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Sonic Arts Network, BBC Radio 3 and the ICA present:

CUT AND SPLICE 2006: ACOUSMONIUM

5 -7 May, 2006

Cut and Splice brings the multi-loudspeaker orchestra, the Acousmonium, to London for the first time in its 30 year history. Sonic Arts Network, BBC Radio 3 and ICA provide a rare chance for audiences and artists alike to experience this performance machine first hand.

The festival presents some of the leading international names in current experimental electronic music – including Hans-Joachim Roedelius, John Wall, Zbigniew Karkowski, Eliane Radigue and Florian Hecker - performing alongside the great figures of the Groupe de Recherches Musicales (GRM), François Bayle, Michel Chion and Christian Zanési.

Look out for opportunities to win free tickets to the Festival and details of a special reception for Cut & Splice artists and Sonic Arts members in the next Diffusion.

FESTIVAL PROGRAMME

Friday 5 May, 7.30pm doors, 8pm start

Christian Zanési
Recent work from this principal contemporary GRM figure and exponent of the French acousmatic.

John Wall
An exclusive and ultra-rare live performance from this celebrated British electroacoustic composer.

‘The listening ear is kept at a pitch of alertness’ (The Wire)

Touch Records: Phil Jeck
ICA Bar: Cut and Splice teams up with Touch Records for a celebration of their 25 year anniversary and an audio-visual performance by Phil Jeck.


Saturday 6 May, 5pm doors, 5.30pm start

Carl Michael von Hausswolff
Swedish sound conceptualist considered one of the foremost figures in the field of radical sound performance and minimal electronics.

‘Definitely for the intrepid’ (BBC)

Zbigniew Karkowski – Field (world premiere)
‘Brilliant chamber group’ Apartment House deliver a new extended work for amplified string quartet and multichannel sound from this master of sonic
extremes.

‘Unrelenting intensity that falls between the totalitarian critiques of Laibach and the sonic bloodletting of Hermann Nitsch’

Michel Chion - Requiem
A classic extended piece of 1970s cinemagraphic electroacoustic music from this renowned composer and leading theoretician of the acousmatic and
audio-visual arts.

‘Musique concrète at its purest and leanest, perhaps at its most profound.’

Florian Hecker – new work
A performance developed for the Acousmonium by established Mego sonic artist and post-Xenakis purveyor of dynamic, volatile sound-objects.

‘More complicated, viscous and vicious than just about anything out on the free market.’

Russell Haswell
ICA Bar: Cut and Splice DJ set from leading UK sound surgeon Russell Haswell.

‘What a sound, a large, abrasive worm and it’s burrowing down your auditory canal!’

Sunday 7 May, 5pm doors, 5.30pm start

Hans-Joachim Roedelius – Recognition
(world premiere)
New ‘philosophy in sound’ for the Cut and Splice festival from this self-taught Krautrock pioneer and heralded former Cluster member.

‘Serenity without the sugar of New Age’ (New York Times).

Eliane Radigue – Elemental
Laptop supergroup The Lappetites (Kaffe Matthews, AGF, Ryoko Kuwajima) perform the music of this respected and highly individual Parisian figure.

‘One of the most important and under-recognised composers working today…her music is extraordinarily evocative.’

François Bayle - L’Expérience Acoustique
Cut and Splice climaxes with this celebrated hero of French musique concrète presenting his visionary two-hour journey through the listening experience
and the sounding world, an epic work, unrivalled in scope and ambition.

‘Beauty is priceless and unattainable… and here it is, relentlessly and without effort.’

ReR Records
ICA Bar: post-festival listening hosted by ReR records, one of the UK’s leading and longest standing experimental music labels.


