Mathew Adkins - [60]Project
Electro-Acoustic, Electronic music
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When discussion first started with the Artistic Director of the Huddersfield Contemporary Music Festival (HCMF), Graham McKenzie, to celebrate the 60th anniversary of musique concrete and the pioneering work of Pierre Schaeffer, we quickly dismissed the idea od presenting a historical overview of 'significant works' and focused on the creation of a new original work. That composition would show how Schaeffer's ideas were still important and relevant to today's sound artists and composers who are working across a wide range of experimental electronic music.
Thus began [60]Project.
From the outset, the involvement and the contribution of sound materials by over 60 of the world's leading electronic composers and sound artists were essential. During the early months of 2008 a steady stream of emails went back and forth across the globe as more and more sound artists, composers, laptop improvisors, and experimental turntablists accepted my invitation to take part and contribute. The response was overwhelming.
The project had two distinct pre-compositional stages. Each of the participants was initially asked to contribute one sound object or a short improvisation with a sound object. Nothing was prescribed as I wanted everyone to respond to the concept of the project in their own way. Each of these sounds was uploaded to an ftp site which acted as a repository for all of the material.
For the second stage, I asked all the participants to create a variety of sound treatments based on any of the initial material. This second stage produced some wonderful and unexpected sound fragments. Some decided to focus on a small number of sounds and develop short or in some cases extended phrases, whilst others set out to utilize all of the material in a variety of imaginative means. These second stage processed sounds were again uploaded to the ftp site.
In July of 2008, I took all the sound material from both stage one and two to the Ina-GRM studio in Paris where the final work, [60]Project, was assembled. I set myself similar limits that Francis Dhomont had established with his Frankenstein Symphony (1997) - a work made up of layering and mixing fragments of works by multiple composers.
I allowed myself to cut and edit material to suit the compositional purpose and to layer material. A limited amount of transposition was used in order to facilitate the seamless transition from one section of material to another. At no point did I process any of the sounds further.
...
This large and ambitious collaborative project presents a unique cross-section of contemporary practice in sound art and brings together musicians from all around the globe in a piece that celebrates Schaeffer's revolution in sound.
Those who took part with their generosity of time and sounds are: A_dontigny, AGF, Lars Akerlund, Michael Alcorn, Javier Alvarez, Miguel Azguime, Natasha Barrett, Francois Bayle, Gonzalo Biffarella, Ludger Brummer, Mira Calix, Christian Calon, Lawrence Casserley, Richard Chartier, Rhodri Davies, Vladislav Delay, Donnacha Dennehy, Francis Dhomont, Lawrence English, eRikm, Dror Feiler, Christian Fennesz, Ambrose Field, Iris Garrelfs, Gilles Gobeil, Kink Gong, Jonty Harrison, Tim Hecker, Erdem Helvacioglu, Zoe Irvine, Christina Kubisch, Diane Labrosse, Andrew Lewis, Mats Lindstrom, Francisco Lopez, Eric Lyon, Stephan Mathieu, Adrian Moore, Ake Parmerud, Gert-Jan Prins, Maja Solveig Kjelstrup Ratkje, Pedro Rebelo, Steve Roden, Sebastien Roux, Scanner, Janek Schaefer, Conrad Schnitzler, Si-cut.db, Wayne Siegel, Rodrigo Sigal, Sogar, Pete Stollery, Paulina Sundin, Kees Tazelaar, Terre Thaemlitz, Todor Todoroff, Kasper T Toeplitz, David Toop, German Toro-Perez, Pierre Alexandre Tremblay, Hans Tutschku, Rodrigo Cicchelli Velloso, Marc Weiser/Rechenzentrum, Yeoh Yin Pin, John Young, and Christian Zanesi.
Tracklisting:
1. [60]Project: Abstract - Ambient {7:50}
2. [60]Project: Concrete - Instrumental {8:12}
3. [60]Project: Concrete - Experimental {6:02}
4. [60]Proejct: Sea Soundscape {9:00}
5. [60]Project: Urban Soundscape {7:04}
6. [60]Project: Ambient Instrumental {5:58}
7. [60]Project: Noise Study {2:43}
8. [60]Project: Extended Vocal {13:04}
Download Mathew Adkins - [60]ProjectBarry Adamson & Pan sonic - Motorlab #3
Genre:Classical, Electronic
Style: Modern, Experimental, 20th century chamber music, choral, electro-acoustic,
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CD released in 2001
The idea of Motorlab is to create a new kind of electricity between musicians/artists by introducing them to elements they had previously left untouched. The result is then documented during intimate live performances or as in the case of Motorlab #3 by throwing ideas between artist's studios.
The Hymn of the 7th Illusion composed by Barry Adamson & Pan sonic
choir: Hljomeyki, conducted by Horour Bragason
vocal arrangements & additional treatments: Barry Adamson
electronics: Pan sonic
choir recorded by Halldor Vikingsson at Digraneskirkja, April 6, 2001
mastered & mixed at Thule Musik
About the cover and artwork: Magnus Blondal Johannsson the pioneer composer of electronic music in Iceland was kind enough to let Kitchen Motors perform a brain scan on him while listening to the music contained on this CD. While most people would find the sterile hospital environment unnerving - not to mention the strangeness of having twelve "brain wave pick-ups" taped to their head - Magnus softly drifted into a completely relaxed alpha state similar to being in-between sleep and wakefuloness. One could therefore look at the brain waves printed on the inside of this CD sleeve as being representative of this landscape of hidden dimension that lies between the illsory and the concrete.
Tracklisting:
1. The Hymn of the 7th Illusion {12:23}
2. "" {0:25}
3. The Illusion of the 7th Hymn (remix by Hafler Trio) {23:03}
Download Barry Adamson & Pan sonic - Motorlab #3 This post has been edited by barcafan on 3 Jun 2010, 01:42
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