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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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

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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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


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


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”


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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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”


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

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

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

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

Touch Radio 139 | Adam Laschinger

23.04.18 – Adam Laschinger – The Frogs of Little River, Beaverdam, VA – 14:58 – 320 kbps

“You really should hear the frogs,” suggested our hosts. They had taken us to their country house on a warm evening in May 2017, situated beside Little River, Beaverdam, Virginia.

Late that evening, we were led down the lawn, through the darkness towards the river nearby, a few hundred yards from the house. As we neared the water, we began to hear calls from a large scattered array of frogs, littering the shallows of the near and far banks of the river. Two main species were present; the Green Frog (Lithobates clamitans) was the most common, its twangy call sometimes compared to a loose banjo string. This call is often repeated a few times, each decreasing in volume. The other call, a more sporadic, slightly comedic deep tenor is from the American Bullfrog (Lithobates catesbeianus).

Naturally, I wanted to get a recording. Problematically, my sound equipment had been left in Durham, North Carolina, two hundred miles away. I was over from the UK working on a documentary in NC and I only had a phone without additional mics, so had to make do.

The next day, listening back to the functional recording I’d made on my phone was deeply underwhelming. I decided that I really needed to drive back to Durham, get my sound kit and return to Little River and have another go the following night.

This recording was made with a spaced pair of DPA 4018s into a Zaxcom Nomad.

Photography: Siemon Allen.

Many thanks to Siemon Allen, Kendall Buster, Noah Angell, Kay Dickinson Pascal Wyse and The Virginian Herpetological Society.

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Play “The Frogs of Little River, Beaverdam, VA”

Adam Laschinger

Touch Radio 138 | Orphax

16.03.18 – Orphax – Live at De Ruimte 15.03.2018 – 23:19 – 320 kbps

Recorded live as part of “Touch presents…” with Philip Jeck & Yann Novak in Amsterdam on 15th March 2018. Play loud!

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Play “Live at De Ruimte 15.03.2018”


Touch Radio 137 | Richard Chartier

28.02.18 – Richard Chartier – Noize [Montreal, Canada] June 10, 2000 – 23:25 – 320 kbps

A free in-store performance at Noize after the 1st Mutek Festival. Heavy on sounds from his ‘pop’ album “PostFabricated”, it was accidentally recorded in mono at the event.

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Play “Noize [Montreal, Canada] June 10, 2000”

Richard Chartier

Touch Radio 136 | Charlie Campagna

31.01.18 – Charlie Campagna – Fog – 6:29 – 320 kbps

“It was 1995; a cold fall day with heavy fog just north of the San Francisco Bay between the Bay Bridge and Jenner in Northern California. I had a spaced pair of B&K 4003 omni-directional microphones with me to capture bay backgrounds. Due to the fog I was able to capture a variety of horns throughout the day.

The piece is a collage of these horn backgrounds along with a freight container ship horn from the Port of Los Angeles. The discovery of hearing these together was a happenstance while previewing the files in unison and hearing a suspended chord automatically I perceived it as a composition.

I also added an underwater sound recorded with a B&K 8011 hydrophone of jet streams from a pool filter.”

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Play “Fog”

Charlie Campagna

Touch Radio 135 | Heitor Alvelos

31.12.17 – Heitor Alvelos – Year of the Abyss (Goodbye 2017) – 10:09 – 320 kbps

Edited 31st December 6-8AM GMT

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Play “Year of the Abyss (Goodbye 2017)”

Heitor Alvelos

Touch Radio 134 | Pascal Savy

30.11.17 – Pascal Savy – Live at Iklectik – 30:00 – 320 kbps

Performance recorded from the desk, live at Iklectik Art Lab, London, on 21st May 2016.

With thanks to Eduard Solaz, who took the photo.

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Play “Live at Iklectik”


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”


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”


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”


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”


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”


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”

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 106 | Yann Novak

1.11.14 – Yann Novak – Repose – 42:24 – 320 kbps

Repose was a site specific performance in Cocky Eek’s inflatable performance space, Sphæræ, commissioned by the 2014 AxS Festival in Pasadena, California.

The performance highlighted this unique space through a gesture-less performance of sound and light. The piece is comprised of a purely synthesized sound devoid of traditional compositional elements and was accompanied by 180º projections of pure color.

Repose is presented here in a longer form to take advantage of the digital format.