Tickets:

Weekend pass: £25
Friday: £10
Saturday: £12
Sunday: £12

Box Office & Information:

ICA, The Mall, London SW1
Tickets & Box Office Information: 020 7930 3647
Buy online at www.ica.org.uk

Nearest tubes: Charing Cross / Piccadilly Circus

Broadcasts:

Catch Cut and Splice performances and exclusive artist interviews on BBC Radio 3’s Hear and Now, 90-93 FM, 13 and 20 May, 11.00pm

Listen to the shows online at
www.bbc.co.uk/radio3/hearandnow

‘Artistically inspired…Cut and Splice awed’ The Wire

Visit www.sonicartsnetwork.org

 


25 - 30 March
Threshold '06: Sound Screens
(exhibition )
E:vent, 96 Teesdale Street, London

Sound Screens showcases work by artists who blend audio and visual material to create collages sampled from various sources including urban landscapes, pop culture, scientific laboratory equipment, domestic appliances and magnetic storms. Installations presented here include selections from the new Disinformation Sense Data and Perception project. Also featured is the People Like Us aka Vicki Bennett entire A/V back catalogue. HFRLab will present Cityscan.
http://eventnetwork.org.uk

30 March
Take Me To The River: Slow Soundwalk #5
(soundwalk)
Meet at Otterspool Gates Aigburth Road/Jericho Lan

Public soundwalk through Liverpool led by Phil Morton.
http://www.lr.frakture.org

1 April
Interlace
(concert)
Great Hall, Goldsmiths College, New Cross, London

Featuring live electronics, free improvisation and interactive composition by Christopher Redgate (ob) and Roger Redgate (vln); Ben Drew (laptop), Angharad Davies (vln) & Matt Davies (trp, laptop); David Casal (pno, laptop) Guy Harries (fl) & Steve Beresford (pno); John Levack Drever (laptop) & Lawrence Upton (voc).
http://incalcando.com/interlace

1 April
Music and Interactive Art
(concert/exhibition)
b-bar (Barbican Theatre), Castle St, Plymouth

This event creates a space for interaction with contemporary art. Including both media
installations and live music performances from students, researchers, and artists coming from Australia, Brazil, Portugal, South Africa, and
the United Kingdom.
eadward@gmail.com

2 April
Damo Suzuki + guests
(gig)
The Corporation, Bank Street, Sheffield

Damo Suzuki performs another of his 'turn-up and play, without any rehearsal' gigs with Chris Corsano, Chora, Hotsnack, Inecto School, Martin Archer, The Stereo Walk Experiment and more.
noisedollbasement@yahoo.co.uk

3 April
Sonic Arts 42: FURT
(concert)
School of Music Concert Room, UEA, Norwich

Richard Barrett (Berlin) returns to UEA with Paul Obermayer in FURT- the duo formed in London in 1986. FURT’s work sits between free improvisation and systematic composition and uses concrete (sampled/processed) materials.
http://www.uea.ac.uk

3-9 April
EVOLUTION 2006
(festival)
Leeds City Art Gallery, Leeds

Lumen present Evolution 2006, their fifth series of events, screenings and performances exploring avant-garde approaches to film, video and sound. Featuring expanded cinema performances by Jürgen Reble and Thomas Köner, Guy Sherwin and Tony Conrad. Workshops on video synthesis and Super 8 filmmaking with LoVid and no.w.here. New installations by Karen Mirza and Brad Butler and Michael Snow.
http://www.lumen.org.uk/evolution2006/

4 - 5 April
Diffraction: Connecting Art, Industry and Innovation
(conference)
FACT, 88 Wood Street, Liverpool

Networking opportunity for leaders in art, academia, industry, regional development, research and policy fields. Discuss issues emerging at the intersection between art research and industry. Leading figures from the UK and abroad will present case studies and offer ideas and challenges for debate.
http://www.diffraction.org.uk

7 April - 3 June
Debris Field
(exhibition)
Bolton Art Gallery

Debris Field, is an installation of found objects and sounds by contemporary artists from the UK and abroad featuring work by Max Eastley, Tom Philips, Keith Rowe, Russell Mills and Loren Chasse.
www.boltonmuseums.org.uk

8 April
SonicRecycler2
(gig)
Watermans, Brentford, TW8 0DS

Sprawl, Brentford Recycling Action Group and Watermans present a night of reinvention and recycling and featuring an exclusive mix of sounds. Audio artists and DJs will be creating new work by sampling (or recycling) pre-existing sounds and music. Featuring Janek Schaefer, Tunng, The Bohman Brothers, AM/PM + films/ videos St Etienne's Finisterre, Beck's videos by D-Fuse + DJs from BBC Radio 1, Classic FM, Resonance FM + Craft stalls and much more...
www.watermans.org.uk

April 22
Handmade Electronic Music
(book launch)
15 Nassau Street, Manhattan, USA

