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#soundwalk 2013
hmgn3 · 5 months
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23-November 散財記録
02(thu) ・Diplodocus / Epistimology (2003, used 12inch) 03(fri) ・堀嵜菜那と山脈 / ただの動き (2023, CD) 04(sat) ・David Virelles/Antenna (2016, used 10inch) ・Jeff Carey & MoHa! / Jeff Carey's MoHa! (2008, used 7inch) ・Swallow Tongue / A Stain Upon the Silence (1983, used LP) ・Swing 39 / Swing 39 (1976, used LP) ・Traditional Jazz Studio / Trrad Trrad (1969, used LP) 07(tue) ・John Wizards / John Wizards (2013, used LP) ・Pump / The Decoration of the Duma Continues (1987, used LP) 09(thu) ・佐藤マサ & 香港フラワーズ / 桃娘 (2022, used 7inch) ・Benny Sings / Rolled Up (2021, used 7inch) 16(thu) ・水いらず / su-mu (2022, used 7inch) ・The Turtles / Happy Together (1966, used 7inch) 22(wed) ・Trio Contemporaneo / Nueva Expresión (1973, used LP) 23(thu) ・Zea / We are still each other's only hope (2023, LP) ・Eamon / No Matter the Season (2021, LP) ・Tropical Fuck Storm / Deep States (2021, LP) ・DODDODO BAND / DODDODO BAND (2016, used LP) ・Arnaldo Baptista / Let It Bed (2004, LP) ・HiM / New Features (2001, used 2LP) ・Brave Combo / Polkatharsis (1987, used LP) 24(fri) ・安土早紀子 / ハル (2023, CD-R) 27(mon) ・Saint Ballantine / All Saint's Day (2018, used LP) ・Soundwalk Collective / Before Music There Is Blood (2017, used LP) ・CARRE / Sonic Boom (2010, used 7inch+CD-R) ・Sammy / Tales of Great Neck Glory (1996, used LP) ・The Blow of Oblivion (1994, used 3x7inch) 29(wed) ・Glauco Salvo / 5 Haiku (2016, used LP) ・Dirty Mac / Last B-Boy on Mars EP (2016, used 10inch) ・Sore Eros & Kurt Vile / Jamaica Plain (2014, used 10inch) ・Lucky Pierre / Hypnogogia (2002, used LP) ・Adrian Sherwood / Zero Zero One (2001, used 10inch) ・Orton Socket / 99 Explosions (1999, used LP) ・Sue Garner & Rick Brown / Still (1999, used LP) ・George Washington & The Cherry Trees (1985, used LP) ・James T. Pursey / Revenge Is Not the Password (1983, used LP)
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Sound Art Mandy-Suzzanne Wong (2013)
 
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Sound Art
Mandy-Suzanne Wong
In her introduction o her book Sound Art, Mandy-Suzzanne Wong (2013) describes Sound art as myriad of artistic practices that incorporate and comment on sound.  She related the idea of sound art to being a fluid concept a socially constructed art form.  As such, refers to there being several sound art definitions.  There are agreed and fixed definitions of sound art and there are several debates within this arena. This is due to the  standpoint of the artist themselves and the vastness of cultural and historical influences  that inform their  practices and the audience/listener/viewers unique perception and participation.  
Many-Suzzanne Wong goes gives some examples of the diversity in the theoretical approaches to sound art by sound practitioners.  She refers to some practioners who understand this as a relational process with either visuals or space: “William Hellerman, who believes that sound art must have visual components or, as Helga de la Motte-Haber contends, consciously explore relationships between sound and space.” (Wong 2013, p1)
Wong then contrasts this with theorists who dispute these approaches and who advocate that sound art as existing in an atheist, non-affected realm in and of itself.  This approach she refers to the work of Yann Novak and Richard Chartier, who create sound artworks using sound alone.   Wong then contributes to our understanding of sound art as diverse by using then referring to Christian Marclay’s stance who incorporates the added complexity of sound works that are completely silent.   Others Wong then informs us about others such as Max Neuhaus who invite us to question the very use of the term ‘sound arts’.  Max Neuhaus critiques the term because it renders invisible the distinctions between “sound art and experimental music or multimedia art” (Wong, 2013; p1).
After highlighting some differences in epistemology and methods Wong offers a broad understanding of sound art as informed by our unique standpoint:
“sound art may include (or explicitly exclude) sound installation, sound sculpture, performance art, concrete poetry, experimental music, ambient music, noise music, new media art, video art, field recording, soundwalks, soundscape compositions, sound design, circuit bending, sonic games, and conceptual art. Sound artists tend to overtly challenge the boundaries and definitions of artistic genres; many refuse to categorize their work according to generic categories. They therefore provoke ontological questions such as “what is art?” and “what is music?” (Wong, 2013; p1)..
The ontological questioning and epistemological difference that Wong refers to are an influence that can be credited to a wider influence than to sound art itself.  One is to the second and third wave feminist theorise and debates.  Feminist inquirers raised fundamental challenges to the ways in which social science analysed, created, and maintained binary gender differences.  The feminist standpoint theory credited to Sandra Harding (although its roots are from Marxism) suggested our perspective is influenced by our social standing, that involves difference in our identities.  Be it race, sex, gender, sexuality, class, ability, or disability etc.  It was argued there are hierarchical power dynamics involved within different standpoints that offer either a more privileged or oppressed experience.  This epistemological movement influenced all disciplines including sound art, that led to postmodernist influence of practitioner s, who began questioning how various previously accepted terms and theories were  being understood and maintained.  This approach allowed for the unveiling of biases and subjectivity within traditional modernist research enquiry.  This had an influence within the world of sound art.  This feminist influence allowed for a shift from a modernist to a postmodernist critique.  This gave rise to what Wong is referring to the differing opinions of what sound art refers to as the shift in ontological and epistemology allowed practitioners to advance understanding by offering a critique to traditional modernist perspectives and sound artwork.  Thus, informing a new way to a problematise terms, assumptions, and procedures of sound artist methodologies.  
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self-noise · 4 years
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self/noise #5: «Rutas, no raíces. Paseos sonoros y espacio social» (2013-01-08)
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Este programa se acerca a un fenómeno peculiar - el de los paseos sonoros. Por tanto, para esta ocasión hemos hecho algo diferente. En lugar de producir un programa sobre el tema de los paseos sonoros, hemos decidido salir del estudio, agarrar el programa por las orejas, y sacarlo de paseo. Por tanto, podéis entender esto como un programa de radio paseado, o como un paseo sonoro radiofónico.
Las prácticas deambulatorias por el espacio público son complejas y muy transversales: hay pocos comportamientos espaciales que interesen por igual a artistas visuales, arquitectos y urbanistas, escritores, colectivos sociales, y, cómo no, a artistas sonoros y fonógrafos. Es una práctica lo suficientemente compleja como para abordarla con una metodología y una estructura narrativa diferente.
Así que no vamos a pedir perdón por los toques de micro, golpes de viento, o ruidos que afectan la locución, porque ¿qué es el placer de secuenciar y producir un programa de radio en directo comparado con el placer de poder realizarlo paseando por la ciudad?
Salimos a la calle la mañana de un domingo con la idea de abordar el paseo sonoro como una práctica de narrativa sonora espacial. Empezamos partiendo de la etimología de la figura narrativa de la metáfora que, en griego antiguo, significa traslación, transposición, desplazamiento, y también transporte, viaje, paseo. Michel de Certeau expandiría esta etimología en una forma de entender las prácticas deambulatorias como algo eminentemente narrativo: una forma de escritura espacial. Como diría De Certeau: «Todos los relatos son de viaje.» En este paseo radiofónico, nos planteamos investigar el paseo sonoro como una forma de narrativa aural.
Arrancamos nuestro paseo por el barrio de Lavapiés, en el cruce entre la calle Argumosa y la calle Doctor Fourquet, donde nos acercamos a algunos de los planteamientos fundacionales de lo que hoy en día conocemos como soundwalks, o paseos sonoros: el trabajo del World Soundscape Project de R. Murray Schafer, y sobre todo los escritos y piezas basadas en paseos sonoros de una de las pioneras y máximas exponentes en este medio: Hildegard Westerkamp. En el trabajo de Westerkamp escuchamos tanto una dimensión poética como un aspecto prescriptivo, y damos con la idea de conducción, o protocolo para el paseo sonoro.
Seguimos caminando hasta el Patio Nouvel del Museo Reina Sofía, y nos detenemos un momento en el taller de Eric La Casa para el evento «Situación sonora: la deriva aural» en 2012, indagando las relaciones entre prácticas sonoras espaciales y el planteamiento de deriva formulado por la Internacional Situacionista.
Seguimos nuestro paseo por la calle Argumosa, y aprovechamos para acercarnos a una pequeña muestra del extenso y narrativamente complejo trabajo de Janet Cardiff.