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Touch Radio 105 | Jiyeon Kim

1.10.14 – Jiyeon Kim – Grandmothers’ Lounge – From the Other Side of Voices – Lounge Mix – 15:08 – 320 kbps

3 mixes, 3 directional speakers, sound installation 2014, Jiyeon Kim @ SeMa Biennale MediaCity Seoul

‘Grandmothers’ Lounge – From the Other Side of Voices’ is a joint work of radio producer Sang-il Choi (KR) and sound artist Jiyeon Kim (KR), commissioned by SeMa Biennale MediaCity Seoul 2014. Largely based on Sang-il Choi’s anthropological audio recordings of folksongs and stories of grandmothers from South Korea, Jiyeon Kim made this sound installation adopting 3 directional speakers. This mix is especially prepared for TouchRadio.

birds without mouths 00:00~06:17

Grandmothers who had lived in mountain villages used to play with imitating bird’s call. Songs about birds and imitative sounds of birds call were passed on orally. For the people who lived in mountainous areas, birds were believed to be the reincarnation of the dead, who had oppression and resentment during their lives. Most of the words and lyrics concern listening to one’s sorrows and comforting one’s soul. You can hear calls of the lark, owl, cuckoo, wood pigeon, pheasant, nightingale, etc mimicked by grandmothers from different mountain villages with rustling leaves and folksong on birds.

prayers 06:19~10:58

A mix of grandmothers’ confessions during the act of praying with songs used in exorcism rituals. Sounds of metal resonance, water flow and feedback were added to accentuate an aspect of their lives – a shaman in their own families.

unfinished chorus 10:59~15:07

This mix starts with one of the old ladies saying, “…I can’t even sing.” As song is assumed as a centralised and capitalised epic, marginal unsong elements are often neglected and erased. With chopped sounds and refrains from mainly labour folksongs, I focused on ‘unsung elements’ (breaths, humming, laughter, shouts, etc.) to be extended into another kind of song. Grandmothers’ chorus would not be finished until they stop breathing.

Sang-il Choi’s online archive of Korean traditional folksongs and in English

Exhibition link

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Touch Radio 104 | Rodolphe Alexis

1.09.14 – Rodolphe Alexis – Dusk, night, day, dawn – 28:03 – 320 kbps

In Spring 2009, I find myself by chance just a few hours by boat from Japan’s last frontier, the island of Iriomote, but I had no way to get there. Not enough time. Total frustration. The southern most island of Japan is 90% covered with rainforest and mangrove and home to many local species including not only insects, frogs and birds, but also Ryukyu flying foxes and the famous cat-leopard called Yamaneko, which was only discovered in 1965.

I make a promise to myself to return, even for short time, but with my recording equipment.

Finally this year it was possible. I went back this Summer with the help of the Tropical Biosphere Research Center University of the Ryukyus and the Museum National d’Histoire Naturelle de Paris, I spent a week on the island recording with a four channel microphone setup. Sadly I didn’t have the chance to see the neko this time…

Unmastered field recording featuring amongst others: Elegant scops owl, Ryukyu flying fox, Yaeyama harpist frog, Ryukyu ruddy kingfisher, cicadas, Ryukyu green pigeon, Ryukyu crow, white breasted waterhen…

Photo credits:
1. Iriomote hills, Rodolphe Alexis
2. Urauchi River, Shin Watanabe
3. IRT array, Rodolphe Alexis
4. looks like primary forest, Rodolphe Alexis
5. Urauchi River, Shin Watanabe
6. Urauchi River, Shin Watanabe

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Touch Radio 103 | âme

21.05.14 – amé – Fritz Kiste – 44:22 – 320 kbps

Since technical evolution tends to unfold rapidly, human beings have not been able to evolve a (forewarning) sense of new forms of technology (for instance to detect radioactivity). Electronic emissions are also not sensually detectable. No one knows exactly how the technology of “wireless transmitting devices” affects humans. Radio, television, radiotelephones, mobile phones, GPS, computers, bluetooth and WiFi routers flood every place on earth with countless electronic waves.
“Recordings” of a standard WiFi router serve as the basis for the “Fritz Kiste”. Actually one can’t really speak of (audio) recordings since the electronic waves of the WiFi are soundless. Their energy triggers the sensitive microphones, since these have been placed directly at the remote transmitting antenna. The recording – made with a D-40 Tascam, equipped with one microphone for each antenna – tapes the different transmission signals on the right or on the left channel as a “stereo signal”.

The WiFi router transmits at 3.4 MHz and so generates 3.4 billion cycles per second. The actual reception of the signals – eg. recorded during the transmission of an email with an image attachment – are only a few seconds long, but are prolonged through ever deeper analysis. The fragmentation was achieved via different processes, digital and analog, and via ‘deceleration’. Thus fragments of a second were distended to minutes in length. In this way the router’s timing-in-seconds, much too fast for human perception, becomes open to scrutiny.

The results are partly ‘technoid’ by which sounds are very much dependent on the timing. Sounds emerge at a high transmission activity; send-pauses sound more ‘ambient’…

Touch Radio 102 | Howlround

7.03.14 – Brighthelm – 17:47 – 320 kbps

Howlround are the duo of Robin The Fog and Chris Weaver who create recordings and performances entirely from manipulating natural acoustic sounds on a quartet of vintage reel-to-reel tape machines – with additional reverb or electronic effects strictly forbidden. This recording documents their first ever live performance at the Brighthelm Centre as part of the Resonance FM stage at the Great Escape Festival, Brighton, 18th May 2013. It was the first time these delicate, bulky, unpredictable machines had ever left the studio – a complete step into the unknown – and therefore something of an occasion. This recording is presented without edits or overdubs, just the sound of four machines, two people and a huge tangle of quarter-inch tape, looping and snarling precariously around the venue.