Nicholas Collins, curator of the SAN's 'A Call for Silence', is launching his new book 'Handmade Electronic Music - The Art of Hardware Hacking' which will be released in April by Routledge. A short hacking workshop will take place beforehand, from 4-6. For those unable to attend you can find copies at www.cdemusic.org.
www.bentfestival.org

23 April
Hugh Tinney
(concert)
Shaw Room, National Gallery of Ireland

Featuring works by Pawel Szymanski, Tom Johnson, John Cage, Gerald Barry, Fergus Johnston, Iannis Xenakis, Giacinto Scelsi and György Ligeti.
http://www.nationalgallery.ie

26 April
Sonic Voyages: Pictures in Sound
(concert)
Bristol University

A concert of sound and video art curated by Neal Farwell. For this concert, video and live performance join with the dynamic surround sounds of BULO, the Bristol University Loudspeaker Orchestra.
http://www.bris.ac.uk/music/

26 April
Kim Cascone: Composing Emergent Sound Art Using Simple Genetic Algorithms
(lecture)

Ian Gulland Lecture Theatre, Goldsmiths, New Cross, London
Internationally acclaimed sound artist Kim Cascone discusses using genetic algorithms to provide a framework for group collaboration in the production of sound art.
http://subsol.c3.hu

29 April
Two Thousand + SIX
(symposium)
SARC/Belfast, Multimedia Suite

A one-day symposium on performance and technology at the Sonic Arts Research Centre (SARC) in Belfast. Line-up includes Fred Frith, Chris Cutler, Anthony Braxton, Gareth Davis, Stephen Östersjö, Elisabeth Smalt, Bob Gilmore, Carlos Zingaro, Adriana Sá, Rafael Toral, Telectu, Richard Barrett, Paul Obermeyer, Atau Tanaka, Eric Lyon, The Ulster Orchestra amongst many others.
www.sarc.qub.ac.uk/pages/2006

27 & 28 May
Sound Junction IV
(concert)
The University Of Sheffield Drama Studio, Sheffield

Latest installment of the Sound Junction Series from the University of Sheffield Sound Studios. Featuring Chetan Pancholi, James Cross, Simon Mulvaney and Adrian Moore plus special guests Pete Stollery and Schaefferian pioneer Beatriz Ferreyra.
http://www.shef.ac.uk/usss/concerts


     


University of Sheffield Summer Schools

The University of Sheffield Sound Studios is pleased to announce two summer schools focusing upon the composition and performance of electroacoustic music.

School A and B follow the same programme of events. The course team comprises: Adrian Moore (composition and performance), Dave Moore (MSP) and James Mooney (composition and performance)

*School A: Two weekends: 8th/9th July + 15th/16th July (4 days)
*School B: Weekdays: Tuesday 11th - Friday 14th July (4 days)

Extended deadline April 21st.

See http://www.shef.ac.uk/usss/summer_school

 

Freelance Music Facilitators

Islington Music Forum is a music project based within the Highgate Mental Health Centre, London N19 offering music workshops and performance opportunities to Islington's mental health community.

We are currently looking for 3 freelance Music Facilitators to run weekly sessions at the Centre:

A Music Facilitator to lead and deliver a weekly open-access music session for people suffering from mental distress: £60 per session

An Assistant Musician to help run the above sessions: £30 per session

A Singing Tutor to lead a weekly singing class: £60 per session

CRB checks are required for all posts

Please contact: Sheelah at Islington Music Forum for a Job Description and further details:Tel: 020 7561 4151 E: mailto:imf@candi.nhs.uk

Deadline for applications: Friday 31st March 2006

 

MAKING LIVE ART IN SE5, London

As part of the Camberwell Arts Festival (June 24 Jul 02, 2020), Camberwell Arts is developing a live art programme which has two strands:

1. Live Art in external spaces in and around SE5

We are seeking existing and/or new work that interacts with the SE5 urban environment including its pedestrians and passers-by. We welcome proposals which consider a specific location; interventions and incidental art making in urban spaces; and time.

2. Live Art for internal venues in and around SE5

We are seeking existing and/or new work which works with larger audiences in fixed venues. The remit for this is completely open and all proposals are welcome.

We have a limited budget for 2006 and will be operating within certain financial constraints when selecting work. If necessary, we will provide assistance to selected artists to secure further funding for their projects.

