festivalCHAT Silent Disco

Image: Radio Garden

For the final day of festivalCHAT we would love to hold a party! But seeing as we can’t all get together in person, shall we have a silent disco?!

We have selected some of our favourite stations from Radio Garden and shared them with you here. Have a listen and let us know your favourites and we can add them to the list. Whatever your musical taste, there is something for you to enjoy here (Note: the webiste is http, for best results download the Radio Garden App).

For the day:

Dr Dick’s Dub Shack, Hamilton, Bermuda

Bosa Nova Brazil, Rio de Janeiro, Brazil

Sada FM, Aleppo, Syria

Sharada Radio Station FM 90.8, Baramati, India

Alpha Boys School Radio, Kingston, Jamaica

WWNO Jazz, New Orleans LA, United States

88 FM, Avarua District, Cook Islands

Artic Outpost AM1270 Longyearbyen, Norway

For the night:

Psychededik.com Progressive, Brest France

Seoul Community Radio, Seoul, South Korea

Operator Radio, Rotterdam, Netherlands

Noods Radio, Bristol, UK

Boxout FM, New Delhi

Techno Underground | Fluxmusic, Berlin, Germany

For something different:

Birdsong Radio, London, UK

Weather Office Honolulu, Honolulu HI, United States

Ambi Nature Radio, Zurich, Switzerland

Send us your Radio Garden favourites and we will add them to the list!

SoundStage 30

It’s been a fabulous week here on SoundStage sending sonic tendrils out to you festivalCHAT goers. We hope you’ve discovered some new artists to tickle your ears (and eyes), sounds to excite you and sounds to soothe you. Maybe both even. At the same time. So without further ado, here’s the penultimate SoundStage, the scritchy scratchy sounds of…..

Jon Lloyd/Walthamstow Home Keyboard Laboratory – Unparalleled Sound Pressure

Compiled from dictaphone and digital field recordings and tape loops.

https://experimentalsoundart.bandcamp.com/track/unparalleled-sound-pressure-waterworks-festival

The pieces I produce are unashamedly broken, incomplete, imperfect.

They are created quickly, seeking to capture a moment.

Unparalleled Sound Pressure was an attempt to document an event that hadn’t happened, and subsequently, never happened; the controversial Waterworks Music Festival in London in 2020. The piece intended to predict an outcome, but instead stands as false testimony to an event that never transpired. It was a protest piece for a cause that was won only through pandemic intervention.

The Walthamstow Home Keyboard Laboratory, involves childrens’ home keyboards from the 1980s and 1990s. These are the toys of my youth, but they were things I never had and could never afford until they were for sale at carboot sales and charity shops. Except, this is a conceit, because I’m very middle class, and could probably have asked my parents to buy them for me. Many of the purchases I made in my twenties I subsequently sold and have since re-purchased at inflated collectors’ rates, from Ebay.

Nevertheless, I seek to accurately portray their sonic characteristics, without the luxuries of digital intervention or external effects. Tracks are improvised, sometimes echo-ing the equipment’s time-period in a broadly Hauntological fashion, and sometimes forging more abstract noise-based arrangements. The pieces flow and each layer follows the last. The tracks are presented chronologically as they were recorded – piecemeal, over a week or so – and demonstrate a level of development in my understanding of how to use them. They are a personal exploration of the material culture of my (perceived) youth.

Twitter: @homekeyboard

Bandcamp: Walthamstow Home Keyboard Laboratory

And now…..the SoundStage finale you’ve all been waiting for……the piece made by YOU….a big round of applause please………it’s……(keep that screaming down please!)…..it’s….