Photo: Larry Gale

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Touch Radio 101 | Daybreak

16.02.14 – Daybreak – 2:06 – 320 kbps

Sunrise at Wandsworth Common railway station, London

Photo: Pepa Ivanova

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Touch Radio 100 | BJNilsen

19.11.13 – Bottomless Perfume – 33:00 – 320 kbps

So we pause where we began, with BJNilsen (see TouchRadio 1)…
Archival Recordings, Mixed in Berlin October 23, 2013, containing Bits and Pieces from:

Beachy Head, Eastbourne, England
Karl Marx Tomb, Highgate Cemetery, London, England
Whitstable Bay, Kent, England
CleanCar Berlin, Mitte, Germany
Temple Gas Works, Glasgow, Scotland
Fruitmarket City Hall, Glasgow, Scotland
Port of Montreal, Quebec, Canada
Carlsberg Brewery, Copenhagen, Denmark
Unknown Music School, Naples, Italy
Galleria Umberto, Naples, Italy
Barbed Wire, Todmorden, England
Side Street, Lisbon, Portugal
Tempelhof Airfield, Berlin, Germany
Cave, Durness, Scotland
Fishmarket, Via Tribunali, Naples, Italy
Hatún, Reykjavik, Iceland
The Jacobite Steam Train, Armadale, Scotland
London Olympic Rehearsal, Islington, London, England
Boleskine Cemetery, Scotland
Train Bridge, Nijmegen, Netherlands

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Touch Radio 99 | Simon Fisher Turner

20.10.13 – The Invisible Frame – 26:55 – 320 kbps

The Invisible Frame

“I was invited to Berlin to record the filming process by the director, Cynthia Beatt, for ten days. I shot the sound as they filmed and every evening I made a new piece from the day’s rushes. We went to many locations around the invisible wall and its remains. For about an hour I was allowed to wander unsupervised and recorded whatever I wanted. This recording is an edited version of the master.”

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Touch Radio 98 | Group Three

11.09.13 – Group Three – Live – 26:53 – 320 kbps

L@TE: Friday Night at BAM/PFA

July 26th, 2013

University of California Berkley Art Museum & Pacific Film Archive

Thingamajigs and Sasha Hom created 9 long vertical scrolls, at once musical score, artwork, poetry, and cartography that ascended the cavernous space, catalyzing the musical performances of three different improvising groups and transforming Gallery B into a collaborative map.

Group Three:
Kaori Suzuki – original hand built MEM analog synthesizer
Marshall Trammell – percussion
Zachary James Watkins – electronics

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Touch Radio 97 | Protest!

20.07.13 – Protest! – 2:06 – 320 kbps

Protests are under way in dozens of American cities, a week after George Zimmerman was cleared of murdering unarmed black teenager Trayvon Martin. This one was recorded in Hollywood.

Touch Radio 96 | Aino Tytti

09.07.13 – Hellissandur Mast [GRD 7970] – 16:49 – 320 kbps

Photograph: Peter Caeldries

The remote Snaefellsness Peninsula in Iceland is home to the tallest structure in Western Europe. A transmitter built originally in 1963 as a long-range, low-frequency (LORAN-C) navigation system and now used for longwave public radio purposes.

During a recent sound recording trip to Iceland, i was fortunate enough to gain access to the transmitter facility and able to take a series of field recordings, using an array of contact microphones attached to the mast and supporting guy wires.

Several of these recordings were particularly arresting, capturing the structure as it radiated a myriad of constantly shifting harmonic progressions, in response to the hot Icelandic summer sun and strong icy winds blowing in from the nearby Snaefellsjökull glacier. These two extremes combined caused rapid expansions and contractions in the 200-700metre steel support wires and core mast, to produce a spiralling, ever-changing, kaleidoscopic drone.

Of particular note as well, during a quiet point in the recording, my microphones started to pick up the audio of the longwave radio transmission. A graceful violin solo for 3 minutes, before the sun broke through the clouds and caused the structural resonance of the mast to increase once more, drowning out the radio with a music of the structure’s own making.

Particularly beautiful is the notion that there is an ever-changing and constantly-in-flux sound emanating from this structure; an unbroken music, in direct response to its environment, which has been playing in constant form for the last 50 years. The sounds captured here represent a snapshot in time taken on the 15th June 2013, the specifics of which have never been, and will never be, repeated.

JRF C-series contact mics | Sound Devices 702 | Marantz PMD 661
Izotope RX | Max/MSP

With thanks to Jez riley French and Chris Watson

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Touch Radio 95 | Tony Myatt

15.05.13 – Placencia Bay – 16:32 – 320 kbps

Photograph: Peter Worth

Equipment used: 4 x Reson 4042 Hydrophones, rigged for MS recording, post-processed using Max/MSP; Nagra VI recorder.