A maximum of 1 A4 page with budget details should be submitted by April 10, 2021 to mailto:camberwellarts@aol.com


C6 Call for Submissions

C6 invite submissions for its forthcoming publication DiY Audio. The second in their DiY series, DiY Audio focuses on sound, its production, theory and practice. Its launch coincides with C6's curation of NuArt, the media art event within the Numusic festival (Stavanger, 6-10 September 2006).

C6 DiY books are divided into sections: theory, practical Do It Yourselves and case studies related to methods and tactics of projects or strategies employed by different groups. C6's publications are a mix of high and low brow commentaries on DiY production, useful, humorous and provocative, these tales of bedroom production are collated to inspire and inform.

Articles are requested from those working within the following fields: radiophonic work, community, experimental/interactive music, audio / sound art, evolutionary music, algorithmic music, broadcasting, field recording, environmental sonic intervention, electroacoustic music, hacktivism and circuit bending. Technical descriptions of processes or techniques for making instruments and sound are also welcome, as well as tactics for engaging the public through distribution, production or performance.

Your submitted texts will accompany entries from musicians and artists attending the NuArt event, to produce a unique festival catalogue that retains relevance after the curtain has fallen.

Existing material is welcome as well as the submission of abstracts for further development.

Deadline for submissions is June the 15th 2006

To submit please email diy_audio [at] c6dotorg

DiY Audio will be a POD (Print on Demand) book, available to the attending audience and later online.

Editorial panel:
Martyn Reed - Numusic
Richard Whitelaw - Sonic Arts Network
Leon - C6.org

Numusic with over 50 live acts and dj's, debates, exhibitions and installations is fast becoming Scandinavia's leading festival dedicated to the advancement of electronic music.

Attending will be Pierre Henry b1927 - founding father of Musique Concrete, History of Hip Hop - Mad Professor, Dj Kool Herc, Dj Spooky that subliminal Kid and very special guests!

There are a number of calls for participation associated with the events in
September. For full details visit http://c6.org/nuart


Call for Pataphysics


Uavtape are currently working with various writers, scientists and illustrators for P!!

P!! is a patazine... a pataphysics magazine. If you have research or artwork that you would like to contribute to UAVTAPE - please contact p@uavtape.co.uk

Third International Recorder Race 2006

WE WANT YOU FOR WORLDRECORDER!
Third International Recorder Race 2006

After the grand success of the races held in Munich in 2003 and 2004, it's all happening again in 2006 in sight of Dortmund's Westfalen-Stadion: screw on the wheels and off we go, fast forwarding to the starting line, driven by nothing but the motor that used to spool magnetic tape.

No matter if it's a Walkman or Boombox classic, recorder racing is not just about speed. A further important criterion in selecting the Weltrekorder 2006 is the quality of style, design and performance of both the vehicle and it's team. To award points for this overall grandezza there will again be a highly competent international jury of prominent representatives from the fields of design, art, politics, and racing sports.

Born from the idea 'How does one actually recycle obsolete technologies?' this competition is a sports event in which a growing number of enthusiastic friends of recorder racing meet and set up their fabulous racer. Unbelievable creativity and a real sporting spirit go up against one another.

So, why don't you bring your old tape recorders out of the basement, arm up your soldering gun, and fast forward to the Recorder Race of 2006!

Final signup cut-off date: Friday, May 27th 2006

Important information, racing regulations, sign-up forms, and tips and tricks can be found at www.rekorderrennen.de

Rekorderrennen 2006 is generously supported by Fonds Soziokultur

www.rekorderrennen.de
www.hmkv.de

RealiSE Live

Major new commissioning scheme and New Producers Network launched to give the opportunity for an innovative new music project to be created, developed and performed by three key arts organisations in the South East.

Deadline for applications Friday 28 April 2021
Winner to be announced June 2006
World premiere performances Spring 2007

Application packs can be downloaded from the www.realiSElive.com from February 1st 2006

Oxford Contemporary Music, Turner Sims Concert Hall and South Hill Park are launching an exciting new initiative for a new music project to be commissioned, developed and performed in Oxford, Southampton and Bracknell. The RealiSE Live scheme, supported by Arts Council England, is offering professional musicians the chance to have a new work funded and presented by the New Producers Network, a consortium of three major music promoters in the South East of England set up to support the production of new music commissions outside of the London area. The New Producers Network are keen to hear from both new and established artists, based in the UK or abroad, with high quality and innovative
ideas for creating a new work that will capture the imagination of their audiences and stretch the possibilities for each venue. RealiSE Live is a major new opportunity for artists and producers to develop alongside each other, supporting the creative process and creating a significant new work that will tour three major venues in the South East in spring 2007.