Postcards from All Edges

Arr. Dave Webb with Lara Band, Jobbe Wijnen, Laura Aish, John Tierney, Dan Lee, Antonia Thomas, Rachael Kiddey, Lawrence Northall, Ursula Frederick, Jacqui Mulville, Ben Philcox, Hilary Orange

Tiny sound pictures charting your journeys to #festivalCHAT2020: A front door in East London. Late night seagulls at Ramsgate Harbour circling the fishing boats. An echoey street in Gelderland, so noisy that every falling hairpin can be heard inside, listening to some radio, going outside, a family had just passed, and then a 1950 Mercedes car passed by.

A walk through overgrown graveyard in West Cork – Kilbrogan has one of the oldest ‘modern’ headstones in Ireland dating to 1623 – the mortuary monument appears to be Protestant and it represents the divided and contested landscape of the Bandon area since the town was founded in 1608.

The sea at Dingyshowe, Deerness. The beach is a tombolo between The East Mainland and Deerness (‘nearly an island’). This beach on the east side faces the North Sea. The tide was high, and the weather calm, and small waves were breaking over a small sand shelf at the top of the beach. Sometimes the waves would wash over to the top of the sand. Nearby is a large broch mound, hence the ‘howe’ placename of the beach. Willow and Bee, the kittens purring.

A calf mooing and a bit of owl, a windy and rainy old morning, near Dartmouth, south Devon, UK. Breakfast at Zest Cafe, Ramsgate. A trip for coffee in Canberra with the general bustle of birds, people walking past, hum of building sounds (electricity?). The River taff on a  morning run, CV19 defences. And a laptop falling off a desk….

SoundStage 29

A sonfluence for Thursday: wateryscapes. Feast your ears and eyes on Sam Enthoven’s reverberations on an unfolding situation then let the tapescapes of raxil4 wash over you…

Sam Enthoven – DRIP DRIP DRIP

When I saw the festival’s callout themes of ‘place, space or materiality’ I knew I could make and submit something. For me those words have come to represent strategies for creative survival.

Up until Friday 13th March 2020 I was still deluding myself that Covid-19 would not affect me. I had a great summer lined up, with shows I was taking to theatre festivals all around the UK. There were three big gigs on for my horror project SHIVERS. My monthly sound art night STEEP had some amazing acts booked for March, April, May and beyond. I was making plans for autumn and winter too. Then my first cancellation came in, and within five days everything I’d been working on was off.

For the first month or so, like lots of people, I found myself creatively paralysed, unable to do much of anything but scroll the news and stare at the ceiling. Sometimes – and this is October now – I’m still like that. But place, space and materiality – and a new appreciation for them – have been helping me to get up and make things again.

In 2019 I took a couple of short courses in filmmaking. This form of creating is new for me but has already given me a new way of looking at and thinking about everything around me. That my movements are restricted needn’t matter: the longer and closer I look, the more I can find.

I’ve been developing a series of short pieces combining what I film with my practice as a sound artist. DRIP DRIP DRIP is the latest result.

You can find out more about me at my website – www.sinistermasterplan.com

raxil4 – kulTurm-Ludwigshafen

https://raxil4.bandcamp.com/album/kulturm-ludwigshafen-12-11-15

This piece was recorded in late 2015 as the first date of a 2 week European tour. The imposing octagonal building in Ludwigshafen, Germany now known as the kulTurm was a WWII bunker built in 1942 near the BASF workers’ colony for almost 1,800 people that had a water tower built on top of it in 1953. The performance took place above the water tower on the viewing platform. Microphones were placed within the empty water tower. The second track on the album is the clean microphone recording.

raxil4 is multi disciplinary sound artist Andrew Page, specialising in analogue electronic dronescapes, acoustic audio phenomenon and installation.

He has performed live all over Europe, many of his performances have been in non traditional venues, often choosing to play spaces with character and interesting acoustic qualities, such as caves, churches, crypts, prison cells, psychiatric hospitals & water towers.

He has also performed live and installed durational works in galleries such as Tate Modern (London), The Barbican (London), The Arnolfini (Bristol), M-HKA (Antwerp), Sonnestube (Lugano), Soundfjord (London) & GV Art (London).