Location: Placencia Bay, Belize.
Date: 13th December 2012.

After a long day of finicky experimentation in the sun, I returned to the bay to wash salt water from the equipment and to hose down. From 16°30’37″N, 88°22’1″W I looked out on a tranquil evening scene and decided to attempt one last recording.

I had recorded throughout the day in shallow coral seas off the coast of Belize. I’d attempted to capture a spatial impression of the clouds of clicks and pops produced by crustacea and who-knows-what; a sound present at almost every ocean location on Earth.

In the evening bay one boat was at anchor, a jet ski idled around and I saw a couple of tiny and distant fishing boats. Yet the underwater acoustic landscape was dense, quite different from the gentle evening scene that played out above the water.

I assembled this sequence of recordings to share my experiences of these two places. The recordings made among the shallow reefs are filled with crustacea sounds punctuated by communication calls between toadfish and an occasional dolphin.

Other impressions of this remote environment came to light when I auditioned the recordings back in the studio. The hydrophone rig became a barometer for other encounters. The tiniest brushings with what appeared to be fluffy fingers of soft coral revealed their harsh surface, rasping and gritty. As the evening currents shifted and strengthened “strumming” hydrophone cables conveyed the power of the underwater gales.

Many thanks to Francesca von Habsburg and the T-B A21 Academy for the opportunity to record in these places.

Touch Radio 94 | Urban Dawn Chorus

01.05.13 – Urban Dawn Chorus – 49:46 – 192 kbps

Recorded in Balham, south west London, from 0400 HRS 1st May 2013

Touch Radio 93 | Robert Curgenven

16.04.13 – Live at The Exchange, Cornwall 12th August 2011 – 16:27 – 320 kbps

Unprocessed recordings of a 16 foot pipe organ – built 1861, standing in a 13/14th Century rural church in West Penwith, Cornwall), guitar feedback, unprocessed field recordings, ventilator and microtonal dubplates & turntables.

Field recordings from contained and reverberant spaces in the cities of Berlin (2007), Tokyo (2006), Sydney (1999), Milan (2008), Hamburg (2009) and Osaka (2006).

Live 8-channel diffusion at The Exchange, Penzance, Cornwall as a response to the exhibition “An Urban Silence” curated by Blair Todd. Diffusion through 8 Genelec 8040A monitors with 7070A & 7050B subwoofers courtesy of University College Falmouth/Dartington College & Rob Gawthrop.

Live room recording by Martin Clarke
Mixed and mastered by Robert Curgenven

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Touch Radio 92 | R Martin Seddon

27.03.13 – Indian Storm – 22:31 – 320 kbps

Equipment Used:
Pearl MS-2 CL microphone outputting MS, matrixed in a Sound Devices SD302 mixer and recorded stereo to a Nagra BB+.

Camp Forktail Creek just outside the Corbett Tiger Reserve near Ramnagar, Uttaranchal, Northern India.

March/April 2009. [On a Wildeye trip to India with Chris Watson.]

After our evening meal of vegetable curry which followed a long, bumpy day in the Corbett Tiger Reserve (looking for… tigers of course!), we settled down to the sound of distant thunder. Our hosts advised that we took shelter before the rain started and soon after the short walk to my hut the first spots were falling. Recording equipment was hurriedly set up under the veranda and my hut-mate and I settled down on deck-chairs. After only a very short wait, with skipper frogs calling from the nearby pond, the rain started. Very soon the only sound was of rain and distant thunder and everyone, even the monitor lizard that lived in the thatch of our roof, stayed put until the storm passed.

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Touch Radio 91 | Stanier Black-Five

02.03.13 – Silo – 17:47 – 320 kbps

Photo: David Cowlard

Live at Silo 6, Auckland at the Audio Foundation’s Now! Here! Festival 12.08.12

A performance in one New Zealand’s most reverberant spaces, a complex of six disused cement silos on Auckland’s waterfront. Harnessing their amazing acoustics, Stanier Black-Five made a series of initial field recordings within the silos, which were then re-introduced into the same space as the source material for this live performance. All the reverb is natural. No effects were used.

Stanier Black-Five is the New Zealand-based sound artist and writer, Jo Burzynska. Her audio work is largely based on the manipulation of her own environmental recordings and found sounds, which she uses to create dense soundscapes that use sources such as the pounding rhythms of trains to the sounds of the earthquakes that have recently shaken her city. She also creates multi-sensory installations that combine sound and taste.
Thanks to the Audio Foundation for hosting the event, David Hornblow & Shaun Collins for the live sound & Malcolm Riddoch for the mastering.

