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viewing 1 To 12 of 12 items
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LINE 062CD
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"Interior Field is a new stereo variation of a multi-channel sound work created from field recordings of a variety of small and large spaces from around the world. This work was originally presented at Civilian Art Projects in Washington, DC in 2012. Through his compositional practice, Chartier utilizes the unique physicality of these environments to create a newly defined acoustic space. Interior Field is a transposition of location, focus, and experience itself. A significant element of 'Interior Field (Part 2)' comes from binaural recordings at the McMillan Sand Filtration Site in Washington, DC. This unique historical site, built in 1905, is currently slated for almost complete demolition and redevelopment. Chartier was given special access to record at this site during a major rainstorm."
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LINESEG 002CD
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"Line is pleased to announce the release of the second in the Line Segments series. Source Voice is a rich and jarring new work of unexpected contrasts by German musician AGF, an artist much admired by Line's Richard Chartier. The voice is the human instrument. Almost everyone has a voice, unique and custom built within them. A voice is personal, political and controllable. Some voices are heard more than others. In expanding the meaning of voice, listening to and deconstructing it, we learn about our body, our kind. We grow and gain awareness through this process. Inspired by the ancient folk practice of yoik, AGF started to imitate and voice along with her surrounding wind and weather. Yoik is a mostly wordless form of singing/vocalization by the Sami tribe of northern Scandinavia and considered one of the longest living music traditions in Europe. All sounds on Source Voice are derived from AGF's voice and the room around her. While only the composition 'Kaamos' is pure untreated voice, digital processing was used to bend our imagination of what our voice is and can become. Through her careful study and work with pioneering composer Eliane Radigue for the past 10 years, AGF further experiments with highly contained and organized sound in the wide field of vocal expression. AGF has worked with Radigue while performing Elemental 3 as The Lappetites, and has now created OCCAM 7, a new composition by Radigue for solo voice."
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LINE 059CD
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"In 2011, Chartier began a series of new works, Recurrence, which revisits the Series' elements and reworks them into entirely new compositions. Drawn to the original sounds Chartier felt that they could be re-composed. The form they have taken contains isolated and discreet events strewn across the sound field, creating a strange landscape and altered sense of space. A full studio version of 'Recurrence (Series)' is accompanied on this release with 'Recurrence (Room/Crosstones),' an exploration of room tones and other low frequency wave recordings. The Recurrence works are a continuing reflection on the major aesthetic elements of Chartier's artistic language as it has evolved through the years."
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LINE 056CD
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"The acoustic architecture of Robert Curgenven and Richard Chartier forms a delineation of space built through dismantling the constitution of internal and external. Beyond dividing space, creating a façade or habitable zone, the perceptibility of the surface is turned back in on itself and with it a shift in the ideological and social context of the space. A seamless integration of digital and analogue, a suffusion which creates a mutual modulation, transforming purpose chosen materials - dense, undulating foundations through to stratified filaments and needle-point framework - defining the approach, the entry, the walk-through, the departure."
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LINE 054CD
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"LINE is proud to present a new work by Montreal sound artist France Jobin. Having released under her moniker i8u, Valence is her first release under her own name. Created entirely from transformed field recordings, this collection of three compositions has an elegant flowing simplicity. Slow harmonic modulations of a similar essence to the works of Eliane Radigue and Celer."
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LINE 051CD
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"Soiree is the result of extended recycling. Beginning from the investigation of: what will happen if I recycle (not remix) some of my older compositions and then recycle the recyclings and then recycle the recycled recycling -- ad infinitum? Quite quickly the initial pieces vanished totally. New structures and sounds emerged depending on the methods and tools I used. Each of the pieces on Soiree is based on a distinct composition of my musical past. In each case the listener is presented with the 10th 'generation' of this recycling process. Confronted with the variety of the results I ask myself: Is it really necessary to create further new electronic music if only one piece as a nucleus is sufficient to derive hundreds and hundreds of different distinct individual variants?" --Asmus Tietchens
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LINE 050CD
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"Inspired by the work of James Tenney, Gyorgy Ligeti, Charlemagne Palestine, and Conlon Nancarrow, Seth Horvitz's Eight Studies for Automatic Piano makes use of simple, computer-aided compositional processes to test the limits of human perception and machine precision. It relies on a bare minimum of technical means to explore notions of temporal distortion, iterative process, and elegant complexity. Presented in an immersive concert setting without the presence of a human performer, Eight Studies questions traditional notions of live performance and musical 'life.'"
