Listen With Others CAMP Radio
Episode 1 Tuesday 28th October 1 – 2pm
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
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Episode 2 Tuesday 25th November 1 – 2pm
1. Jennifer Walshe – Guillaume De Machaut: Messe de Notre Dame, Agnus Dei (4’03”) A Late Anthology of Early Music Vol. 1: Ancient to Renaissance (2020)
“The author reflects on their experience teaching Western music history, which traditionally presents music as evolving logically from early vocal forms like plainchant. They collaborated with Dadabots, who trained a neural network on recordings of the author’s voice, producing 841 AI-generated audio files. As the network progressed, it began to resemble the human voice, echoing the historical progression from primitive sounds to structured music. In their piece A Late Anthology, the author aligns the AI’s learning process with the historical development of Western music, using each as a lens to interpret the other. The work proposes an alternative way of understanding music history through the interplay of voice, machine learning, and time.” Bandcamp link
2. Miya Masaoka – Part 1 – While I was walking I heard a sound (8’57’’)
“Boy sopranos, male falsettos and operatic singers join forces in a total of three choirs and nine soloists consisting of one hundred and twenty singers. While I Was Walking, I Heard a Sound is scored for up to 42 voices and explores the boundaries of vocal art. It was recorded in a large, resonant cathedral with a natural 2.5 second reverberation.” Link
3. Window Side by Yuko Nexus6 (2022) 06’54’’ from Neko-San Kill! Kill
“Yuko Nexus6 is a composer of time-based and interactive electronic music. She creates sound collages that combine field recordings, samples, digital processing, and her own vocals. Her works involve both highly complex technology and low-tech recording devices.” https://retracrecordings.bandcamp.com/album/neko-san-kill-kill
4. Transversal Time by Rhodri Davies
“Transversal Time was composed by Rhodri Davies in 2017. For its starting point it assigns different time systems – Standard Time, Decimal Time and Hex Time – to individual musicians. As a composition it encompasses many of those sensations and perceptions of time that are embodied by music. Improvising musicians develop acute sensitivities to body clock, breath, pulses and the silent transformations of time-between-time. So a musician’s heightened, fluid time becomes enfolded in this narrative situated within the house of clocks, all of them ‘telling’ different times. Also buried under the surface of the piece is François Jullien’s book, In Praise of Blandness, an exploration of the ancient Chinese value system based on simplicity, extreme subtlety and the paradox of sounds that deepen in the mind of the listener if they are not fully sounded, better still left silent so that they retain something secret and virtual within.”
https://confrontrecordings.bandcamp.com/album/transversal-time
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Episode 3 Tuesday 23rd December 1 – 2pm
1. The Spiral by Puce Mary (5’39’’)
Working more precisely than ever, ‘The Spiral’ binds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Puce Mary manages to at once honour the history of industrial music and noise, as well as transform it. ‘The Spiral’ is harsh, but the aggression of the compositions never feels unnecessarily overstated. It is an album that is easy to get dragged into but brutally hard to get out of, disclosing the underhand of control as censurable nurture.
https://puce-mary.bandcamp.com/album/the-spiral
2. Grafts by Kara-Lis Coverdale (22’31’’)
Grafts is a piece in three parts that expands upon the virtual processing technique heard in A 480, however, the works of Grafts differ in that they contain significantly more unaltered multi-instrumental part writing weaved in counterpoint to stems of the una corda, and are thus hybrid in nature. Each sound and melody is performed by the fingers and wrists through b/w keyboard input, split up to four ways, then re-pitched and re-woven through a band-and-forth grafting procedure of layering and securing on a four-channel processor. End arrangements are derived from pitch-shited stems called “scrubs.” “Scrubbing” is the process of creating a sound (out of a sound) not for existence of the sound itself, but for it to be completed by others which surround it. Tonal structures are constructed by stacking interdependent layers of shelved frequencies (rather than equal tempered pitches) to produce frequentially-terraced composites of scrub-based melodies and arrangements.
https://kara-liscoverdale.bandcamp.com/album/grafts
3. mohabit 27.53 by Axel Dörner (27’53’’)
Axel Dörner is one of the most unique voices in free improvisation. He developed a completely different language for the trumpet in the late 1990s. Most of the ensembles he is part of are characterized by a non-hierarchical collaboration of the musicians involved.
https://axeldoerner.bandcamp.com/album/mohabit-2753
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Episode 4 Tuesday 20th January 2026 1 – 2pm
1. I can’t stop thinking about it by Félicia Atkinson (13’25’’)
There is that instance, when you are passing over a threshold, where the before and after fall away and it is only the threshold itself that you are existing within – that neutral space of the in-between, of the transition, that becomes the actual lived-in moment. It is through fully occupying and being present in that transitional space that we are able to access new perspectives that allow for a reassessment of things previously thought understood. The five tracks that make up Everything Evaporate feel like a sustained moment of focus during a period of transition; a longer breath taken in that actual lived-in moment.