Some of his generative pieces have been discussed in classes on composition within the Royal Academy of Music. The first 400 releases of his back catalogue now reside within the British Library Sound Archive.

Facebook: raxil4

Instagram: raxil4_drone

YouTube: raxil4

Bandcamp: raxil4

SoundStage 28

Midweek listening now: draw your ears to a reimagining of Maderna by Daniel James Ross, Carla Rees and Marie Schreer. Then use your imagining to draw your own sonclusions for this  shadow score by Lara Band

Daniel James Ross, Carla Rees, Marie Schreer – Maderna 100

https://classicalremix.bandcamp.com/album/maderna-100

An acousmatic work in four sections based on the music of Bruno Maderna. Each section takes a piece of Maderna’s (or, in the case of section 2, an interview) and uses machine listening techniques to extract musical data that forms the basis of an algorithmic composition. The pieces analysed are “Musica su due dimensioni”, “Standchen fur Tini” and “Dialodia” .

i. 3D
ii. Conversation
iii. Serenade
iv. Trialodia

Twitter: @danieljamesross

Lara Band – Yellow Drift

A graphic score as yet unmade

On 12 April 2020 at Royal Albert Dock, on a near-Easter #DistanceDrift following only yellow, the lichen on the dock edge stood out. Why does it gather more in some places than others? Why does the yellow lichen (probably Caloplaca flavescens) favour some spots and the white (probably Lecanora muralis, chewing gum lichen) favour others? What would the play between this organic, unruly stuff and the machine made fencing sound like? There’s an element of chance and other-than-human agency. The piece would change over time as the lichen grows and as the shadows of the wires of the fence fall differently. Time ran out and the piece remains unmade.

Twitter: @_LaraBand

See also https://festivalchat2020.wordpress.com/2020/10/15/distance-drift/

SoundStage 27

Soundmarks: cast your ears over Radio Lento’s soniferous summerscape and Lawrence Northall’s soni-ferrous reflections. If you don’t know the score by now, we’ll say it again: everything is better with headphones

Lawrence Northall – Echoes

The sound piece Echoes formed part of an installation & temporary exhibition exploring the history & archaeology of Kent’s coastal sound mirrors, as part of the Ramsgate Festival of Sound. The piece is created from field recordings taken within the face of Fan Bay’s recently excavated 1917 mirror & contemporary docks. Two metal acoustic mirrors were specially built for the exhibition & recordings of the public interacting with them also feature in the mix. The sound piece explores the nature of changing technologies & our experience of their associated sounds, highlighting the shifting relationship between developments in machinery & the sensory reality of Kent’s local spaces over time. The installation and exhibition now exists in digital form on CITiZAN website: https://citizan.org.uk/blog/2020/Oct/21/kents-coastal-sound-mirrors-digital-exhibition/

Radio Lento – Early Summer Breezes

http://bit.ly/LenEsx1

Madeleine Sugden and Hugh Huddy live in London with their two children. As for so many city dwellers, when lockdown came, it meant an indefinite period trapped inside a built-up area. Drawing initially from their archive sound recordings, their response was to set up Radio Lento. Radio Lento is a podcast service that provides places to escape to in 3D immersive sound. Each episode presents the listener with a richly spatial sound recording of time passing in a peaceful place. Recorded on-location, most episodes run for around 30 minutes, with some lasting over an hour. Since lockdown eased, they’ve tried every weekend to get out to a remote location to record new material. They travel on public transport and on foot, carrying their gear in a rucksack and, when footpaths are flooded, also their children! When they find a peaceful spot, they leave their equipment to record unattended.

