill Niblock to do a performance at his loft in Chinatown, New York. A suggestion was made that the night would be shared with my friend Lary 7 who also performed that evening. The playback system was configured as a quadraphonic speaker set-up. This is an A/B microphone recording.

With thanks to: Phill, Lary 7, Dion, Tonic and all the good spirits of NYC, and the recording engineer, Byron Westbrook”

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