#sound sculpture

[womenofnoise]

Naama Tsabar - Melodies of Certain Damage (2022) (x) Watch the performance composed and performed in collaboration with: Rose Blanshei, Larkin Grimm, Maya Perry, Sarah Strauss and Naama Tsabar.

[ozkar-krapo]

George 'Toet' SMITS

"Isomopolis. ICC"

(ss. LP. Ultra Eczema. 2011 / rec. 1981) [BE]

[garadinervi]

Harry Bertoia, Experimental I / Mechanical I, (LP/CD), FW1035, Sonambient, 2019

[puffologic]

My friend Megan Fitterman making incredible music in Iceland.

[hontokana]

Region: UK / Style: Sound sculpture, Drone / Year: 1979

[zef-zef]

a wonderful collaboration by 2 masters of the genre, bringing us some deep brooding and dystopian sound sculptures.

Merzbow & Lawrence English - Magnetic Traps from: Merzbow & Lawrence English - Eternal Stalker (Dais, 2022)

[subcuticular-records]

Discover the captivating music video for 'Slooshy Me O Brothers' ambient and experimental album 'The Zeitgeist Collection'. Mesmerizing and the experimental soundscape is truly one of a kind. If you're a fan of lofi ambient music, make sure to visit our website for more music like this! subcuticular.co.uk

[dustedmagazine]

Henry Birdsey & Max Eilbacher — Bell Formations (Husky Pants)

Bell Formations by Henry Birdsey/Max Eilbacher

As bassist and electronic provocateur in Horse Lords, Baltimore resident Max Eilbacher expresses his love for experimentation in a rock band format, crafting intricate polyrhythms alongside his bandmates. Solo, he wields a limitless array of concepts and techniques to build kinetic, sometimes confounding compositions. With surgical precision, Eilbacher deploys electronic noise, found sounds, voices and instruments to realize highly textured works. He weaves swarms of audio into intricate constructions with an organizational logic known only to the producer himself. Best to sit back and let the sound wash over you.

New Haven-based composer and multi-instrumentalist Henry Birdsey explores microtonality through prepared and homemade instruments, primarily the pedal steel and lap steel. His work tends to revolve around the deployment of sonorous drones originating from a variety of sources, mostly string based. Tongue depressor, his duo project with Zach Rowden, pushes the composer to diversify and extend his instrumental palette. “Graver’s Block” from the recent Burnish LP incorporates the percussive and resonant characteristics of orchestral bells. The immense tubes vibrate with enough force to conjure a resonant field that stretches to infinity.  

Birdsey’s orchestral bell recordings also form the nexus from which Bell Formations emanates. Eilbacher ran the sounds through his digital rigging, separating the infinite pealing resonances and percussive chiming. He collected a variety of different root pitches and overtones with which to assemble stems which he passed back to Birdsey for further processing. Over two years, the duo honed these mammoth drone passages. The resultant immersive sound worlds imagine a near-future in which an info-morph of Harry Bertoia is holed up in the metaverse, continuing to create digital sonambient sculptures for all to hear.  

Each “formation” hews a unique path through Birdsey’s bell-sourced domain. “Formation I” enters on a cloud of crystalline shards, shimmering in the blinding flashes resident at the high end of the audible spectrum. Before long, throngs of rich mid-range tonality enter and grow to tidal wave proportions. Deep listening reveals numerous colors inherent in the swirling mist that the pair create, as scattered bell concussions prevent us from being overwhelmed by the immensity. Focused more on the uncanny possibilities inherent in the resonance, “Formation III” feels to be the most processed piece. Static and sine tones emerge from foggy drone tunnels, as the bells resound in the distance.  

While it’s easy to get lost in these highly textured soundscapes, Birdsey and Eilbacher want to ground the listener by deploying traditional, albeit slightly detuned, bell sounds. On “Formation IV,” a chorus of chimes and church bells ring out repeatedly. “Formation V” features resounding swarms that resemble a murmuration of starlings shooting off in multiple directions. That this duo can wrench a seemingly limitless array of imagery from a single instrument is testament both to the malleability of the lowly bell and the unique symbiosis of the collaborators. Birdsey and Eilbacher are sculptors of resonance and have carved delightful effigies directly from sound itself.  

Bryon Hayes

[ceisteanna]

The Grind

The onslaught of the longest part of the day. A sequel to the forthcoming Long March. FROM: Dronescapes RELEASE: 131 GENRE: Dronescape YEAR: 2024 PUB: Quasigentsia TAGS: ambient, drone, dronescape, meditative, no_131, relentless, punctuated, sound sculpture, study URL: Persistent MIRRORS: Archive Audio | Archive Video | SoundCloud | YouTube IMAGES: Frame Grabs LICENSE:…

[ozkar-krapo]

GROUPE D'EXPRESSION SONORE De TOURNAI

"Gest"

(LP. Igloo. 1984) [BE]

[garadinervi]

Harry Bertoia, Hints Of Things To Come, (CD), FW1038, Sonambient, 2022

[subrab]

PDFs of all issues of the publication 1985–1999.

[longlistshort]

This sculpture, Precarious recline, is from Bjorn Copeland’s 2015 exhibition Over Easy at Various Small Fires Los Angeles. It was created using discarded furniture found around East Los Angeles.

The exhibition also included a sound sculpture, Scrambled Eggs, Mexican Radio Edit (2015).  It was made in collaboration with the artist’s Black Dice band mates Eric Copeland and Aaron Warren, and combined signals from multiple car radios in an unpredictable and erratic disharmony. The resulting composition was synthesized in real-time and constantly changing.

The video below is for White Sugar, from Black Dice’s 2021 album Mod Prog Sic.

[chanarie69]

THE KIOSK OF DEMOCRACY PRESENTS "String Quartett II." A sound sculpture By Sándor Vály - Finland www.facebook.com/kioskofdemocracy

Sándor Vály ©