RealiSE Live invites ideas for new work which

- is an original piece of music (existing work will not be considered)
- is of the highest quality
- is an innovative new work in jazz, folk, electronica or any field of music
- has the potential to capture the imagination of the venue audiences
- stretches the ability of the performers but also each venue
- is able to tour three different venues of varying scale and technical requirements

RealiSE Live welcomes submissions from individual artists, collectives, agents and managers. The artist/composer must be prepared to work closely with the New Producers Network to realise their project.

The New Producers Network and what they do:

OCM. Oxford Contemporary Music has been building a reputation for its high quality and innovative programme for over a decade. Using a whole range of venues in the city, OCM currently stages around 30 contemporary music events per year including many commissions and premieres. The scale of the venues OCM uses goes from the Café under Modern Art Oxford which houses 100 people to the Oxford Playhouse which houses 600.

South Hill Park, Bracknell, is one of the South East s most vibrant and adventurous arts centres, with a programme of international festivals, new commissions and premiers across the art-forms involving theatre, circus, visual arts and music in a multi-purpose venue with 7 or more different possible spaces.

Turner Sims Concert Hall, Southampton is one of the major music venues in the South of England. Offering stunning natural acoustics, Turner Sims presents an annual programme of prestigious music events in a wide range of genres with emphasis on classical music, contemporary jazz, world music and folk.

For further press information please contact:
National press: Maija Handover / mhpr 020 7377 2831, maija@mhpr.co.uk
Regional press: Satu Teppo / mhpr 020 7377 2529, satu@mhpr.co.uk
www.mhpr.co.uk

Wake Up Call

Wake Up Call is a public art project that maintains the intimacy of a private experience.

Wake Up Call is currently accepting submissions of any artwork able to be transmitted through telephony. Exhibition runs through Jan 07. Submission deadline is May 1st 2006. All genres will be considered: no thematic, content, or stylistic requirements need be met though the works will undergo a juried process. Please see the website for technical specifications: http://www.tele-art.org. Exhibition runs through Jan 07. Submission deadline is May 1st 2006.

Wake Up Call steals from whoever invented the hotel wake-up call and also from robot telemarketers. It lets a person, any person, move from sleep to wakefulness via a sound, a poem, a song of the person's choosing. It lets a person move from being acted upon by technology to using technology to be an actor - an agent in a poetic mission.

The interactive loop of this project is simple: users pick an audio artwork from a menu on the website, schedules the call (time of day that day, a week, a month in advance, etc), and adds a personal, unique message. The Wake Up Call software stores the user's desire and carries it out through auto-dial and code-to-speech conversion. When art whispers in your ear, everybody wins.

CALL FOR EXISTING WORKS

Cybersonica is London's annual festival of music, sound, art and technology. Now in its fifth year, it's a leading international event for anyone interested in the theory and practice of how new technologies are shaping and changing the way musicians, DJs, VJs, digital artists, audiovisualisers and creative software developers make and present their work. The festival brings together a vibrant community of sonic and audiovisual innovation, nurtures new talent and showcases the freshest and latest work in the field. Cybersonica is organised by Cybersalon, currently artists in residence at the Science Museum's Dana Centre.

SONIC ARTS EXHIBITION

As part of Cybersonica 06, there will be a two-week exhibition of sonic artworks. These works will explore new forms of interactivity, moving away from the keyboard and screen and into the physical realm.

We are now accepting submissions of existing sonic art works from artists wishing to exhibit and present at this year's festival.

These works may be interactive installations, new electronic musical devices, physical audiovisualisers, tangible interfaces, modified game engines (for example).

Works should be playful, engaging and must use non-mouse/keyboard interaction.

Deadline: Friday, 31st March 2006.

Notification: Monday, 10th April 2006.