https://feliciaatkinson.bandcamp.com/album/everything-evaporate
2. Ellen Arkbro – For organ and brass 20’08’’
Stockholm-based composer Ellen Arkbro’s ‘For Organ and Brass’ is comprised of works that focus on tuning, intonation and harmonic modulation. The title composition was written for an organ with a specific kind of historical tuning known as meantone temperament. It was only after locating an appropriate instrument—the Shererorgel dating back to 1624 in St. Stephen’s Church in Tangermünde, Northeastern Germany – that Arkbro set about recording both for organ and brass and its counterpart, three. “Hidden within the harmonic framework of the Renaissance organ are intervals and chords that bare a close resemblance to those found in the modalities of traditional blues music,” explains Arkbro. “The work can be thought of as a very slow and reduced blues music.”
https://ellenarkbro.bandcamp.com/album/for-organ-and-brass
3. Piriforms by Laura Steenberge 10’17’’
“In medieval chant, music seems to have come from elsewhere. It is the angels that are singing, they said, like gourds hung up for purple martins. By the time notation started coming around, hundreds of chants were already hundreds of years old. New chants followed in their footsteps, trying to seem unwritten. In some monasteries, the monks sang for six hours a day. Through the daily toil of reenacting eternity, subtler shapes become audible. Sometimes the angels show up when the consonants are taken away, or some other change is made that renders the language unintelligible. Swedenborg said there are some angels who speak with U and O and other angels that speak with E and I, but that in the center, inmost heaven, language is made of patterns of numbers. The labor required to hear the angels is mundane and physical. Singing for hours a day sounds idyllic but also laborious. Singing for so long in such reverberant spaces, I wonder about the complexity of harmonics, combination tones or whatever other sonic artifacts that the monastic singers gained sensitivity to. In this collection there is a piece for one performer, a piece for two performers, a piece for three performers, and a piece for four performers. But even in the solo it is about relationships, as the two parts are created with the same breath. The demonic energy is in between things, the sounds cast shadows upon each other.” – Laura Steenberge
https://laurasteenberge.bandcamp.com/album/piriforms
4. Long Gradus by Sarah Davachi 15’??
“Long Gradus’ began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzini’s Composer’s Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year, the composer was given the opportunity to take a step back and look at the piece over a much longer period of time than would have ordinarily been possible. The resulting longform composition in four parts, written in its initial form for string quartet, was developed as an iteration of an ongoing preoccupation with chordal suspension and cadential structure. In this context, horizontal shifts in pitch material and texture occur on a very gradual scale, allowing the listener’s perceptions to settle on the spatial experience of harmony. A system of septimal just intonation helps to further the production of a consonant acoustic environment. ‘Long Gradus’ uses a formalized articulation of time-bracket notation alongside unfixed indications of pitch, texture, and voicing that allow the players some discretion in determining the shape of the piece. A sense of pacing that is markedly different from that of mensural notation emerges accordingly, while the open structure of the composition results in each performance having a unique and unpredictable configuration.”
https://sarahdavachi.bandcamp.com/album/long-gradus
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Episode 5 Tuesday 17th February 2026 1 – 2pm
1. The Expanding Universe by Laurie Spiegel (1980) 28’28’’
“Earlier than most, Laurie Spiegel recognized that computers could offer “the complete freedom to define any kind of world you wanted and work within it.” Her compositions from the ’70s and ’80s were coded instead of written, revealing new horizons for improvisation and experimentation while remaining accessible. In those decades, Philip Glass and Steve Reich were her contemporaries in the close-knit experimental scene of downtown New York. But Spiegel continues to set herself apart from the high-profile minimalist movement, preferring the term “slow change music.” Her innovations to American and electronic music have by now gone down in history, but her rise to recognition has been as slow and subtle as her compositions.””
https://lauriespiegel.bandcamp.com/album/the-expanding-universe
2. Woven Processional by Ellen Fullman 11’38’’ (1980?)
“Ellen Fullman began developing her installation The Long String Instrument in 1980, in search of tonalities that could not be achieved with traditional instruments. This large-scale work consisted of 70-foot-long metallic wires, anchored by a wooden resonator, across which the performer moves backwards and forwards with rosin-covered fingers. The overall effect has been rightfully compared to the experience of standing inside an enormous grand piano.” https://ellenfullman-sv.bandcamp.com/album/the-long-string-instrumen
3. Gordon Mumma – Hornpipe (1967) 15’17’’
“Hornpipe is a composition for solo French Horn. The instrument has been modified and contains a special microphone. A few feet behind the performer is a series of vertical pipes, containing their own microphones and resonant at different frequencies. Further behind is the loudspeaker from which the music is heard. All of the microphones are applied to tlle sound modifying circuitry, but at different points in the configuration.”
The acoustical feedback loop which exists between the French Horn, the resonant pipes, and the loudspeaker, is part of an electronic feedback system which employs amplitude gated frequency translation.
As the performance begins the system is balanced. Sound is produced only when something in the acoustic-electronic feedback-loop system is unbalanced. The initial sounds produced by the French Hornist unbalance parts of the system, some of which rebalance themselves and unbalance other parts of the system. The performer’s task is to balance and unbalance the right thing at the right time, in the proper sequence.” https://brainwashed.com/mumma/creative.htm
https://newworldrecords.bandcamp.com/album/electronic-music-of-theater-and-public-activity
4. Lea Bertucci – Of Shadow and Substance
Lea Bertucci’s “Acoustic Shadows” originated as part of Brückenmusik 24 – an annual sound art event – taking place from July 1 to 8, 2018 inside Deutzer Brücke, Cologne, Germany.
https://leabertucci.bandcamp.com/album/acoustic-shadows-ltd-edition-repress