En la Plaza Lavapiés, deambulamos un momento por el proyecto «GR-174. Sender del Priorat» de Clara Boj y Diego Díaz - un ejemplo de una forma dialógica de entender el paseo sonoro, y un buen ejemplo de lo que hoy en día llamamos «audio locativo» (locative audio).
En la Plaza Agustín Lara nos detenemos un momento para escuchar, como ya viene ser habitual en este programa, al colectivo Ultra-red. Interpretamos uno de sus protocolos para paseos sonoros incluido en su libro «Cinco protocolos para la escucha organizada», y recordamos la máxima de Terre Thaemlitz: «Rutas, no raíces», que, de paso, tomamos prestada para titular este programa ambulante.
Subiendo por la calle Embajadores, nos topamos con Der Spaziergang, un proyecto y una convocatoria abierta de paseos sonoros derivados e inspirados por el canónico libro de Robert Walser, «El paseo». A la altura de Ribera de Curtidores nos cruzamos con Malaventura, el inquieto artista multimedia que está detrás de Der Spaziergang. Con él damos un paseo por El Rastro. Bueno, uno de nosotros pasea por el Rastro de Madrid, y el otro pasea por el Rastro del Hipódromo de Mijas, y hablamos de Walser, de fonografía y de paseos sonoros. Aprovechamos para poner los pies en un par de fragmentos de los diversos paseos sonoros incluidos en Der Spaziergang: los de Blanca Rego y Pedro Jiménez.
Sin salir del área, nos cruzamos con el itinerario sonoro «Madrid Noise» que José Luis Espejo realizó para el festival de cultura aural «VOLUMEN» hace muy pocas semanas. Aprovechamos para tocar su timbre y damos un paseo - esta vez, con cierta unidad de espacio y tiempo - entre el Rastro, Tirso de Molina, y la Plaza Jacinto Benavente, donde hablamos de ese peculiar paseo colectivo, y abordamos otras estructuras de narración sonora, como el mapa sonoro; una forma narrativa en la que nos detendremos con más atención en un futuro programa. Con José Luis Espejo abordamos el mapa sonoro desde su dimensión política: la de una estructura normativa, y tratamos cuestiones relevantes como la gestión y formulación social y administrativa de la noción de ruido, paseando y pensando en la complejidad de lo que podríamos denominar las políticas del ruido.
Y en esto, se nos hace la hora de comer, así que nos despedimos de José Luis Espejo y nos retiramos a casa.
Y caminando vamos pensando en todos los paseos del mañana.
(* Foto: Clara Boj y Diego Díaz, «Gr-174. Sender del Priorat». Cornudella, El Priorat, septiembre de 2013.)
Recorrido/Playlist:
c/ Doctor Fourquet - Hildegard Westerkamp: «Kits Beach Soundwalk» (1989) (fragmento).
Patio Nouvel, Museo Reina Sofía - Acoustic Mirror: «Following Footsteps (Drift)» (fragmento).
c/ Argumosa - Janet Cardiff: «Missing Voice 1» (fragmento).
Plaza Lavapiés - Clara Boj y Diego Díaz: «GR-174: Séptima etapa, trayecto 71» (fragmento).
Plaza Agustín Lara - Ultra-red: «Protocol for a Soundwalk» («Five Protocols for Organized Listening»).
Plaza Agustín Lara - Ultra-red: «Royal Bank Of Scotland», «Sound Objects for A School of Echoes» (2009).
c/ Embajadores - Malaventura: «Robert Walser Schizophonic Soundwalk Tribute #WLD2013» (fragmento).
Rastro: c/ Fray Ceferino González - Blanca Rego: «…and the delicate rain increased my pensiveness until it became sorrow.» (fragmento).
Rastro: Ribera de Curtidores-Plaza Cascorro - Entrevista con Malaventura.
Rastro: Plaza Cascorro - Pedro Jiménez: «…porque no comprendo ni comprenderé nunca que pueda ser un placer pasar así corriendo ante todas las creaciones y objetos que muestra nuestra hermosa Tierra, como si uno se hubiera vuelto loco y tuviera que correr para no desesperarse miserablemente.» (fragmento).
Rastro: c/ San Cayetano - José Luis Espejo: «Itinerario Madrid Noise» (fragmento).
Rastro-Tirso de Molina - Jacinto Benavente - Rastro - Entrevista con José Luis Espejo.
Reading list
Hildegard Westerkamp: «Soundwalking», en Sound Heritage 3(4), 1974.
Xoan Xil: «Soundwalking. Del paseo sonoro “in-situ” a la escucha aumentada» (2007)
Ultra-red: «Five Protocols for Organized Listening» (2012) (PDF)
John Drever: «Silent Soundwalking. An Urban Pedestrian Soundwalk Methodology» (PDF)
self/noise se emite el segundo miércoles de cada mes en Ágora Sol Radio (http://wwww.agorasolradio.org) entre las 22:00 y las 24:00.
Podéis suscribiros a nuestro podcast en iVoox: http://www.ivoox.com/podcast-self-noise-radio_sq_f160846_1.html
También podéis acceder a nuestro archivo en Internet Archive: https://archive.org/details/selfnoise
Podéis seguirnos también en:
Twitter: http://twitter.com/_selfnoise_
Tumblr: http://self-noise-project.tumblr.com
Facebook: https://www.facebook.com/pages/Selfnoise
* Publicado por primera vez el 2014-01-09.
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dustedmagazine · 5 years
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Michael Pisaro — Nature Denatured and Found Again (Gravity Wave)
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Nature Denatured and Found Again by Michael Pisaro
Let’s start small; Nature Denatured and Found Again is a document of five summers well spent. In the summer of 2011 Michael Pisaro, an American composer, educator, and musician associated with the Wandelweiser composers collective, traveled to Neufelden, Austria to join artist Joachim Eckl at a former storehouse called Die Station (The Station). It is situated near the Grosse Mühl, a small river that empties into the Danube. Decorated with items culled from movie sets and an old Hilton hotel, it houses some of Eckl’s work and provides living and studio space for visiting artists, who mix with each other and townspeople in encounters intended to realize Joseph Beuys’ concept of “social sculpture” (in a nutshell, the idea that people gathering together can collectively change society through art).
Pisaro first came with the intention to participate in a two-year project during which people would congregate for soundwalks up and downstream from The Station. In addition to taking in the sounds of the river and surrounding forest, participants would stop at shelters and listen to musicians perform 12-minute concerts, some of which featured music that had been composed at The Station. Afterwards the participants would listen to field recordings made during the soundwalks, and then return for another day of walks and sounds, including new ones generated by Pisaro, with these memories in mind. Talk about your antidotes to the hectic pace and distraction of post-internet and cell phone life!  
Initially things went well, but then they got complicated. The first two years yielded such profound experiences that Eckl invited Pisaro and others to continue the project, but this was easier said than done. In 2013, a scaled-down version involving walks and field recordings, but no performers or listening shelters, took place. There was no gathering in 2014, and the following year Pisaro, Eckl and a few others did the final walk in a single day. Another year passed before Pisaro finally sat down to deal with the collected material. Art is shaped by the events around it, and Pisaro set to work on Nature Denatured and Found Again on the cusp of Donald Trump’s ascension. Imagine immersing yourself in the work of people bent upon bolstering humanity’s respect for nature when your own president seeks to empower the obtuse but well-financed forces of climate change denial. Since Pisaro lives in California, the time that he worked on this project coincided with the scourge of wildfires raging unchecked in neighborhoods near his own. When an artist’s extraordinary personal experience occurs amidst growing ghastliness, they can either ignore the world around them or deal with it in some way. Pisaro doesn’t deliver a screed against natural destruction, but the respectful way he treats natural sounds in his work and presents them as creative material on a par with man-made sound lets you know what side he’s on.  
Nature Denatured and Found Again comprises five CDs, one for every year from 2011-2015. They are broken down into four 12 minute-long tracks. If you have five playback systems on hand, you could play the discs together for a concentrated Nature Denatured experience; here’s hoping that someone somewhere puts together an installation that runs all five discs on shuffle play until all the possible combinations have run out. Pisaro assembled each disc from material relevant to a particular year, but no disc is a straightforward document of its time. Fissures in Green (2011) includes recordings of the musicians and the environment arranged so that they invite a listener to steep in the beauty of woodwinds and water and to consider the similarity between electronically filtered noise and natural sounds, but also periodically jolts you out of reverie and into the moment by intentionally fragmenting said material. Pathsplitter (Yellow Red) (2012) takes inspiration from the experience of hearing and seeing things over and over by processing them with a readymade musical form. A canon is a composition in which a complex musical piece is created by layering different instruments or singers performing the same part at different pitches. For this disc, Pisaro has fashioned one from Jürg Frey’s clarinet, his own white noise and sine tones, and collected environmental sounds.  