Details, entry forms and terms: available via [www.cybersoncia.org]

 

Acousmatic Music Competition: Metamorphoses

c/o Musiques & Recherches
Place de Ransbeck 3 - B 1380 Ohain, Belgium

Fax: 322 3510094 Email: musiques.recherches@skynet.be

The biennial acousmatic composition competition «Metamorphoses» is organised by Musiques & Recherches with the aid of the Wallonie/Bruxelles Community.

The «Metamorphoses» composition competition will be held in two categories, and in two stages.

A. The members of the Screening Board will receive an anonymous copy of all the works submitted before the deadline to the competition secretariat, and will listen to them in their entirety.

This jury will meet in June at the «Metamorphoses d’Orphee» studio in Ohain (Belgium), to listen again to the best stereo pieces, as well as all the multi-track pieces in their original format, on eight speakers. The pieces chosen for the final will be recorded on CD.

This Board will also pick the winner in category A, whose piece will be recorded onto the same CD. This Board will then choose, among the finalists, a stereo piece which will serve as a compulsory piece in the context of the competition for spatial performance of computer music works which will take place in October 2006 during the «Espace du Son» festival in Bruxelles. Members of the preselection jury : Francis Dhomont, Hans Tutschku, Annette Vande Gorne.

B. During the finale of the «Metamorphoses» composition competition, which will be held on October 19th 2006, the composers who have reached the finale can give a spatial performance of their work in public. In this case two days of lodging will be paid. On this occasion, a jury different from the Screening Board will decide the ranking and announce the award of the prizes.

Acousmatic music :
Work on a medium composed in a studio, played via loudspeakers in concert, without the live intervention of instrumentalist.

1. This competition is open to any acousmatic music work according to the definition given above. It’s an international competition.

2. The finalists of « Metamorphoses 2004 » may not register at the 2006 competition.

3. Only one work by composer lasting between 8 and approximately 15 minutes may be submitted. Works must be in one of the following categories:

Category A: concerns only acousmatic music by students of composition or composers under 28 years of age.
Category B: concerns all acousmatic music works (even those meeting the conditions for category A, if the competitor prefers to enter them in category B). Category B is open to composers up to 50 years of age. Works may be submitted in two formats: stereo or multi-track (from 3 to 8 tracks).

4. Technical standards

Stereo works are to be:
- on DAT 44.1 KHz with indexation of the start of the work and absolute timing; it is recommended to place a 0 VU test signal before the start of the work.
- on CD-R.

Multi-track works will be
- on ADAT, on which the sampling frequency and start of the work are clearly indicated. It is recommended to place a 1 kHz at -12dB test signal before the start of the work. A plan of the layout of the speakers and the allocation of the tracks is to be enclosed. The multi-track ADAT is to be accompanied by a stereo master of the work, which will be used for the screening and, where appropriate, recording onto CD.
- on CD-R, each track must be separate and clearly indexed. Sd2, Aiff, wav format. A plan of the layout of the speakers and the allocation of the tracks is to be enclosed. This CD-R is to be accompanied by another, stereo master of the work, which will be used for the screening and, where appropriate, recording onto CD.

5. The work submitted may have been performed in concert. However, it must not have been released in recorded form and not have been awarded a prize before 17 April 2006.

6. There is no entry fee. The works will not be returned, except those in ADAT format, on request and on a cost recovery basis.

7. The works are to be sent by registered postal package before 17 April 2006. The postmark will serve as evidence of date of posting. Musiques & Recherches will not pay for any postage fees or custom duties.

8. Each work will be accompanied by a fully completed entry form, a commentary, a biography and a photo (free of copyright) of the composer. This dossier will not be passed on to the Screening Board. The medium must not bear any identifying marks. The copies the works are to be anonymous (identified by their category and a sequential number).

9. The works will be sent to the members of the Screening Board, who will listen to them in their entirety. The Board will meet to select, on the one hand the two winners in category A, and on the other hand, the finalists in category B. The multi-track pieces will be listened to in a studio by the Screening Board on a multi-channel system. The winners of category A and the six finalists of category B will be known on 17 July 2006. The decisions of the Screening Board are final.

10. The first prize in category A and the finalists short-listed in category B will be recorded on CD. Among the works in the final, the jury will select one stereo work as a compulsory piece in the spatial performance competition.

