Listen With Others CAMP Radio

Episode 1 Tuesday 28th October 1 – 2pm CET

Listen again on CAMP Radio’s Mixcloud here

1. Deep Listening Band (Pauline Oliveros, Stuart Dempster, Panaiotis) – Suiren (10’01”) Deep Listening (1989)

“For the song, they managed to capture the acoustics of the Fort Worden Cistern, a cavernous underground water tank in Port Townshend, Washington, which possesses a 45-second reverberation time producing pure, smooth reverberation that overlaps the original sound.” Spotify link

2. Morton Feldman – Three Voices

“Three Voices is a 1982 composition by Morton Feldman, written in homage to his friends Philip Guston and Frank O’Hara, and dedicated to Joan La Barbara.[1] The work consists of three vocal parts: Feldman’s original intention was that a singer would perform one part while being accompanied by pre-recordings of the two other parts. Alternatively the piece may be performed by three voices.[2] Most of the work is sung without text, but Feldman also incorporates two lines from O’Hara’s 1957 poem Wind.[3]” Bandcamp link

3. Claire Rousay – Peak Chroma 8’48’’ from A Softer Focus (2021)

“Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life. By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points.” https://clairerousay.bandcamp.com/album/a-softer-focus-2

4. John Tjhia – Thing-Like (9’36”) 2019

“Jon Tjhia has created a suite of ‘exercises’ – basically analogous to piano études, or studies, for edited sound works. Taking Walter Ong’s preoccupations with the ‘immersive’ and vital nature of oral culture as a point of departure, these pieces tease and critique the heavy burden of speech and its value: as social currency, blunt instrument, monetary resource and point of connection.” Podcast link with artist interview

5. Kali Malone – Fifth Worship II (2019) 7’50’’ from The Sacrificial Code

“Malone’s minimalist process captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition. The recordings here involved careful close miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible – essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then further compositionally stripped of gestural adornments and spontaneous expressive impulse – an approach that flows against the grain of the prevailing musical hegemony, where sound is so often manipulated, and composition often steeped in self indulgence. It echoes Steve Reich’s sentiment “..by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind.” https://kalimalone.bandcamp.com/album/the-sacrificial-code-2019-edition

6. Ghédalia Tazartès – Un amour si grand qu’il nie son objet (1979) 09’38’’ from Diasporas (“A love so great it negates (or denies) its object”)

“In almost a prayer-like decree, he chants to the gods in an undefined wail that is both haunting and spiritually divine. His unique use of tape loops to capture the disappearing traditions of his family’s past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. Utilising his invented practice of ‘impromuz’, a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment.” https://ghedalia-tazartes.bandcamp.com/album/diasporas

7. Hildegard Westerkamp – Kits Beach Soundwalk (2010) 9’42’’ from Transformations

“I like walking the edge between the real sound and the processed sound. On the one hand I want the listener to recognize the source, and thus want to establish a sense of place. But on the other hand I am also fascinated with the processing of sound in the studio and making its source essentially unrecognizable. This allows me as a composer to explore the sound’s musical/acoustic potential in depth.” https://empreintesdigitales.bandcamp.com/album/transformations