On Landscape in Black and Grey (2013), Pisaro works exclusively with the sounds he recorded along the Grosse Mühl. Sometimes straight, sometimes edited, sometimes electronically filtered and reassembled, the environment is everything. But for White Light Under the Door (2014), the year that Pisaro didn’t make it to Austria, he works with remembered sound in a room. Specifically he uses electronic tones inspired by the 50-hertz hum of the European electrical grid, layered into sine-tone structures. Since such tones change depending on the shape of the room and the way you orient your ears to them, this is the album’s most personal communication of the box; it’s Pisaro signaling you, from his room to yours.  
Hellgrün (Small New World) (2015) confronts the fact of change, and the fact that nature does not remain static while we regard it. The piece’s raw material includes recordings from the project’s earlier years played aloud in The Station’s performance space in 2015, bursts of birdsong, and the sounds of the river recorded at different times. Pisaro shapes, isolates, and recombines these sounds, and honors nature by giving the album’s last word to cicadas, birds and flowing water. This natural music invites us to consider the possibility of its absence. What if all this is gone, and people can’t hear it anymore? Or if mankind figures out too late that its demise is a likely consequence of waging war on nature, will people no longer be around to hear what the world sounds like?  
Bill Meyer
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elsi-sound · 4 years
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Research & Influence
Soundscapes
“Authentic location recording is invaluable. It provides the opportunity to do as much field recording as possible, while you experience firsthand what you are trying to convey to the audience when you are putting the soundtrack together.“ - George Watters II. (Sonnenschein, 2001).
A soundscape is generally defined as a combination of sounds that either forms or emanates from an environment. The studies of soundscapes are called acoustic ecology and were forged by Canadian composer and sound ecologist R. Murray Schafer, in reference to environments, abstract constructions, and sound montages. In his book ‘Sound Design’, David Sonnenschein states that the conventional ‘soundscape’ is constructed from several types of sounds: “keynote ... signals, soundmarks, and archetypal sounds”, which all have equal integrity to the composition of the artform. Keynotes are comparable to that of a “tonal centre” (Sonnenschein, 2001), which act as ballast and reference points to the abundance of surrounding components of sound. A soundmark aids to establish and locate a place in the listener’s reference, whether it be specifically or vaguely. They also possess the unique quality of the location, and act as “auditory counterparts of landmarks” - Truax. (Deiorio, 2018). The natural soundscape can create not only a wide range of emotional spaces but can also stir archetypal sounds that evoke emotion and sometimes reflection/memory. 
“...A place of acoustic delights or a space to retreat from an oppressive overabundance of acoustic info, that saturates the modern industrial world - The Soniferous Garden.” - R. Murray Schafer
A soundscape composition must also have “recognizability in its sound” (Truax, 2002) both in content, and contextuality. By doing so, with distinct and expressive audio material, the listener's receptiveness, “recognition of, and associations with these sounds” (Truax, 2002) can be applied or implemented. Truax implores that such composition can only be considered a soundscape, if the listener considers what they are listening to, to be a ‘soundscape’ -  a sonic environment, that the listener “fosters awareness of sounds that are often ignored, to promote the importance of the soundscape in the life of the community” (Truax, 2002).  Truax also discusses structural approaches to the design of a soundscape, as well as aural perspective on which they are based, namely:
Fixed spatial perspective, accentuating a flow of time; or a discrete series of fixed perspectives. 
An aural journey, or a sense of moving spatial perspective.
Variable spatial perspective. 
Bioacoustican and Soundscape Ecologist, Bernie Krause, also implores soundscapes are made up of three basic sources, which generate its own unique signature. These being:
Geophony - Non-biological sounds that occur in any given habitat. Wind, water, waves. 
Biophony - Sounds that are generated by organisms in a given habitat, in one time and one place.  
Anthrophony - Sound made either directly or as a result of humans. Some of which is controlled, but mostly chaotic and incoherent - and is often referred to as ‘noise’ (Krause, 2013).
Radio Documentary
The rise of podcasts over the past decade has undoubtedly complemented the medium of radio, and to some extent is arguably an evolution of. However, both remain a means of quality audio production and storytelling reaching a wider audience.  John Grierson, the Scottish pioneer documentary filmmaker, and social activist is considered to be the father of film documentary. After studying in the United States, he became the head of the Canadian National Film Board in 1939. Grierson is said to have coined the word ‘documentary’ in 1926, in a review of the film ‘Moana’ by another pioneering filmmaker, Robert Flaherty - where Flaherty devotes a year to living within a Samoan village, documenting the life of the villagers. Grierson describes the documentary as a “creative treatment of actuality” which I find to be a succinct and concise description of not only the film in question, but of the discipline itself too. Both podcasts and radio docs, in turn, have enabled us to examine the ways in which we can undertake these projects - and to think about how our stories can stand out against the grain. Stories can be told in more ways than words and/or visuals: sounds in the background, a change in the ambience or atmospheric undertone are also crucial elements of many documentaries. We can now also be more experimental with structure - not necessarily telling a story in a linear way. Radio documentary is telling a story with sound. It is a journey, told through imagination, an idea to be explored entirely through sound. The sound of the human voice. Pauses. The sounds of places, events or activities. The words spoken/chosen. The words that remain unspoken.
My project has been influenced by the following sources. I have drawn upon elements from each for their production and/or compositional methods to craft my project.
World Soundscape Project: Vancouver Soundscape, Entrance to the Harbour (1973). https://soundcloud.com/nnealby/r-murray-schafer-entrance-to-the-harbour-the-vancouver-soundscape-1973
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Hildegard Westerkamp, ‘Kits Beach Soundwalk‘ (1989). https://www.youtube.com/watch?v=hg96nU6ltLk
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Gideon Koppel, ‘Sleep Furiously’ (2007). https://www.youtube.com/watch?v=BpR06Xbb4eo
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Chris Watson, ‘The Station’ (2014). BBC Sounds https://www.bbc.co.uk/sounds/play/b03c45hq
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Go Wild: A Guide to Coastal Wildlife - Rock Pools (2019). BBC Radio 4 https://www.bbc.co.uk/sounds/play/p07d588r
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emporer88-blog · 5 years
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Project concept 1 – Northshore Soundwalk
Northshore Soundwalk is a wooden re-purposed walkway concept where the community and tourists alike can play sounds in an app by walking on each board. This app can be advertised in nearby airports and port connections to pique people’s attention towards Northshore and create a strong sense of curiosity while also being novel and unique.
The Soundwalk aims to improve the brand awareness of Northshore by involving the community and immersing the community in an interactive or passive activity. The Soundwalk will increase visitation by providing an intensive and memorable activity while also livening up a previously bland space within Northshore.
Originally the Soundwalk was going to be a coloured boardwalk and can still be scaled back towards a lower budget by doing so, however doing this will likely take away much of the interactivity of the instalment. Ultimately the Soundwalk aims to be a lasting installation for people to experience, Leonardo Vazquez is quoted as saying “The value of creative placemaking is as much in the doing as in what is done” (Lange, M. Waal, M, 2013, ch.3), highlighting the need to provide the community something to do for a lasting amount of time, furthering the impact of the site while building a creative space.
 Lange, M. Waal, M. (2013). Owning the city: new media and citizen engagement in urban design Retrieved from https://content.talisaspire.com/qut/bundles/5c806af969df50292672aec4
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suerusselldj · 7 years
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The Pitchfork Guide to Upcoming Albums: Spring 2017
Spoil me - I'm a DJ and I'm cute!
Welcome once again to the Pitchfork Guide to Upcoming Releases, our seasonal guide to new music. Four times a year, we round up a list of albums, singles, EPs, reissues, and more arriving in the coming months. This installment covers spring 2017, starting with this Friday, April 7. (Please note that release dates may change.) To start things off, we’ve highlighted a few particularly notable releases, including albums by Kendrick Lamar, Gorillaz, Lana Del Rey, Father John Misty, Fleet Foxes, Lorde, and others. For more about the releases we’re most excited for in 2017, check out our feature from the beginning of the year.
Arca: Arca (April 7, XL Recordings)
The new self-titled album from producer Alejandro Ghersi under his Arca alias is the follow-up to his his 2015 album Mutant and 2016 project Entrañas. It includes the recently released songs “Piel,” “Anoche,” and “Reverie,” and features Arca stepping out in front of the microphone for the first time, singing exclusively in Spanish. 
Father John Misty: Pure Comedy (April 7, Sub Pop)
The irreverent Josh Tillman returns in full force with Pure Comedy, his newest studio album under the Father John Misty name. The announcement of the 75-minute LP came with a 25-minute making-of documentary filmed during the album’s recording as well as a nearly-2000 word explanation. It features a 13-minute song called “Leaving LA,” plus a track that begins with a line about virtual reality sex with Taylor Swift. Read our extensive new interview with Father John Misty here.
Future Islands: The Far Field (April 7, 4AD)
Synth-pop trio Future Islands are set to release their latest album The Far Field, following the breakout success they found on 2014’s Singles. It includes “Ran” and “Cave,” was produced by John Congleton, and includes a guest appearance by Blondie’s Debbie Harry.