For festivalChat they are sharing Early summer breezes. It evokes the Essex countryside and their first escape from a locked-down city. “On a June afternoon on a warm breezy walk in the Essex countryside we left the microphones in a tree at the top of a rarely used bridleway to record the sound of the wind. The tree was one of an outcrop amongst fields of barley and home to a robin. High above the fields were skylarks, not a common sound these days. In the distance an ice-cream van can be heard on its way to cheer everyone up in the Lea Valley Park. It was a lovely spot to find after so long trapped at home. We sat in the warm sun with the smell of wild grass, listening to the early summer breezes, with a haze-free view of the London skyline.”  https://twitter.com/RadioLento/status/1303959565839540224

https://twitter.com/RadioLento @RadioLento

 

#festivalspast

Share your momentos and memories of festivals past!

We would love to see your collecions of wrist bands, tickets and badges etc from festivals and gigs you have been to in the past! With a summer of restrictions around the world, many of us have missed out on those chilled (or not so chilled …) days under the summer sun, trying to find your tent at night or wading through mud at our favourite festival.

So, dig out those shoeboxes from under the bed and let’s share memories of those good times!

We’ve created a new hashtag to bring all of your collections together. Take some pictures and post them on line:

#festivalspast (Twitter, Instagram and Facebook)

#festivalchat2020 (please use the main festival hashtag as well!)

Thanks to Hilary Orange (chief CHAT festival goer…) for these great photos to get us started!

SoundStage 26

Today: a magnifying glass. The macro of The Oneirologist to the micro of Wave Debb: the everyday sonicity of familiar places. Reach for those headphones once again and listen on…

The Oneirologist – City

CLICK HERE to listen to City

City is a piece inspired by the London, both modern and ancient. A massive metropolis of life seething on top with layers of history laying beneath. The trains rumble below the people sleeping, fucking and eating, below the trains the lives of billions of people past lay in dirt, drains and webs of past lives and structures. London is a place of real life, or diversity and the comings and goings of people for millennia. We are battered by sounds, smells and sights without often thinking about what lies beneath our feet, or behind the wall, buildings older than some countries, streets walked by millions over thousands of years, life and death. As we dig below we find more and more human history piled into this space we call a city. It’s beautiful and ugly and a place of despair and inspiration.

The Oneirologist is an audio-visual electroacoustic project by Rick Jensen (member of Apocalypse Jazz Unit, SKRONK, MGF, Nuha Ruby Ra, FAT COP and more) The project has existed since 2013 and released dozens of albums and films. This recording was performed live at New River Studios on 14/10/2020.

Twitter: @SKRONKimprov

Wave Debb – Rooms

Reacting to the home by using the sounds of objects found within it and the resonant frequencies of it, then looping, mixing and dubbing them live with Ableton, a mixing desk and an array of outboard FX pedals. Another layer added by playing the sound of the resulting mix back in the space to capture its ambience further.

Webb Dave: A Hybrid DJ, mixing field recording loops with outboard fx. A long time ago forgotten combination of musique concrète, improv industrial and percussions on familiar things.

CLICK HERE to listen to Rooms

Twitter: @DebbWave

SoundStage 25

Today is spoken word day:  the phonaesthetics of embodied space brought straight to your ears to you by the Witch of Brussels and Lady Liminal. Are you sitting comfortably? Then they’ll begin…

The Witch Of Brussels – Palace Of Versailles

To enter the Palace of Versailles CLICK HERE

A meditation on architecture and space/time, with percussion, fretless bass, and spoken word, recorded for festivalCHAT 2020: the history of architecture, related within a 4-minute jam that you can also dance to.

NARROW WIDE CLEAN DIRTY QUIET LOUD. Productions in various styles, collaborations, improvisations, spoken word, maybe even a few videos. All or some of these may be experienced while visiting this, the Bandcamp page of Martin Delaney.