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LINE 049CD
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"In 2010, sound artist Richard Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th Century acoustic apparatus for scientific demonstration. Chartier focused on the works of the German physicist Rudolf Koenig, including the Grand Tonometer (c. 1870-1875). This beautiful and precise set of 692 tuning forks expresses the frequency range 520 v.s (vibration simple) (260 hz) to 8192 v.s. (4096 hz). The pitches of the forks extend over four octaves, affording a perfect means for testing, by enumeration of the beats, the number of vibrations producing any given note. The Grand Tonometer is the only instrument of its kind in existence. During his Fellowship, Chartier individually recorded each of these unique instrument's existing tuning forks as well as many other instruments, devices, and their tonal interactions. Rudolph Koenig considered the Grand Tonometer and his other creations to be purely scientific instruments. His precise workmanship extended the Grand Tonometer's range to frequencies across the field of human perception, thus allowing the listener a chance to witness the nature of sound itself. Chartier's own compositions juxtapose soft and hushed, almost imperceptible, fragments with high and low frequencies, bursts, and static in an asymptotic process that cuts away from and deepens the nature of sound, finally achieving compositional focus in the spaces between them. Chartier was particularly drawn to the Grand Tonometer, feeling a distinct connection to Koenig's approach to sound, and to his aim of a new, or enhanced, way of listening."
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LINE 048CD
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"These works occupy a position between an expanded notion of composition and a gallery-based art practice. The content of the works presented on this disc produce a slow series of gestures that give the illusion of stillness amidst a texture of continually developing material. The central concern in all of these pieces (the three fully scored works, the installation documentation, and the live-performance) is the construction of a sound world that is able to be environmental rather than temporal, proceeding slowly enough that it might be explored without the anxiety that it will move away too quickly. Like much of my output, I am interested in providing the listener with material that allows for an active agency of perception and that affords the ability to move through the sound autonomously. Whether the work is gallery-based, conceptual, or created for a concert hall, I am interested in viewing simple, everyday actions at extreme magnification, acknowledging failure by amplifying impossible tasks, and exploring the role of memory in forms that respect the contract between the composer, performer, and listener." --Seth Cluett.
"Cluett uses minimal materials derived from close listening and observation of the environment to point up the way in which we personalize our objects and actions. Through creative misuse of post-consumer goods, adaptive re-use of raw architectural elements, and a nostalgic obsession with dead technologies, these materials become instrumentalized. In this way, many of his pieces investigate the movement, patterns, and social organization of both work and play, while others explore the acoustic signature of specific locations, where sound is exposed as the result or goal of a social activity, a characteristic of architectural space, or a by-product of a geological process."
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LINE 045CD
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"Relocation.Reconstruction is derived from the sound elements of the three installations in Yann Novak's solo exhibition Relocation at Lawrimore Project (May 2009). In the original exhibition, Novak explored the multitude of emotional states experienced during and after the relocation of one's life. With this latest work, Novak continues his exploration into this theme a year after the initial event that inspired him, with the new insight that although he has arrived at his destination, the relocation process is far from over. By utilizing the altered sounds of the previous works as a point of departure, Relocation.Reconstruction retains some of the moods and themes of its predecessors, but reconstructs them into a slowly evolving, immersive composition. Textures, tones and faint melodies drift in and out of audible perception, never standing still, always in a state of becoming and disintegration. Through the development of this static, yet dynamic state, a familiar sense of melancholy arises from these simultaneous experiences of discovery and loss."
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LINE 042CD
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"The 'Transparence' dubplate, developed at O ' in Milan, Italy, works within the physical limitations of the vinyl medium, employing the object as sound source and also sound medium, to become an instrument in its own right. Using the non-linear acoustics of the gallery at O', the dubplate was recorded, and later cut to disc in Berlin, at very low volume. This ephemeral audio signal becomes present during playback only at high volume, which subsequently produces, by design, a unique physical response from the room, air and amplification - creating deep undertones and blossoming overtones via these manifold resonances; simultaneously, the action of the stylus gently abraids the soft vinyl surface, causing the dubplate's sound to gradually disappear and evolve, successively losing higher frequencies whilst acquiring new artifacts and crackle. Oltre documents this degradation and transformation over two months of live performances. The integrated system of subsonic feedback from ventilators, acoustically gated binaural microphones, modal micro-variations in guitar feedback, field-recordings from across remote areas of Australia and the live, physical interplay of the turntable, dubplate and stylus, combine to create a field which moves beyond the original recordings and their individual spaces. Working with harmonics and textures as articulated not only through instruments/objects, in space and place, but also in time and the dislocation of the remote, Robert Curgenven's sound explores shifting layers in the fabric of fields of perception, creating vast landscapes from carefully detailed recordings through to immersive resonances via deft manipulations of sound pressure. Employing only analogue means, in a variety of contexts from pure field recordings to feedback and instrumental harmonics to shape relations through sound, his work interweaves the unfolding of complex beauty and the quiet brutality of nature in all of its forms, described by one audience member as 'like a punch in the face while elsewhere flowers bloomed.'"
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LINE 035CD
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"Line is proud to release this collection of recordings from numerous international compilations from 2002-2005. This collection is a wide range of sound works from the ultra-minimal whispers of 'Composition09.01' to the subtle harmonics and musicality of 'How Things Change' to the loud violent distortion of 'Tempt' (a piece only performed a handful of times for noisy spaces -- for example, this one was in attempt to drown out Akufen's set filtering from an adjoining area). Many of these original compilations are out of print or hard to find editions and 'Untitled' makes its debut on CD from its original vinyl appearance. 'Specification.Eleven' and 'Specification.Fourteen' are both part of the continuing collaborative works with Taylor Deupree. This CD serves as a follow-up to 2002's Other Materials."
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