Kendrick Lamar: TBA (April 7 [probably], Top Dawg Entertainment)
Ever since the release of To Pimp a Butterfly in 2015, fans have been waiting with bated breath for details on a new album from Kendrick Lamar. Last year, the rapper followed up with a collection of outtakes and demos, untitled unmastered. On his recent track “The Heart Part 4,” Kendrick teased a date in his final verse: “Y'all got ’til April the 7th to get your shit together,” but it hasn't been confirmed if the album will, in fact, be released this Friday. He also released the Mike WiLL Made-It-produced “Humble.” Read our rundown of what Kendrick has been up to since his last album.
Feist: Pleasure (April 28, Universal)
Pleasure marks singer-songwriter Leslie Feist’s first new full-length record in over half a decade. Produced by Feist alongside Mocky and Renaud Letang, the album was recorded “without guile or go-to’s,” the goal being “to pin the songs down with conviction and our straight up human bodies,” according to Feist. She’s thus far released one song, the album’s title track. 
Gorillaz: Humanz (April 28, Parlophone/Warner Bros.)
Damon Albarn and Jamie Hewlett have finally gotten the animated band back together. Humanz features a massive all-star cast, including Vince Staples, Savages’ Jehnny Beth, Noel Gallagher, Grace Jones, Popcaan, D.R.A.M., Mavis Staples, Danny Brown, De La Soul, Pusha T, Kali Uchis, Kelela, and others. It was recorded in London, Paris, New York, Chicago, and Jamaica and produced by Gorillaz, the Twilite Tone of D /\ P, and Remi Kabaka. The album’s announcement was accompanied by four brand new songs as well as a performance of the entire thing in London.
Mac DeMarco: This Old Dog (May 5, Captured Tracks)
Mac is back with the follow-up to 2015’s mini-album Another One and 2014’s regular-album Salad Days. DeMarco recorded the album after he moved to Los Angeles from Queens. “The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar,” he said in a statement. “So this is a new thing for me.” The album’s announcement was accompanied by two new songs: “My Old Man” and “This Old Dog.” Read Pitchfork’s interview with DeMarco about the new album.
Perfume Genius: No Shape (May 5, Matador)
Mike Hadreas has announced the follow-up to his excellent 2014 album Too Bright. His fourth Perfume Genius album features the new single “Slip Away,” as well as the Weyes Blood-featuring track “Sides.” “I think a lot of [these songs] are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is,” he said in a statement. Hadreas will tour this year alongside serpentwithfeet. 
Slowdive: Slowdive (May 5, Dead Oceans)
The shoegaze originals return 22 years later with Slowdive, their self-titled follow-up to 1995’s Pygmalion. Despite the lengthy gap, the band’s principal songwriter, Neil Halstead, said, “When you’re in a band and you do three records, there’s a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record.” So far, we’ve heard “Star Roving” and “Sugar for the Pill.”
Girlpool: Powerplant (May 12, Anti-)
Girlpool are back with the follow-up to Before the World Was Big, their debut. Powerplant, which has been preceded by “123” and its gruesome video, sees them step up to Epitaph sister-label Anti-. Catch them on tour behind the record.
Planetarium (Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister): Planetarium [June 9, 4AD]
Back in 2011, Nico Muhly, the National’s Bryce Dessner, percussionist James McAlister, and Sufjan Stevens set out on a project that would encompass the breadth of the solar system. The resulting album, Planetarium, will finally be released in June. The record, led by Sufjan’s voice, features songs about “Halley’s Comet,” “Black Hole,” and “Mars”—as well as the previously released “Saturn.”
Fleet Foxes: Crack-Up [June 16, Nonesuch]
Fleet Foxes’ long-awaited follow-up to Helplessness Blues follows a six-year disappearance in which songwriter Robin Pecknold studied at Columbia University. The first single, a nine-minute epic called “Third of May / Ōdaigahara,” addresses Pecknold’s relationship with bandmate Skyler Skjelset—“the feeling of having an unresolved, unrequited relationship that is lingering psychologically,” Pecknold told Pitchfork. Read more about the album in the full interview, and see their upcoming tour dates.
Lorde: Melodrama [June 16, LAVA/Republic]
Lorde returns with her highly anticipated sophomore album, following 2013’s Pure Heroine. It includes her new single “Green Light,” which details her “first major heartbreak,” as well as the stark piano ballad “Liability.” Lorde performed both tracks on “SNL” earlier this year. The album was produced with Jack Antonoff.
Vince Staples: TBA [Def Jam]
Vince Staples’ upcoming album is the follow-up to 2015’s Summertime ’06 and last year’s Prima Donna EP. Earlier this year, he released the new song “BagBak” and announced that VIP packages for his Life Aquatic Tour would include a free copy of the upcoming record. Staples also collaborated with Gorillaz on “Ascension,” from their upcoming album Humanz.
Lana Del Rey: Lust for Life [Polydor/Interscope]
Lana Del Rey announced her new album Lust for Life with a wonderfully mysterious black-and-white clip that found her wondering aloud, “What shall I cook up for the kids today?”. The first taste of her upcoming Honeymoon follow-up arrived with “Love,” a new single released earlier this year. The album will also likely include a collaboration with the Weeknd, following her appearances on “Party Monster” and “Stargirl Interlude” from his 2016 release Starboy. 
LCD Soundsystem: TBA [Columbia]
It’s been seven years since LCD Soundsystem released This Is Happening, their excellent third album. In the time since, the group disbanded, reformed, and embarked on a reunion tour. (They will headline Pitchfork Music Festival this summer). In early 2016, the band announced that they had signed to Columbia Records, with plans to release new music, but nothing has materialized yet. James Murphy offered an update on the album this January, saying he was “still working” on it, but “winter tends to mess with [his] voice.” Hopefully, the warmer weather will bring new LCD Soundsystem music with it.
April:
04-07
Allan Kingdom: Lines [So Cold/Empire]
Allred & Broderick: Find the Ways [Erased Tapes]
Annie Hardy: Rules [Full Psycho/American Primitive]
Anthony Naples: Us Mix EP [Proibito]
Arca: Arca [XL]
Aye Nako: Silver Haze [Don Giovanni]
CFM: Dichotomy Desaturated [In The Red]
The Chainsmokers: Memories...Do Not Open [Disruptor/Columbia]
Clark: Death Peak [Warp] 
Cold Beat: Chaos by Invitation [Crime on the Moon]
Cory Branan: Adios [Bloodshot]
Diet Cig: Swear I’m Good At This [Frenchkiss]
Ecstatic Vision: Raw Rock Fury [Relapse]
Father John Misty: Pure Comedy [Sub Pop]
Fuoco Fatuo: Backwater [Profound Lore]
Fujiya & Miyagi: Fujiya & Miyagi [self-released]
Future Islands: The Far Field [4AD]
Guided by Voices: August by Cake [Rockathon]
Joey Bada$$: ALL-AMERIKKKAN BADA$$ [Pro Era/Cinematic Music Group]
Karen Elson: Double Roses [H.O.T.]
