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TRACK 13 | JOHN KEFALA-KERR | MIRACLE | 3 MINS 5 SECONDS
TRACK: This short but ambitious panegyric brings together diverse auditory images. The Bhaktinian sonic of the fairground and the compulsive clatterings of the secular world — computer keyboards, loose change, the dance floor — find themselves defined, like children, as inhabitants of a miraculously configured world. Miracle was commissioned by Northern Stage Co.

TRACK 14 | CORYN R SMETHURST | BIRTHDAY PICNIC ON THE MUDFLATS Ð A POSTCARD FROM MY CHILDHOOD | 1 MIN 10 SECONDS
TRACK: Why my friend’s parents should choose the local mudflats for a birthday picnic is still beyond me. The food ended up swarming with insects, all, or so I imagined, munching their way through the party fare. A small world, teeming with life and seemingly chaotic rhythms, a microcosm magnified by circumstance and perhaps by the fickle memory of one’s childhood.
BIOG: Coryn R. R. Smethurst's recent music, often polychromatic and polyrhythmic, emphasises gesture and rhythm as expressive means, whilst being very short in length (between 23 seconds and four minutes). Recent works include Delirious Dreams (1997), Density 0'58" (1998), Crab Nebulae (1998), Sun has Wrinkled the Peach Skin Sand (1999-2000) and Porton Down for trumpet and tape (2000), which will be given its second performance at the Bangor New Music Festival by Stephen Altoft for whom a second work for trumpet and tape is being written. Coryn's music has been performed at the Hebden Bridge Arts Festival, in addition to performances at Huddersfield, Leeds, Manchester and Newcastle Universities.

TRACK 15 | PAUL SPRECKLEY | BERLIN POSTDAMER PLATZ | 1 MIN 22 SECONDS
TRACK: I received a postcard from Berlin. It showed the skyline of Postdamer Platz the new centre of Berlin. I decided to use the pattern of this skyline as a compositional tool for Sonic Postcards. The image was scanned and imported into Metasynth and then split into four parts from top to bottom. These parts were then used to play back different tones and sounds I had synthesised in Turbosynth using additive and FM techniques. The relationship between the parts and sounds is as follows: Top = an assortment of metallic squeaks mapped out as a sample instrument, different parts of the cranes play different sounds from left to right; high middle = a high pitched bell sound; Middle = a mid pitched prepared piano/tuned percussion sound; Low middle/bottom = a deep sub bass. The duration of the image sections was set to 60 seconds and appropriate micro scale tunings were used. The structure of the piece was left entirely up to the image although some manipulation was needed on certain points to enhance attacks/shorten sounds etc. The image was also use to filter different parts. The piece was mixed and mastered sin Cubase, Protools and T.Racks.
TRACK 16 |JAMES WELBURN | DOM | 1 MIN 36 SECONDS
TRACK: This piece is a short edit of recordings collected from the Dom Church in Lubeck, North Germany. The town dates from the middle ages and contains 5 churches from that period. Church Dom was for me the most impressive of all five, with it’s huge acoustic. Any movement made was amplified so massively that the sound seemed to wash over you like a liquid. I therefore went recording there many times, sitting down and just waiting for things to sound. The caretaker putting chairs, tourists murmurs, the huge doors, the beautifully tuned bells. Some sounds I couldn’t even tell what their origin was as they had generated such an acoustic that just made them seem unreal. The size of these sounds describes the space and the bells at the end gives a clue to your whereabouts (The bells themselves are uniquely tuned, anyone that knows Lubeck will recognise them). All sounds in the piece are genuine and unprocessed.

TRACK 17 | JOHN ASHTON THOMAS | MUSIC OF THE EARLY 21ST CENTURY | 3 MINS 3 SECONDS
TRACK: The piece, written in January 2000, is for amplified live Alto Saxophone and recorded stereo sound. This is a complete recording of the piece featuring Martin Speake playing Alto Saxophone. He plays both the live part and the source material for the recorded part, which is drawn entirely from the sounds of the Alto Saxophone, and has been manipulated and controlled using a Macintosh computer and an Akai sampler. The piece has a type of circular form and lasts for 3 minutes. It received its first live performance at Hinde St. Church, London W1 in February 2001.
BIOG: John was born in South Devon in 1961. He studied Composition at T.C.M. with Richard Arnell and at Goldsmiths' College with Stanley Glasser. He debuted as a Composer with his Ballet Score score "Meeting Points" which was performed at The Place in 1984, and his work has been promoted by the S.P.N.M. He has composed for several Film, T.V. and Radio productions including over 100 commercials. He teaches at the Royal Academy of Music and Trinity College of Music and he leads the Contemporary Jazz Group "Heading Out".

TRACK 18 | JONAS RUDDLES | TIME BOMB | 2 MINS 7 SECONDS
TRACK 19 | FRANCESCO GIOMI | ANEWMENU | 2 MINS 54 SECONDS
TRACK: Sonic Postcard in five courses: Antipasti (appetizers) -Sformatino di cavalo nero con passato di fagioli all’uccelletto, Bocconcini di baccalå al limone e porri fritti; Primi piatti(First course) - Cannelloni di brocecoletti in salsa bianca di coniglio; Secondi piatti (main course) - Sella d’agnello al timo con cipolline fondenti; Dolci (Desserts - Mousse di nocciole piemontesi con rondelle di banana flambé. The short piece derives from a radiophonic soundscape composed for Italian RAI-Radio 3: It wants to be a homage to the sonic world of the kitchen, one of the most important human activity. There are three different types of sound from a real restaurant’s kitchen according to Shaeffer’s theory of soundscapes: 1. Keynotes, sounds from the background of the kitchen; 2. Sound signals, sound and gestures in the foreground which are able to draw listener’s attention; 3. Markers, specific and well defined sounds which have a specific meaning for people who work in such an environment. The formal structure is outlined by means of five phrases taken from the real menu of an excellent Italian restaurant and read by the author. Such phrases contribute to divide the piece in several timbral parts, which cold be seen as different points of view of the same environment.
BIOG: Francesco Giomi (Florence, 1963) teaches the Electronic Music course at the Conservatory of Music in Parma and he is also the scientifical-musical coordinator of Tempo Reale, the centre of musical production and research founded by Luciano Berio in Florence. In this context he has leaded the electronic music team for the production of Berio’s important pieces as Outis (Teatro alla Scala-Milan and Théâtre du Châtelet-Paris), Ofanim (MilanoMusica Festival-Milan), Altra Voce (Carnegie Hall-New York) and Geografia, the sound installation designed for the Italian pavillon of the Hannover EXPO2000 Hannover.