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Touch Radio 90 | Jez riley French

01.02.13 – instamatic: blue mountains, new south wales, australia – 12:40 – 320 kbps

bower floor | dawn chorus with rain | canyon wires

music sits above and under the first impression.

when duration allows these things come into focus, increasingly.

in swifter moments a sense of quietude is possible.

still, finding pace with listening as a lens, moving

recorded september 2012, during time spent following a residency at The Wired Lab, this piece begins with two recordings playing at the same time. One of a bower floor, with contact microphones and geophone (nb. some of these low frequencies will not be audible via computer speakers) alongside a dawn chorus amidst light rain – drops falling centimetres from a conventional stereo microphone. Towards the middle of the piece, a further contact microphone recording enters, revealing one of the most bizarre fence wire sounds i’ve yet managed to gather. Despite returning to the same stretch of canyon fence several times, this particular effect was only present on one occasion and lasted for around 10 minutes. My best guess is that humidity and the rising temperature combined to create a momentary, unrepeatable and extremely evocative effect on the wires. It is this infinite and unpredictable aspect to listening in situ that continues to fascinate me. Getting closer to and underneath the surface of environments and spaces is a constant revelation, a constant pleasure.
jrf c-series contact microphones | jrf prototype geophone | sanken cuw-180

thanks, always, to Maureen and Pheobe and to Sarah Last and Dave Burraston (The Wired Lab)

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Touch Radio 89 | Richard Francis/Rosy Parlane/Rachel Shearer

06.01.13 – Live at The Audio Foundation, Auckland, New Zealand, August 11th 2012 – 22:33 – 320 kbps

Photo: Zoe Drayton

Recorded at the Now! Here! Festival to celebrate the launch of the book Erewhon Calling: Experimental Sound in New Zealand.

Mastered by Rachel Shearer.

Thank you: Zoe Drayton, David Hornblow.

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Touch Radio 88 | The Sea

11.12.12 – Sea Palling: Wet mics and grey seals – 11:53 – 320 kbps

Photo: Sunouchi Motohiro

Touch’s 30th Anniversary Event: A Sound Recording Weekend with Chris Watson.

Recordings of the sea made at Sea Palling, Norfolk, 8th December 2012.

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Touch Radio 87 | Bruce Gilbert

2.12.12 – Live at KHM – 20:08 – 192 kbps

“The Only Known Photograph of Bruce Gilbert” (Anon.)

Recorded by Dirk Specht. With thanks to Anthony Moore. Touch.30 formed part of ‘Nocturne’ with Achim Mohné and Mike Harding.

Click here for Nocturne‘s website.

Touch Radio 86 | Frankenstorm

30.10.12 – Frankenstorm – 17:34 – 160 kbps

Recording of post-tropical cyclone Sandy by Irene Moon in Brooklyn, New York, the night of 29th-30th October 2012

Touch Radio 85 | Carl Michael von Hausswolff, Jason Lescalleet & Joachim Nordwall

25.10.12 – ENOUGH!!! – Enough In Brooklyn – 52:32 – 192 kbps

Recorded at the Issue Project Room, Brooklyn in December 2011

ENOUGH!!! is Carl Michael von Hausswolff, Jason Lescalleet & Joachim Nordwall.

Enough is Never Enough

Thanks to Lawrence Kumpf

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Touch Radio 84 | Chop Shop

03.10.12 – Dark Matter (Ebb Tide) – 31:09 – 192 kbps

Live room installation capture recording from October 2010 at SONM: Puertas de Castilla in Murcia, Spain.

A trio of identical speaker constructions were presented in a black box room, all fed with variations of a similar sonic bed to continuously run for a duration of 24 days.

Three cycles distilled here for this listen.

Touch Radio 83 | Lary 7

15.09.12 – Live at Our Lady of Lebanon – 27:01 – 192 kbps

Lary 7 appeared as part of the Touch.30 Live in NYC events held by Issue Project Room in September 2012.

Click here for Touch.30‘s website

Touch Radio 82 | Peter 7 Paelinck & Yves Bondue

28.08.12 – W12 – 16:22 – 192 kbps

Every month in 2012 we are recording a soundtrack at 12 different locations in the Westhoek, Belgium, where we live. We tried to find 12 places which have a meaning for us. Those places, sometimes are filled with history, sometimes with magick, have influenced us, losing or ego and creating sounds melting with the environment.

We are 6 months away; half W12.

JUNI12 has been recorded at ‘Farms Hospital’, between Vlamertinge and Elverdinge. It is an historcal place with ancient history of death and war – Yves’ playground when he was young, a place druids, a gathering point of nature sourced by its sounds of trees and birds.

The sound was made by field recordings, french horn, violin, ancient bass drum and manipulations.


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 80 | Lasse Marhaug

14.07.12 – Live at Non-Event Boston, March 31st 2012 – 22:52 – 192 kbps

Recorded and mixed by Ernst Karel. Special thanks to C. Spencer Yeh and Non-Event: Susanna Bolle, Benjamin Nelson and Ernst Karel – www.nonevent.org

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Touch Radio 79 | John Chantler

7.05.12 – Cambridge Unitarian, April 2012 – 29:59 – 192 kbps

Live performance on pipe organ and synthesiser. Recorded at Cambridge Unitarian Church, Saturday 28 April 2012 by Ypsmael (Mae Lyps) using a Tascam DR-07.