Lil Ugly Mane: Mista Thug Isolation [Hundebiss] [reissue]
Michelle Branch: Hopeless Romantic [Verve]
The New Pornographers: Whiteout Conditions [Collected Work/Concord]
Sam Gellaitry: Escapism III [XL]
San Fermin: Belong [Downtown/Interscope]
Soundwalk Collective: Before Music There Is Blood [Apollo]
Sweet Spirit: St. Mojo [Nine Mile]
Timber Timbre: Sincerely, Future Pollution [Arts & Crafts/City Slang]
Vanbot: Siberia [Lisch Recordings]
Various Artists: Resistance Radio: The Man in the High Castle Album [30th Century]
White Reaper: The World’s Best American Band [Polyvinyl]
04-14
Actress: AZD [Ninja Tune]
Fionn Regan: The Meetings of the Waters [Abbey]
John Mayer: The Search for Everything [Columbia]
Little Dragon: Season High [Loma Vista]
Mary Lattimore: Collected Pieces [Ghostly] [compilation]
Sam Outlaw: Tenderheart [Six Shooter]
Talib Kweli & Styles P: The Seven [Javotti Media/3D]
04-21
Artificial Brain: Infrared Horizon [Profound Lore]
The Black Angels: Death Song [Partisan]
Charly Bliss: Guppy [Barsuk]
Foreseen: Grave Danger [20 Buck Spin]
GAS: NARKOPOP [Kompakt]
Ghosts: Crash Ensemble [Bedroom Community]
Harriet Brown: CONTACT [Innovative Leisure]
Hisato Higuchi: Kietsuzukeru Echo [Root Strata]
J Dilla: Motor City [Dillatronic]
Joe Goddard: Electric Lines [Greco-Roman/Domino]
Kamaiyah: Don’t Get It Twisted [self-released]
Mr. Mitch: Devout [Planet Mu]
Ray Davies: Americana [Legacy]
Real Life Buildings: Significant Weather [Lauren]
Robyn Hitchcock: Robyn Hitchcock [Yep Roc]
Tara Jane O’Neil: Tara Jane O’Neil [Gnomonsong]
Valgeir Sigurðsson: Dissonance [Bedroom Community]
Vampire: With Primeval Force [Century Media]
Various Artists: Thank You, Friends: Big Star’s Third Live... And More [Concord Bicycle]
Woods: Love Is Love [Woodsist]
04-22
RECORD STORE DAY: See list of releases here
04-28
ANAMAI (Egyptrixx & Anna Mayberry): What Mountain [Halocline Trance]
BNQT: Volume 1 [Dualtone/Bella Union]
Colin Stetson: All This I Do For Glory [self-released]
The Cranberries: Something Else [BMG]
Feist: Pleasure [Universal]
Gorillaz: Humanz [Parlophone/Warner Bros]
John Mellencamp: Sad Clowns & Hillbillies [Republic]
Juliana Hatfield: Pussycat [American Laundromat]
Lone: Ambivert Tools Vol. 1 [R&S]
Mark Lanegan Band: Gargoyle [Heavenly]
Mary J. Blige: Strength of a Woman [Capitol]
Mew: Visuals [Play It Again Sam]
The New Year: Snow [Undertow]
Ryuichi Sakamoto: async [Milan]
Shugo Tokumaru: Toss [Polyvinyl]
Sophia Kennedy: Sophia Kennedy [Pampa]
Sufjan Stevens: Carrie & Lowell Live [Asthmatic Kitty]
Swans: The Great Annihilator [Young God/Mute] [reissue]
Sylvan Esso: What Now [Loma Vista]
Thurston Moore: Rock n Roll Consciousness [Caroline International]
WALL: Untitled [Wharf Cat]
Willie Nelson: God’s Problem Child [Legacy]
May:
05-05
The Afghan Whigs: In Spades [Sub Pop]
Alice Coltrane: World Spirituality Classics 1 - The Ecstatic Music of Alice Coltrane Turiyasangitananda [Luka Bop] [reissue]
At the Drive In:  in•ter a•li•a [Rise]
Big Walnuts Yonder: Big Walnuts Yonder [Sargent House]
Bill MacKay: Esker [Drag City]
Black Lips: Satan’s graffiti or God’s art [Vice]
Blondie: Pollinator [BMG]
Bonnie “Prince” Billy: Best Troubador [Drag City]
Brother Ali: All the Beauty in This Whole World [Rhymesayers]
Forest Swords: Compassion [Ninja Tune]
Full of Hell: Trumpeting Ecstasy [Profound Lore]
The Grateful Dead: May 1977: Get Shown the Light [Rhino]
Hoops: Routines [Fat Possum]
Ian William Craig: Slow Vessels EP [Fat Cat]
Jesu/Sun Kil Moon: 30 Seconds to the Decline of Planet Earth [Caldo Verde]
Joan Shelley: Joan Shelley [No Quarter]
John Moreland: Big Bad Luv [4AD]
Juana Molina: Halo [Crammed Discs]
Logic: Everybody [Visionary Music Group/Def Jam]
Mac DeMarco: This Old Dog [Captured Tracks]
Moon Duo: Occult Architecture Vol. 2 [Sacred Bones]
Nick Cave & the Bad Seeds: Lovely Creatures: The Best of Nick Cave & the Bad Seeds 1984-2014 [Mute]
Nightlands: I Can Feel the Night Around Me [Western Vinyl]
Niia: I [Atlantic]
Nite Jewel: Real High [Gloriette]
Penguin Café: The Imperfect Sea [Erased Tapes]
Perfume Genius: No Shape [Matador]
Pond: The Weather [Marathon Artists]
Robin Trower: Time and Emotion [V-12]
Slowdive: Slowdive [Dead Oceans]
Tall Juan: Olden Goldies [BUFU]
Tiny Vipers: Laughter [Ba Da Bing]
Walter Martin: My Kinda Music [Family Jukebox]
05-12
Eyedress: Manila Ice [Lex]
Girlpool: Powerplant [Anti-]
PWR BTTM: Pageant [Polyvinyl]
Slackk: A Little Light [R&S]
Todd Rundgren: White Knight [Cleopatra]
Various Artist: The Bob’s Burgers Music Album [Sub Pop]
Will Stratton: Rosewood Almanac [Bella Union]
05-19
!!!: Shake the Shudder [Warp]
Alex G: Rocket [Domino]
Coldcut x On-U Sound: Outside the Echo Chamber [Ahead of Our Time]
Demen: Nektyr [Kranky]
Do Make Say Think: Stubborn Persistent Illusions [Constellation]
Faith Evans/The Notorious B.I.G.: The King & I [Rhino]
George Michael: Listen Without Prejudice/MTV Unplugged [Legacy] [reissue]
Heather Trost: Agistri [LM Dupli-cation]
Helium: The Dirt of Luck/The Magic City/Ends With And [Matador] [reissue]
Jlin: Black Origami [Planet Mu]
Land of Talk: Life After Youth [Saddle Creek]
Lord RAJA: Amadeus EP [Ghostly International]
Loss: Horizonless [Profound Lore]
Man Forever: Play What They Want [Thrill Jockey]
The Mountain Goats: Goths [Merge]
The Radiophonic Workshop: Burials in Several Earths [Room 13]
Roger Waters: Is This the Life We Really Want? [TBA]
Sam Amidon: The Following Mountain [Nonesuch]
She-Devils: She-Devils [Secretly Canadian]
Tigers Jaw: Spin [Black Cement]
T.RAUMSCHMIERE: Heimat
Wavves: You’re Welcome [Ghost Ramp]
05-26
The Charlatans: Different Days [BMG]
Justin Townes Earle: Kids in the Street [New West]
Martin Rev: Demolition 9 [Atlas Réalisations]
New Order: NOMC15 [Mute]
June:
06-02
Alt-J: Relaxer [Canvasback Music]
Beach Fossils: Somersault [Bayonet]
Benjamin Booker: Witness [ATO]
Chastity Belt: I Used to Spend So Much Time Alone [Hardly Art]
Coldplay: Kaleidoscope EP [Parlophone]
Dan Auerbach: Waiting on a Song [Easy Eye Sound]
Kacey Johansing: The Hiding [Night Bloom]
Marika Hackman: I’m Not Your Man [Sub Pop]
Mavis Staples: I’ll Take You There—An All-Star Concert Celebration [Blackbird Presents]
Pixx: The Age of Anxiety [4AD]
Saint Etienne: Home Countries [Heavenly]
TOPS: Sugar at the Gate [Arbutus]
U2: The Joshua Tree [30th Anniversary Edition] [Interscope] [reissue]
Whitney: You’ve Got a Woman/Gonna Hurry (As Slow As I Can) [Secretly Canadian] [12” single]
06-09
Agent Blå: Agent Blue [Kanine/Luxury]
Cigarettes After Sex: Cigarettes After Sex [Partisan]
Planetarium (Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister): Planetarium [4AD]
06-16
B Boys: Dada [Captured Tracks]
Chuck Berry: Chuck [Dualtone]
The Drums: “Abysmal Thoughts” [Anti-]
Fleet Foxes: Crack-Up [Nonesuch]
Jason Isbell and the 400 Unit: The Nashville Sound [Southeastern]
Kevin Morby: City Music [Dead Oceans]
Lorde: Melodrama [Republic/Lava]
Michael Nau: Some Twist [Suicide Squeeze]
Ride: Weather Diaries [Wichita]
Royal Trux: Platinum Tips + Ice Cream [Drag City]
06-23
Banditos: Visionland [Bloodshot]
TBA
Alice Glass: TBA [TBA]
Amber Coffman: City of No Reply [Columbia]
Arcade Fire: TBA [TBA]
Beck: TBA [Capitol]
Bleachers: TBA [RCA]
Cashmere Cat: 9 [Mad Love/Interscope]
Chic: It’s About Time [TBA]
Chromatics: Dear Tommy [Italians Do It Better]
CyHi the Prynce: No Dope on Sundays [Brooklyn Knights/Sony RAL]
Danzig: Black Laden Crown [Evilive/Nuclear Blast]
Earl Sweatshirt: TBA [TBA]
Fischerscpooner: SIR [TBA]
Grizzly Bear: TBA [TBA]
GZA: Dark Matter [TBA]
Haim: TBA [TBA]
Halsey: Hopeless Fountain Kingdom [Astralwerks]
The I.L.Y’s: Bodyguard [TBA]
Kane Strang: TBA [Dead Oceans]
Katy Perry: TBA [Capitol]
Kelela: TBA [TBA]
King Krule: TBA [TBA]
Kendrick Lamar: TBA [Top Dawg Entertainment]
The Killers: TBA [TBA]
Lana Del Rey: Lust for Life [Interscope/Polydor]
LCD Soundsystem: TBA [Columbia]
Lil B: Black Ken [self-released]
Major Lazer: TBA [TBA]
Post Malone: Beer Bongs & Bentleys [Republic]
Queens of the Stone Age: TBA [TBA]
Sky Ferreira: Masochism [TBA]
SZA: CTRL [TDE]
Vampire Weekend: Mitsubishi Macchiato [TBA]
Vince Staples: TBA [Def Jam]
Wolf Parade: TBA [TBA]
Zack de la Rocha: TBA [TBA]
[Read More ...]