11. The six finalists works will be interpreted as part of the 11th International Acousmatic Music Festival «L’ESPACE DU SON» which will be held in Brussels from 19 to 22 October 2006. The works of the finalists will be heard twice: one hearing of the stereo/multitrack version, not a spatial performance, reserved for the members of the jury, followed by a public spatial performance by the competitors in a concert.

12. The final selection concert will take place on 19 October 2006. The prizes will be awarded at the end of the concert.

13. The winners undertake to mention in programmes featuring the prize-winning work that it is a winner of the 'Metamorphoses Prize'.

PRIZES:
For category A
1st Prize : Release of the piece on CD. 10 free CDs
For category B
1st Prize : 2.500 Euros
Audience Prize: 750 Euros; after votes have been counted by one member of the audience and one member of competition secretariat.
M&R prize, residence at the composing studio «Métamorphoses d’Orphee», for the candidate chosen by M&R.
Works of the finalists on CD.
5 free CD for each finalist.
The stereo work chosen by the Screening Board will be played as a compulsory piece in the spatial performance competition, which will be held as part of the «Espace du Son» festival.

2nd Call for Works: ICMC 2006

Tulane University and the Tulane Music Department are proud to announce the open call for submissions to the ICMC 2006. The conference will be held on the Tulane University campus in beautiful New Orleans, Louisiana, USA from November 6 - 11, 2006 and will be a historic
collaboration between ICMA and SEAMUS (Society of Electro Acoustic Music in the US). The nature of the collaboration is part of a larger theme of the 2006 ICMC conference - multidimensionality.

We have updates on resources such as performers and ensembles in residence as well as on-line submission instructions. Please visit www.icmc2006.org for details including deadlines.



 



Will Montgomery
Water Blinks

Selvageflame

Will Montgomery has been composing and writing on experimental music since the early 1990s, mainly for The Wire. Focussing on improvised and electroacoustic music, Water Blinks (2005) is the first release on new electronic music label Selvageflame.

This album should feel more considered and mature than many of its counterparts, but unfortunately, to these ears, it didn’t. From the outset, we encounter those crackly little close-mic’d noises that occur on so many similar releases. My mind wandered – not in a reactionary way, more in a ‘heard this before, don’t mind it, but it’s not that exciting anymore’ kind of way. The track does gradually pick up, leaving the all too easily produced starkness behind for a mellower, more glued together, and dare I say more ‘musical’ soundscape. This transpired as one of the hallmarks of the album, but the good moments aren’t quite frequent enough; frustratingly, whetting the listener’s appetite, yet continually disappearing back into a miasma of electroacoustic boredom.

Some of these pieces are growers: I became fond of tormentil and eyebright – good sounds, nice textures and warm, but if only these highs were maintained or even developed somewhere. Because then mullein crops up, and it is impossible to shake the image of sequencers slowly trundling across little caterpillars of whimsically generated bit-crushed audio. Loathe though I am to use these terms, tracks like mullein sound very hastily knocked together – even if they weren’t. Other highlights include the more improvised pieces, such as hypnum. These had the presence of a capable improviser at the helm, and the machinic noises, together with the human presence maintained interest, imparting an eerie ‘organism in an environment’ feel, which I enjoyed more than most of the first half of the album.

The premise, music’s movement in time, doesn’t really make itself apparent – perhaps Montgomery is being overly subtle, but I struggled to distinguish the concept from the fact that all music moves through time. Plus, there is a lot of developmental stuff already out there, which doesn’t do this work any favours. There is the distinct whiff of dry experimentalism here, with the inclusion of a few other tracks that happened to fit the bill.

Though a little minimal and expressionless for my tastes, Water Blinks turns just enough corners to keep even a cynical listener mildly entertained for a while – but only mildly. For every half decent track, there was a soulless, academicky ‘experiment’, and I’m afraid to say that these left me cold. It is fortunate that the more enjoyable tracks proliferate in the latter half, giving the impression of a developmental progression (perhaps this is the point). Indeed, towards the end, the music seems easier to ‘visualise’, and I think this imparts a perceived increase in quality. Sadly though, this seemed like chance, and these better moments were simply not quite enough for redemption. This was frustrating, as the material here is textbook electronic / improv experimental, and with some liberal pruning and blurring of what’s left, plus a sharper conceptual focus, the good stuff would shine.

Apologies, this review has become seperated from it's author.