Thanks to Jo Brook/Bad Timing, Simon Scott, Norman Ypsmael and Benny Nilsen.

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Touch Radio 78 | Daniel Menche

7.05.12 – Live YU – 77:12 – 192 kbps

Live Performance on April 21st, 2012 at the YU Contemporary Art Center located in Portland, Oregon USA. This concert was a two hour non-stop performance and this recording only captured an hour and fifteen minutes due to a recording failing. The amplifiers also blew out at the end. The room in which this concert was performed was the size of a city block (68,000 ft/20726 m) and had enormous room acoustics with considerable natural reverberations. Maximum volume was used, for 120 bodies were present to absorb this 120 minute sonic mass.

“Boredom is tuneless matter. Tears are music in material form.” (E.M. Cioran)

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Touch Radio 77 | Achim Mohne and Philip Jeck

22.04.12 – VINYL+, Live at ZKM, Karlsruhe 21st April 2012 – 63:16 – 192 kbps

Achim Mohné [00:00 to 29:11] uses three Omnitronic decks, Philip Jeck [26:51 to 63:16] uses two Dancettes and sampler. Recorded by Philip Marshall from desk to hard drive.

The resurgence of vinyl in recent years is a phenomenon which has not gone unnoticed; as CD declines sharply, its audio limitations exposed not only by advances in other technologies, but also by the myths propagated at the inception of digital exposed, so artists explore and demand other formats to express their work. Although a business model is still some way off the traditional artist » label » distribution » shop paradigm, it is clear this is being radically overhauled and replaced by online sales platforms set up by the artists themselves. But vinyl seems to have escaped this process, and continues to grow. Why is that?

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Touch Radio 76 | Listen!

06.03.12 – Listen! – 14:08 – 192 kbps

Recorded live at Passionskirche, Berlin @ Spire Live, closing CTM12

Touch Radio 75 | autodigest

14.02.12 – Unlearn All Languages in 15 Minutes – 15:00 – 192 kbps

Touch Radio 74 | CM von Hausswolff

28.01.12 – Live Last Night – 23:54 – 192 kbps

Recorded live at Fim de Semana Especial n.º 3, Teatro Maria Matos, Lisbon, 27th January 2012.


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Touch Radio 73 | Fennesz

6.01.12 – On Invisible Pause – 48:13 – 192 kbps

On Invisible Pause, choreographed by Christopher Arouni, is part of Skånes Dansteater’s performance HAZE, November 4th 2011 in Malmö’s Skånesdansteater. Mixed by Christopher Arouni, Christian Fennesz & Anders Myhrman.

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Touch Radio 72 | Bells!

23.12.11 – Bells! – 25:39 – 192 kbps

Recorded in the belltower of St. Mary’s Church, Walthamstow on 30th November 2011.

With thanks to Denis Hewitt & Ewan Marshall.

Touch Radio 71 | David Cleveland & Nigel Lister

29.11.11 – Cleveland & Lister present… – 21:45 – 192 kbps

David Cleveland & Nigel Lister present…

1. 1902 Gaumont Cinematograph | 2. 1912 Gaumont Chrono | 3. 1914 Pathé (Home) Projector | 4. 1914 Krups Ernemann No. 1

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Touch Radio 70 | Peter 7 Paelinck

06.11.11 – The Home Recordings – 50:25 – 192 kbps

Photo: Luc Vanhoucke

6AM – Moonsickness – Nobah Sahibs – Deadend – Nachtmeer – Is – 23.2
“The Home Recordings is the extension on the recordings that were made in 2008 in Norway. Being there with no instruments and no source but water to create sound, I was very limited. Returning home, the place you love and when you stay too long, you hate, became the source of these recordings. Everyday you hear something that changes your mood, but sometimes they can be very difficult to record. This can be the cause of different, unwelcome sounds, as you think they are. So I started to record the sounds outside my front door from 04hr. in the morning till 07hr.
Mixing everything at home in some kind of dark way, not opening the sound up… I used an Emulator Emax 1 because of its simple sampling sound. All other instruments are acoustically recorded.
There is no limit on sound, only we as source. Continue reading

Touch Radio 69 | Philip Jeck

22.09.11 – Live at The Brucknerhaus – 32:58 – 192 kbps

Pic: “The Ghost of Philip Jeck” by Mike Harding

Philip Jeck in performance was recorded on 6th September 2011 at The Brucknerhaus, Linz, Austria for Prix Ars Electronica, at which Philip Jeck was awarded a Distinction for his LP ‘Suite: Live in Liverpool’ [Touch # Tone 29, 2009]. The multi-channel recording (2 channels off the desk, two in the room) was mixed for TouchRadio by BJNilsen.