IN MY Dreams
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ricardosousalemos · 7 years
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The Pitchfork Guide to Upcoming Albums: Spring 2017
Welcome once again to the Pitchfork Guide to Upcoming Releases, our seasonal guide to new music. Four times a year, we round up a list of albums, singles, EPs, reissues, and more arriving in the coming months. This installment covers winter 2017, starting with this Friday, April 7. (Please note that release dates may change.) To start things off, we’ve highlighted a few particularly notable releases, including albums by Kendrick Lamar, Gorillaz, Lana Del Rey, Father John Misty, Fleet Foxes, Lorde, and others. For more about the releases we’re most excited for in 2017, check out our feature from the beginning of the year.
Arca: Arca (April 7, XL Recordings)
The new self-titled album from producer Alejandro Ghersi under his Arca alias is the follow-up to his his 2015 album Mutant and 2016 project Entrañas. It includes the recently released songs “Piel,” “Anoche,” and “Reverie,” and features Arca stepping out in front of the microphone for the first time, singing exclusively in Spanish. 
Father John Misty: Pure Comedy (April 7, Sub Pop)
The irreverent Josh Tillman returns in full force with Pure Comedy, his newest studio album under the Father John Misty name. The announcement of the 75-minute LP came with a 25-minute making-of documentary filmed during the album’s recording as well as a nearly-2000 word explanation. It features a 13-minute song called “Leaving LA,” plus a track that begins with a line about virtual reality sex with Taylor Swift. Read our extensive new interview with Father John Misty here.
Future Islands: The Far Field (April 7, 4AD)
Synth-pop trio Future Islands are set to release their latest album The Far Field, following the breakout success they found on 2014’s Singles. It includes “Ran” and “Cave,” was produced by John Congleton, and includes a guest appearance by Blondie’s Debbie Harry.
Kendrick Lamar: TBA (April 7 [probably], Top Dawg Entertainment)
Ever since the release of To Pimp a Butterfly in 2015, fans have been waiting with bated breath for details on a new album from Kendrick Lamar. Last year, the rapper followed up with a collection of outtakes and demos, untitled unmastered. On his recent track “The Heart Part 4,” Kendrick teased a date in his final verse: “Y'all got ’til April the 7th to get your shit together,” but it hasn't been confirmed if the album will, in fact, be released this Friday. He also released the Mike WiLL Made-It-produced “Humble.” Read our rundown of what Kendrick has been up to since his last album.
Feist: Pleasure (April 28, Universal)
Pleasure marks singer-songwriter Leslie Feist’s first new full-length record in over half a decade. Produced by Feist alongside Mocky and Renaud Letang, the album was recorded “without guile or go-to’s,” the goal being “to pin the songs down with conviction and our straight up human bodies,” according to Feist. She’s thus far released one song, the album’s title track. 
Gorillaz: Humanz (April 28, Parlophone/Warner Bros.)
Damon Albarn and Jamie Hewlett have finally gotten the animated band back together. Humanz features a massive all-star cast, including Vince Staples, Savages’ Jehnny Beth, Noel Gallagher, Grace Jones, Popcaan, D.R.A.M., Mavis Staples, Danny Brown, De La Soul, Pusha T, Kali Uchis, Kelela, and others. It was recorded in London, Paris, New York, Chicago, and Jamaica and produced by Gorillaz, the Twilite Tone of D /\ P, and Remi Kabaka. The album’s announcement was accompanied by four brand new songs as well as a performance of the entire thing in London.
Mac DeMarco: This Old Dog (May 5, Captured Tracks)
Mac is back with the follow-up to 2015’s mini-album Another One and 2014’s regular-album Salad Days. DeMarco recorded the album after he moved to Los Angeles from Queens. “The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar,” he said in a statement. “So this is a new thing for me.” The album’s announcement was accompanied by two new songs: “My Old Man” and “This Old Dog.” Read Pitchfork’s interview with DeMarco about the new album.
Perfume Genius: No Shape (May 5, Matador)
Mike Hadreas has announced the follow-up to his excellent 2014 album Too Bright. His fourth Perfume Genius album features the new single “Slip Away,” as well as the Weyes Blood-featuring track “Sides.” “I think a lot of [these songs] are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is,” he said in a statement. Hadreas will tour this year alongside serpentwithfeet. 
Slowdive: Slowdive (May 5, Dead Oceans)
The shoegaze originals return 22 years later with Slowdive, their self-titled follow-up to 1995’s Pygmalion. Despite the lengthy gap, the band’s principal songwriter, Neil Halstead, said, “When you’re in a band and you do three records, there’s a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record.” So far, we’ve heard “Star Roving” and “Sugar for the Pill.”
Girlpool: Powerplant (May 12, Anti-)
Girlpool are back with the follow-up to Before the World Was Big, their debut. Powerplant, which has been preceded by “123” and its gruesome video, sees them step up to Epitaph sister-label Anti-. Catch them on tour behind the record.
Planetarium (Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister): Planetarium [June 9, 4AD]
Back in 2011, Nico Muhly, the National’s Bryce Dessner, percussionist James McAlister, and Sufjan Stevens set out on a project that would encompass the breadth of the solar system. The resulting album, Planetarium, will finally be released in June. The record, led by Sufjan’s voice, features songs about “Halley’s Comet,” “Black Hole,” and “Mars”—as well as the previously released “Saturn.”
Fleet Foxes: Crack-Up [June 16, Nonesuch]
Fleet Foxes’ long-awaited follow-up to Helplessness Blues follows a six-year disappearance in which songwriter Robin Pecknold studied at Columbia University. The first single, a nine-minute epic called “Third of May / Ōdaigahara,” addresses Pecknold’s relationship with bandmate Skyler Skjelset—“the feeling of having an unresolved, unrequited relationship that is lingering psychologically,” Pecknold told Pitchfork. Read more about the album in the full interview, and see their upcoming tour dates.
Lorde: Melodrama [June 16, LAVA/Republic]
Lorde returns with her highly anticipated sophomore album, following 2013’s Pure Heroine. It includes her new single “Green Light,” which details her “first major heartbreak,” as well as the stark piano ballad “Liability.” Lorde performed both tracks on “SNL” earlier this year. The album was produced with Jack Antonoff.
Vince Staples: TBA [Def Jam]
Vince Staples’ upcoming album is the follow-up to 2015’s Summertime ’06 and last year’s Prima Donna EP. Earlier this year, he released the new song “BagBak” and announced that VIP packages for his Life Aquatic Tour would include a free copy of the upcoming record. Staples also collaborated with Gorillaz on “Ascension,” from their upcoming album Humanz.
Lana Del Rey: Lust for Life [Polydor/Interscope]
Lana Del Rey announced her new album Lust for Life with a wonderfully mysterious black-and-white clip that found her wondering aloud, “What shall I cook up for the kids today?”. The first taste of her upcoming Honeymoon follow-up arrived with “Love,” a new single released earlier this year. The album will also likely include a collaboration with the Weeknd, following her appearances on “Party Monster” and “Stargirl Interlude” from his 2016 release Starboy. 
LCD Soundsystem: TBA [Columbia]
It’s been seven years since LCD Soundsystem released This Is Happening, their excellent third album. In the time since, the group disbanded, reformed, and embarked on a reunion tour. (They will headline Pitchfork Music Festival this summer). In early 2016, the band announced that they had signed to Columbia Records, with plans to release new music, but nothing has materialized yet. James Murphy offered an update on the album this January, saying he was “still working” on it, but “winter tends to mess with [his] voice.” Hopefully, the warmer weather will bring new LCD Soundsystem music with it.
April:
04-07
Allan Kingdom: Lines [So Cold/Empire]
Allred & Broderick: Find the Ways [Erased Tapes]
Annie Hardy: Rules [Full Psycho/American Primitive]
Anthony Naples: Us Mix EP [Proibito]
Arca: Arca [XL]
Aye Nako: Silver Haze [Don Giovanni]
The Chainsmokers: Memories...Do Not Open [Disruptor/Columbia]
Clark: Death Peak [Warp] 
Cold Beat: Chaos by Invitation [Crime on the Moon]
Cory Branan: Adios [Bloodshot]
Diet Cig: Swear I’m Good At This [Frenchkiss]
Ecstatic Vision: Raw Rock Fury [Relapse]
Father John Misty: Pure Comedy [Sub Pop]
Fuoco Fatuo: Backwater [Profound Lore]
Fujiya & Miyagi: Fujiya & Miyagi [self-released]
Future Islands: The Far Field [4AD]
Guided by Voices: August by Cake [Rockathon]
Joey Bada$$: ALL-AMERIKKKAN BADA$$ [Pro Era/Cinematic Music Group]
Karen Elson: Double Roses [H.O.T.]