https://martindelaney.bandcamp.com/

Bandcamp: martindelaney

Rebecca Lambert – Descending Into The World Of The Underpass

Hello, I’m Rebecca Lambert, also known as Lady Liminal, a postgraduate archaeological researcher and landscape punk, who wanders and ponders the liminal places within the world. My projects cover a broad spectrum. From underpasses to pylons, paranoid architecture through to future ghosts. In this soundscape I, with thanks to Drew Mulholland, explore underpasses as liminal places. We approach underpasses with trepidation, but we know that we must walk their path in order to reach the ‘other side’. Upon entering I am physically removed from the world above, the world of natural light, the world of the living. I am underground, but I am not. I am moving through and within different spheres. Upon exiting the underpass and returning to the light will I be the same person? Would I have undergone a rite of passage, however small? So please join me, and let’s descend into the world of the underpass together…

www.ladyliminalswanderings.wordpress.com

Twitter: @LadyLiminal1

SoundStage 24

Today there’s sound guided by the hand of the sea, guided by numbers, guided by time. Your word for the day is aleaotoric: headphones on, sit back, it’s time for Craig Gell and The Kokra Family…

Craig Gell – Wave Machine (Radio Edits)

Live sea wave data streamed from a marine observation buoy is transformed into a continually evolving electronic soundscape. A network of buoys around the English coast feed data to a freely accessible online resource.

Using the Pure Data (Pd) programming platform, the various measurements recorded by the buoy are used to shape and control the different parameters of sound. Wave periodicity sets a tempo, while wave height determines the amount of pitch-bend. Wind direction determines the sound’s movement across the stereo field. Sea temperature is indicated by a single modulating tone, with a tremolo effect increasing as the sea warms. The initial tonality of all sound within the patch is determined by the coordinates of the buoy, giving each buoy around the coast a unique sound signature. The buoy records data every 30 minutes and the patch is updated via a live internet connection making it possible for Wave Machine to run perpetually.

Craig Gell is a composer, artist and musician based in Folkestone, Kent. He has created site-specific sound art works, radio art and multimedia installations, largely influenced and informed by his local natural environment and the forces of nature. His work has been exhibited at events and festivals including the Folkestone Triennial, Ramsgate Festival of Sound, and Vernon & Burns’ Radiophrenia – broadcast live from Glasgow Centre for Contemporary Arts.

He has also composed music for a number of animated short films, including Quarantine (2019), directed by long-time collaborator Astrid Goldsmith, which aired on BBC4 and won Best Animated Short Film at London Short Film Festival 2020. Music for the film Red Rover (2020) was composed while on residency at the Red House, Aldeburgh.

Craig has collaborated with other local artists and practitioners including Anna Braithwaite (Montrose Composers Club), eco-poet Chris Poundwhite, filmmaker Jemima Hughes, and the Folkestone Fringe.

https://craiggellmusic.com/

Soundcloud: craiggell

Twitter: @craiggell

The Kokra Family (Line Kramer and Marjolijn Kok) – Waiting at Random

Without realizing it, we spent a lot of time waiting for time. When we got time thrown at us, so to speak, during the lockdown it was almost hallucinating how our time got smashed into confinement. The free time we had longed for was changed into a new kind of duration. We undertook new ways of portioning this new time, the biggest portion was dedicated to ways of collaborative research. Within our artist collaboration we are used to do this during a residency or for a certain project. Now the endlessness of our project confronted us with our use of our time and our living space. One of us has an interest in divination, but sees this as a game of chance as well. The way forecasting is undertaken often resembles a gamble. Fortune telling is comparable with algorithms based on randomness. Why something becomes significant in a series or in our lives is tied to absolute chaos. The 1000 numbers that were generated at the core of this project are related to the ‘mille plateaus’ of Deleuze. The number 1000 is connected with us in different ways. For this song a 1000 numbers, generated randomly from 1 to 10, were transcribed into 10 piano keys. The piece has to be played in 20 minutes, a timeframe that coincided with us coming from another project. This restriction helped us to shape the piece. The 20 minutes can be seen/heard as one take, one stroke. It becomes playful to see this as a refrain that could be remembered and sung by heart.

Instagram: @linkramer

Instagram: @marjolijnkok

Instagram: @kokrafamily