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Touch Radio 68 | Apostolos Loufopoulos

06.09.11 – Bee – 12:46 – 320 kbps

‘Bee’ is inspired by the microcosmos of insects, a world of intense energetic flying behaviour, and could be described as a ‘journey on the back of a bee’, since the piece metaphorically often places the listener in this imaginary position, as ‘travelling’ on the insect itself. The purpose of the piece is to evoke images or imaginary situations, and can be well described as a ‘movie without the image’, since the sound is strong enough to let us – the listeners- mould the visual aspect in our imagination…

This work uses the language of electro-acoustic music, and is derived from the digital processing of natural sounds (mostly sounds of insects) in combination with electronic and synthesised sound material.
Bee received the Award of Distinction at the ARS ELECTRONICA 2011 International Competition on new media in the category Digital Musics & Sound Art.

Apostolos Loufopoulos works with sound and digital media and is interested in the sound of the natural world and its potential for musical exploration.

Touch Radio 67 | Wasp!

29.08.11 – Wasp! – 21:13 – 320 kbps

Photo: Mike Harding
Location: Cavenham, Suffolk
Conditions: 29th August was overcast, cool and very windy
Recorded using 2 x dpa 4060s

With thanks to Sarah & Ralph Brownie, who at 20:07 put his foot over the entrances to the wasps’ nest… (just for a short while).

Touch Radio 66 | Signe Liden

08.08.11 – Load (Abandoned) – 16:41 – 320 kbps

Recordings from abandoned places:

– resonated wires, cans and other objects from an old run-of-the-river power plant
– a singing floating bridge at fishing village
Recordings from abandoned things:
– a violin amplified through a empty metal can
– recordings from inside plastic cans and bottles at the seaside
– from inside a pipe at a gasometer
– a motor which worked for the last time and is now abandoned

– reflections of an abandoned run-of-the-river power plant

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Touch Radio 65 | Zachary James Watkins

7.07.11 – Suite For String Quartet – 22:56 – 320 kbps

Zachary James Watkins writes: “Suite For String Quartet is written specifically for resonant spaces, interactive electronics, audience participation and string quartet. Suite for String Quartet has been in a continuous state of “revision” since Christmas 2004. In 2006, I developed a new tuning for all 16 strings. Each string of the quartet is retuned to an odd number partial of 60Hz. For this current version performed on May 1st, 2011 as part of the Second Annual May Day! New Music Marathon in Seattle, WA the entire first movement was rewritten.”

Brad Hawkins, Cello
Eyvind Kang, Viola
Paris Hurley, Violin
Brandon Vance, Violin
Zachary James Watkins, Electronics

Touch Radio 64 | Yannick Dauby

14.06.11 – Arches – 25:05 – 320 kbps

Photo: Dave Knapik

A few years ago, I had the chance to participate in the organization of a scientific seminar about the relationship between canids and humans, the conferences spreading between ecology, ethology, psychology and anthropology (“Entre Chiens Et Loups”, Lyon, 2006). Amongst the invited scientists was Dave Mech a wildlife biologist who spent all his life studying wolves in the field, and in particular on Ellesmere Island located in the Canadian Arctic Archipelago.

We drove together to visit an area in Lozère, the least populated department of France, where some wolves are kept in in semi-captivity, which means that they are living an unusually large enclosure. Those animals were originally rescued from poachers, and the park has a very good reputation for introducing them to the public. There I could observe the wolves in the company of Dave Mech, who provided some invaluable insight into their behaviour.

Last year, I went back again to visit the wolves with Sylvain Macchi who is in charge of the park. I was able to record the songs of the wolves in the middle of the night and the early morning one February during their mating season. The barks are often associated with aggressive behaviours, meanwhile the chantings are a way to reinforce the cohesion of the group and calm down the tensions. The effect of these sounds, listening to wolves chanting in the complete darkness, is an extreme experience. Those arch-shaped tones are amongst the most beautiful things one can hear from the animal kingdom.

Composed in May 2011. Field recordings mostly made in February 2010.

Thanks a lot to Dave Mech for the inspiration and Sylvain Macchi for introducing me to the wolves of Gevaudan.

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Touch Radio 63 | Leslie Winer

17.05.11 – Nice to See You – Live in Utrecht – 18:15 – 256 kbps

1. At Half Past 3
2. Nice to See You / Dunderhead
3. On The Difficulty – reading Perec
4. ἐλεγεία for Fred

Recorded by Elizabet van der Kooij at The Tapeworm Comes Alive! – Theater Kikker, Utrecht 28.xi.10.

With thanks to Le Guess Who? and PAUME.

Touch Radio 62 | Jen Boyd

13.04.11 – Thistle – 19:20 – 192 kbps

Field recordings of wild fennel, pine trees and thistle near Davis, California. Additional sounds include multiple layers of a running hard drive and a thistle on a turntable. Recorded using an Edirol R9, contact microphones and induction coil microphones.

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Touch Radio 61 | March!

13.04.11 – March! – 07:15 – 320 kbps

Photo: Lizzie Mickery.

Recorded using 3 iPhones.

Touch Radio 60 | Pub!