Lil Ugly Mane: Mista Thug Isolation [Hundebiss] [reissue]
Michelle Branch: Hopeless Romantic [Verve]
The New Pornographers: Whiteout Conditions [Collected Work/Concord]
Sam Gellaitry: Escapism III [XL]
San Fermin: Belong [Downtown/Interscope]
Soundwalk Collective: Before Music There Is Blood [Apollo]
Sweet Spirit: St. Mojo [Nine Mile]
Timber Timbre: Sincerely, Future Pollution [Arts & Crafts/City Slang]
Vanbot: Siberia [Lisch Recordings]
Various Artists: Resistance Radio: The Man in the High Castle Album [30th Century]
White Reaper: The World’s Best American Band [Polyvinyl]
04-14
Actress: AZD [Ninja Tune]
Fionn Regan: The Meetings of the Waters [Abbey]
John Mayer: The Search for Everything [Columbia]
Little Dragon: Season High [Loma Vista]
Mary Lattimore: Collected Pieces [Ghostly] [compilation]
Sam Outlaw: Tenderheart [Six Shooter]
Talib Kweli & Styles P: The Seven [Javotti Media/3D]
04-21
Artificial Brain: Infrared Horizon [Profound Lore]
The Black Angels: Death Song [Partisan]
Charly Bliss: Guppy [Barsuk]
Foreseen: Grave Danger [20 Buck Spin]
GAS: NARKOPOP [Kompakt]
Ghosts: Crash Ensemble [Bedroom Community]
Harriet Brown: CONTACT [Innovative Leisure]
Hisato Higuchi: Kietsuzukeru Echo [Root Strata]
J Dilla: Motor City [Dillatronic]
Joe Goddard: Electric Lines [Greco-Roman/Domino]
Kamaiyah: Don’t Get It Twisted [self-released]
Mr. Mitch: Devout [Planet Mu]
Ray Davies: Americana [Legacy]
Real Life Buildings: Significant Weather [Lauren]
Robyn Hitchcock: Robyn Hitchcock [Yep Roc]
Tara Jane O’Neil: Tara Jane O’Neil [Gnomonsong]
Valgeir Sigurðsson: Dissonance [Bedroom Community]
Vampire: With Primeval Force [Century Media]
Various Artists: Thank You, Friends: Big Star’s Third Live... And More [Concord Bicycle]
Woods: Love Is Love [Woodsist]
04-22
RECORD STORE DAY: See list of releases here
04-28
ANAMAI (Egyptrixx & Anna Mayberry): What Mountain [Halocline Trance]
BNQT: Volume 1 [Dualtone/Bella Union]
Colin Stetson: All This I Do For Glory [self-released]
The Cranberries: Something Else [BMG]
Feist: Pleasure [Universal]
Gorillaz: Humanz [Parlophone/Warner Bros]
John Mellencamp: Sad Clowns & Hillbillies [Republic]
Juliana Hatfield: Pussycat [American Laundromat]
Lone: Ambivert Tools Vol. 1 [R&S]
Mark Lanegan Band: Gargoyle [Heavenly]
Mary J. Blige: Strength of a Woman [Capitol]
Mew: Visuals [Play It Again Sam]
The New Year: Snow [Undertow]
Ryuichi Sakamoto: async [Milan]
Shugo Tokumaru: Toss [Polyvinyl]
Sophia Kennedy: Sophia Kennedy [Pampa]
Sufjan Stevens: Carrie & Lowell Live [Asthmatic Kitty]
Swans: The Great Annihilator [Young God/Mute] [reissue]
Sylvan Esso: What Now [Loma Vista]
Thurston Moore: Rock n Roll Consciousness [Caroline International]
WALL: Untitled [Wharf Cat]
Willie Nelson: God’s Problem Child [Legacy]
May:
05-05
The Afghan Whigs: In Spades [Sub Pop]
Alice Coltrane: World Spirituality Classics 1 - The Ecstatic Music of Alice Coltrane Turiyasangitananda [Luka Bop] [reissue]
At the Drive In:  in•ter a•li•a [Rise]
Big Walnuts Yonder: Big Walnuts Yonder [Sargent House]
Bill MacKay: Esker [Drag City]
Black Lips: Satan’s graffiti or God’s art [Vice]
Blondie: Pollinator [BMG]
Bonnie “Prince” Billy: Best Troubador [Drag City]
Brother Ali: All the Beauty in This Whole World [Rhymesayers]
Forest Swords: Compassion [Ninja Tune]
Full of Hell: Trumpeting Ecstasy [Profound Lore]
The Grateful Dead: May 1977: Get Shown the Light [Rhino]
Hoops: Routines [Fat Possum]
Ian William Craig: Slow Vessels EP [Fat Cat]
Jesu/Sun Kil Moon: 30 Seconds to the Decline of Planet Earth [Caldo Verde]
Joan Shelley: Joan Shelley [No Quarter]
John Moreland: Big Bad Luv [4AD]
Juana Molina: Halo [Crammed Discs]
Logic: Everybody [Visionary Music Group/Def Jam]
Mac DeMarco: This Old Dog [Captured Tracks]
Nick Cave & the Bad Seeds: Lovely Creatures: The Best of Nick Cave & the Bad Seeds 1984-2014 [Mute]
Nightlands: I Can Feel the Night Around Me [Western Vinyl]
Niia: I [Atlantic]
Nite Jewel: Real High [Gloriette]
Penguin Café: The Imperfect Sea [Erased Tapes]
Perfume Genius: No Shape [Matador]
Pond: The Weather [Marathon Artists]
Robin Trower: Time and Emotion [V-12]
Slowdive: Slowdive [Dead Oceans]
Tall Juan: Olden Goldies [BUFU]
Tiny Vipers: Laughter [Ba Da Bing]
Walter Martin: My Kinda Music [Family Jukebox]
05-12
Eyedress: Manila Ice [Lex]
Girlpool: Powerplant [Anti-]
PWR BTTM: Pageant [Polyvinyl]
Slackk: A Little Light [R&S]
Todd Rundgren: White Knight [Cleopatra]
Various Artist: The Bob’s Burgers Music Album [Sub Pop]
Will Stratton: Rosewood Almanac [Bella Union]
05-19
!!!: Shake the Shudder [Warp]
Alex G: Rocket [Domino]
B Boys: Dada [Captured Tracks]
Coldcut x On-U Sound: Outside the Echo Chamber [Ahead of Our Time]
Demen: Nektyr [Kranky]
Do Make Say Think: Stubborn Persistent Illusions [Constellation]
Faith Evans/The Notorious B.I.G.: The King & I [Rhino]
George Michael: Listen Without Prejudice/MTV Unplugged [Legacy] [reissue]
Heather Trost: Agistri [LM Dupli-cation]
Helium: The Dirt of Luck/The Magic City/Ends With And [Matador] [reissue]
Jlin: Black Origami [Planet Mu]
Land of Talk: Life After Youth [Saddle Creek]
Lord RAJA: Amadeus EP [Ghostly International]
Loss: Horizonless [Profound Lore]
Man Forever: Play What They Want [Thrill Jockey]
The Mountain Goats: Goths [Merge]
The Radiophonic Workshop: Burials in Several Earths [Room 13]
Roger Waters: Is This the Life We Really Want? [TBA]
Sam Amidon: The Following Mountain [Nonesuch]
She-Devils: She-Devils [Secretly Canadian]
Tigers Jaw: Spin [Black Cement]
T.RAUMSCHMIERE: Heimat
Wavves: You’re Welcome [Ghost Ramp]
05-26
The Charlatans: Different Days [BMG]
Justin Townes Earle: Kids in the Street [New West]
Martin Rev: Demolition 9 [Atlas Réalisations]
New Order: NOMC15 [Mute]
June:
06-02
Alt-J: Relaxer [Canvasback Music]
Beach Fossils: Somersault [Bayonet]
Benjamin Booker: Witness [ATO]
Chastity Belt: I Used to Spend So Much Time Alone [Hardly Art]
Coldplay: Kaleidoscope EP [Parlophone]
Dan Auerbach: Waiting on a Song [Easy Eye Sound]
Kacey Johansing: The Hiding [Night Bloom]
Marika Hackman: I’m Not Your Man [Sub Pop]
Mavis Staples: I’ll Take You There—An All-Star Concert Celebration [Blackbird Presents]
Pixx: The Age of Anxiety [4AD]
Saint Etienne: Home Countries [Heavenly]
TOPS: Sugar at the Gate [Arbutus]
U2: The Joshua Tree [30th Anniversary Edition] [Interscope] [reissue]
Whitney: You’ve Got a Woman/Gonna Hurry (As Slow As I Can) [Secretly Canadian] [12” single]
06-09
Agent Blå: Agent Blue [Kanine/Luxury]
Cigarettes After Sex: Cigarettes After Sex [Partisan]
Planetarium (Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister): Planetarium [4AD]
06-16
Chuck Berry: Chuck [Dualtone]
The Drums: “Abysmal Thoughts” [Anti-]
Fleet Foxes: Crack-Up [Nonesuch]
Jason Isbell and the 400 Unit: The Nashville Sound [Southeastern]
Kevin Morby: City Music [Dead Oceans]
Lorde: Melodrama [Republic/Lava]
Ride: Weather Diaries [Wichita]
Royal Trux: Platinum Tips + Ice Cream [Drag City]
06-23
Banditos: Visionland [Bloodshot]
TBA
Alice Glass: TBA [TBA]
Amber Coffman: City of No Reply [Columbia]
Arcade Fire: TBA [TBA]
Beck: TBA [Capitol]
Bleachers: TBA [RCA]
Cashmere Cat: 9 [Mad Love/Interscope]
Chic: It’s About Time [TBA]
Chromatics: Dear Tommy [Italians Do It Better]
CyHi the Prynce: No Dope on Sundays [Brooklyn Knights/Sony RAL]
Danzig: Black Laden Crown [Evilive/Nuclear Blast]
Earl Sweatshirt: TBA [TBA]
Fischerscpooner: SIR [TBA]
Grizzly Bear: TBA [TBA]
GZA: Dark Matter [TBA]
Haim: TBA [TBA]
Halsey: Hopeless Fountain Kingdom [Astralwerks]
The I.L.Y’s: Bodyguard [TBA]
Katy Perry: TBA [Capitol]
Kelela: TBA [TBA]
King Krule: TBA [TBA]
Kendrick Lamar: TBA [Top Dawg Entertainment]
The Killers: TBA [TBA]
Lana Del Rey: Lust for Life [Interscope/Polydor]
LCD Soundsystem: TBA [Columbia]
Lil B: Black Ken [self-released]
Major Lazer: TBA [TBA]
Post Malone: Beer Bongs & Bentleys [Republic]
Queens of the Stone Age: TBA [TBA]
Sky Ferreira: Masochism [TBA]
SZA: CTRL [TDE]
Vampire Weekend: Mitsubishi Macchiato [TBA]
Vince Staples: TBA [Def Jam]
Wolf Parade: TBA [TBA]
Zack de la Rocha: TBA [TBA]
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soundwalklb · 11 years
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Scheduled between six and ten o'clock in the evening, SoundWalk 2013 will offer visitors an opportunity, through one of the newest postmodern art forms, to explore a city space as a virtual canvas on which artists transform the way in which we, through sight, sound and our other senses, negotiate with and navigate experience. This makes for a unique opportunity, while on a neighborhood stroll, to encounter life melded with art.
SoundWalk is a singular Southern California event that promises an atmosphere charged with the excitement of auditors and spectators as they mill about in search of sites and locations at which they can interact with both the art and the artists, all the while exchanging impressions.
100 years ago, Luigi Russolo's Futurist manifesto "The Art of Noises" was released. As a result, various works featured in this year's event will respond to or incorporate ideas from this seminal declaration that strove to open the sensorium to new ways of perceiving. It has been SoundWalk's mission to promote such aspirations, and we also hope it was our success to have done so. However, in order to continue to find new ways of perceiving, we must transcend the aural and move into alternate modes. This is why it will be SoundWalk's last year. 2015 will be the launch year of a more expansive and more daring event that will explore and respond to the synaesthetic experience in which cognitive boundaries dissolve and the senses converge.
This event is in partnership with Downtown Long Beach Associates (DLBA), Long Beach Arts Month, and Arts Council for Long Beach (ACLB), Museum of Latin American Art (MOLAA).
EVENT DETAILS
WHAT: Sound Art Event "SoundWalk 2013", a one-night event of sound installations by 40 local and international sound artists.
WHERE: Throughout the area encompassed by 4th St, Linden Ave, 1st St, and Elm Ave.
WHEN: Saturday, October 5th, 2013 from 6–10 pm
ADMISSION: Free
PARKING: Metered parking is available on the street; additional parking is also available in the parking lot at the NW corner of Broadway and Elm Ave.
RSVP on Facebook
PARTICIPATING ARTISTS
Alan Nakagawa / Alex Braidwood & Meredith Lynn Morrison / Andrew Reitsma / Astrovandalistas Æffect Lab / The Autotelics / BETAFISHMUSIC / Borderline Antigone / craque / The Church Trap Team / Clowns and Fetuses / Cypress College Media Arts Design / D. Edward Davis / The Dirty Chaps / Ellen Warkentine & Danielle Kaufman / Evan X. Merz / F. Myles Sciotto / Dr. Francene Kaplan / Gary Raymond / hop-frog kollectiv / Hope University & MLuM / Igor Amokian / Joe Newlin / John Nichols III / Julius Bucsis / Kenneth Cameron / Kyong Mee Choi / Lucid Doom / Martin Espino / Melanie Hiller / Michael Nannery / Nick Venden / osKer Llirrem / Parallax Beach / Paula Matthusen + Jacek Kolasinski + Tung-Hui Hu / phog masheeen / Rob Brown / RuckusRoots / Small Drone Orchestra / The Squeakend / Susie Leonard / Tom Zear & Wolf Gowin / Wheels / wikiGong.com
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elsi-sound · 4 years
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Critical Reflection
The piece aimed to use quality audio to produce a conversational narrative accompanied by immersive characterisation of the location. It called upon developing a range of skills. These being:  recording dialogue, recording natural atmospheres - as well as spot effects and sound marks, soundscape editing and dialogue editing. My aim was to produce and edit to the industry standard of radio broadcasting, as heard in BBC Radio 4′s ‘Go Wild’ and Chris Watson’s piece ‘The Station’. I am extremely happy with the outcome of this project - both with how my Location Sound skills have developed, but also with the quality of the final product as a whole. Initially, I had the idea of a soundwalk, a natural mix of both ambiance and interview components, but after further discussion with my tutor, it was concluded that a more documentary, Q&A style of production, with applied soundscape elements in and around, was better suited for the proposed portfolio outcome.
Dialogue was attained in a controlled and investigative recorded environment (Virostek, 2013) so to reduce discrepancies such as obscured narrative and unpredictable atmospheric changes in the recording - out of your control i.e. overwhelming geophony/anthrophony (Krause, 2013). Avoiding these potential hindrances within the dialogue recording, helped to give haste to the editing stage in the process.�� The ambient sections which call into question Virostek’s third classification of field recording, Stealth, are the records of cafes but more notably the Adventureland Bright Spot Arcade.  This was the second of two establishments I visited during production, and also the larger. Upon arrival, the arcade was considerably busy, yet I was unable to find any staff and therefore management to put forward my intention. Despite this, I decided the atmosphere was both appropriate and required for partnering with the dialogue. No personal or private conversations were recorded, merely a stereo image of the character of the institute. I have enjoyed having the opportunity to undergo new experiences, and to undertake areas of work I am passionate about, and about a subject that has a lot of sentiment attached to it. I have also relished the chance to experiment and explore with location and field recording, with the result being a demonstration of using such material as a creative, storytelling tool. The project has also supported and solidified my theoretical and practical skillsets, which I can carry forward toward working collaboratively, producing bodies of gratifying work in the future.
With that being said, there have been limitations that I have had to maneuver throughout the process of making this project. One such, being dependant on outdoor/weather conditions. Unfortunately, the week I scheduled to undertake all of my recordings, was due a spell of particularly bad weather, especially given the location being the coast, toward the Irish Sea, and time of year. Therefore, high winds and rain were a large issue upon the initial takes. This then propelled me to take every opportunity I could to record as much material, in as many locations as possible. As a result, some of the recordings were made either in the very early hours of the morning or at night. Although this did also have benefits, as it meant there was a considerable, and well-received, reduction in anthrophonic sound/s (Krause, 2013). Another limitation was that of timing. As I planned to record material using the university's equipment, it meant I was only eligible for the kit for a limited, negotiated period of time. This may have initially been somewhat of a concern, given the specific, nuanced equipment I intended on using - for instance the Telinga Pro Parabolic and Zoom F8 recording device - which are in limited stock/supply. However, I was successfully able to loan equipment from the university for a week, with a risk assessment (see below).
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My final restriction is that of conceptuality and also accessibility. By that I mean, the more I delved into the project as a whole, editing through the dialogue recordings and spending time actively listening to my field recordings, the more sounds I wanted to include - making the work exponential to a degree. There are moments within the piece that I feel I could have applied more atmospheric notions and sound marks, so to call upon more of the memoires of the interviewee, and promote intimacy and sentiment. But this would have only extended the piece further. Initially, I had set out a protocol that the piece would be approximately twelve-fifteen minutes in length, although the final result is nearly twenty minutes long. Any further material would create more extension, and so would stretch out of the marking guidelines. 
But despite these altercations, I believe I have persevered; and to reiterate, I am very pleased with the final portfolio. I believe it to be a decent demonstration of not just what I have learned, but what I can do for potential future work in film sound and location recording.
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