10.03.11 – Pub! – 38:31 – 192 kbps

Photo: Dave Knapik

Touch Radio 59 | Phantom Airwaves

10.03.11 – Ghost of Gnathonemus Petersii (2011) – 05:47 – 192 kbps

Alex Halsted is a fish. Specifically, the Gnathonemus petersii is an Elephantnose fish native to the Niger River in West and Central Africa. The fish has very poor eyesight and emits a weak electrical field from electro receptors covering its body. These receptors allow the fish to send a sonar-like electric pulse similar to the bat’s use of echolocation.
On 24 September 2009, David More, a sound artist who creates sound works by harnessing variations from the fish’s electric field, and I, executed experiments using the frequencies created by the fish as white noise to record for Electronic Voice Phenomena (EVP) and additional energy provided by Heidi Harman using Reiki.

The EVP recordings captured were not only very strong, but they seem to also refer to the fish, to David and also in some cases seem to refer to itself as the fish. Is it possible that disincarnate entities taping into available frequencies to communicate also pick up personality or other energies that define the identity of the being it’s taping into?

Included in this adaptation is a previously unreleased composition created using the frequencies of the fish as well as the EVP recordings captured and separately, the EVPs captured during those trials.

Whatever the physics of the phenomena are from those experiments, one thing we are sure of: Alex Halsted is a fish.

Cover photograph and treatment: Heidi Harman (2009)

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Touch Radio 58 | Irene Moon

20.12.10 – My Queen & I: An introduction to the bees and their closest relatives – 24:37 – 128 kbps

Recorded live at The Rymer Audorium, Music Research Centre, York on 17th December 2010 by Tony Myatt.

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Touch Radio 57 | Phill Niblock

19.11.10 – Sound Delta – 39:16 – 192 kbps

Photo: Jon Wozencroft

1. Zound Delta (21:52)
2. Bells & Timps (5:30)
3. BuchBel (11:54)

Zound Delta was made at a residency with the European Sound Delta Project in 2009. The sounds were recorded from the mouth of the Danube River at the Black Sea, – to about 200km upstream, at Russe Bulgaria. In Russe, there was a festival, and the finished piece was played. There were boats (Belgian barges outfitted as living boats) starting at the mouth of the Danube and the Rhine Rivers, with changing residents, for several months.

Bells & Timps was made using church bells in Gent Belgium, recorded by Godfried Willem Raes of Logos Foundation, in 1986. I modified the time by stretching vastly, and some changes in pitch as well.

BuchBel was recorded during an overnight train ride from Bucharest to Belgrade. All sounds are from the train, with many layerings. The train trip was immediately after the festival in Russe, Bulgaria, in 2009.
All of the pieces were made in ProTools.

TouchRadio 57 is in Pantha du Prince‘s top 10 albums of 2010

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Touch Radio 56 | Thomas Ankersmit

29.09.10 – Hangar Performance, Tallinn, May 29th 2010 – 19:02 – 192 kbps

Solo saxophone performance inside abandoned seaplane hangar, Tallinn harbour, Estonia.

Recorded by John Grzinich, May 29 2010, at the introduction event for Tuned City Tallinn 2011.


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Touch Radio 55 | Oren Ambarchi

3.09.10 – Live at Corsica Studios – 25:59 – 192 kbps

Photo: Jon Wozencroft

Recorded from the desk, live at Corsica Studios, London, on 1st July 2010.

With thanks to Tom Relleen.

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Touch Radio 54 | Ian R. MacLeod

05.08.10 – Well-Loved – 22:58 – 192 kbps

Ian R. MacLeod reads the short story “Well-Loved” from his collection “Past Magic” (PS Publishing, 2006).

Bib-Bob by SAVX

You can see an interview with Ian filmed in Bewdley, England (by Mike Harding) in July 2010 below, and read a biography here.

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.

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

Touch Radio 52 | Richard Crow

26.05.10 – Imaginary Hospital Radio – 41:34 – 192 kbps

Imaginary Hospital Radio mimics and subverts conventional hospital radio and its aim to relieve its listeners/patients through the collaging and dissecting of the visceral and surgical sounds associated with illness and disease. The hospital’s unwanted sounds and noise provide an unexpected artistic source, as a kind of sonic tableau – an invisible operating theatre in which the sonic/audio auscultation/surgery occurs ‘live to ear’.
Richard Crow is an inter-disciplinary artist with a strong background in experimental audio work, photo based media, live performance and site-specific installation. He utilises sound and noise in a performative way, for its spatial and subjective qualities and above all for its psycho-physical implications for the listener. Over the past two decades his solo and collaborative site-specific installations and performances have consisted of highly conceptualised interventions into base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the project The Institution of Rot.

Crow has collaborated, performed, and recorded with many leading musicians and sonic artists including Joe Banks, Adam Bohman, The Hafler Trio, Clive Graham, Michael Prime, Dean Roberts, Kaffe Matthews, Michael Morley, Sandoz Lab Technicians, & dy’na:mo.

Touch Radio 51 | Zon On N

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


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]

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


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!


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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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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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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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..

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


Photo: Mike Harding

[Dedicated to John Cage] 20:42

[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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