Many of the selected tracks are excerpts from concerts and live performances,
or original compositions and studio sessions.
If you are interested in the complete pieces, please contact the artists. They will appreciate your attention.
WARNING: We decided not to master the tracks, so in case you are using headphones, take care
on tracks 4 and 16 specially.
1. Breath by Mirjam Tally (Sweden)
Setup: Flute - edited in Pro Tools. Some external effects were used during recording.
"Sound is central in Tally’s creations. Her music is a flow of playful contrasts where a sense of humour and poetic use of sound are blended
to mix. Beside writing works for contemporary music scene, she is active as a film composer. In recent years, importance of orchestral music has
increased in her oeuvre. She has graduated from the Estonian Academy of Music as a student of Lepo Sumera in 2000. Since 2006, Tally lives on the
island of Gotland, Sweden. In 2009-2010, she was Composer in Residence at Swedish Radio P2 channel. Since 2012, her orchestra works are published
by Gehrmans Musikförlag. Tally’s music has been performed in over 20 countries, including Festival Mixtur (Spain), Dark Music Days on Iceland
(2006), Summartónar on Faeroe Islands (2008), The Venice Biennale's International Festival of Contemporary Music in Italy (2008), etc."
Breathe (2005) is realized at Visby International Centre for Composers, in Studio Alpha and it was part of the NOMUS scholarship.
This work was premiered at Dark Music Days festival on Iceland in 2006. I have used pre-recorded flute sounds (mostly tongue-ram's
and breathing inhale/exhale) which I have processed in Pro Tools (mostly using transpose and reverse). These original flute sounds are recorded
with Estonian flutist Monika Mattiesen at the electroacoustic studio of Estonian Academy of Music."
Recorded at Electroacoustic studio of Estonian Academy of Music, later at Studio Alpha at Visby International Centre for Composers.
Has been performed in several festivals. Premiere at festival Dark Music Days, Iceland, in 2006.
2. Solo at Gertrude Contemporary by Jenny Barnes (Australia)
Jenny Barnes (born Adelaide, Australia, 1981) is a vocalist, performer and video maker currently based in Melbourne. Barnes achieved a Masters
Degree in Applied Linguistics and a Bachelor of Music in Jazz Performance and has studied under the tutelage of predominant vocalists in New York
City, Lisboa, Berlin and Oslo. Barnes has travelled extensively throughout rural Australia, Western Europe and South East Asia gathering fuel
for her work into the musicality of language. Jennyʼs work was exhibited alongside that of Meredith Monk (USA), Jaap Blonk (Netherlands),
Fatima Miranda (Spain) and Amanda Stewart (Australia) among others, in 'Vocal Folds' an exhibition at Melbourneʼs prestigious Gertrude
"Barnes examines and mimics field recordings of Arctic mammals and domestic pets to achieve an extensive and diverse vocal capacity.
Barnes then studies the rhythmic cadences and pitch modulations of human languages and applies her findings to an improvisatory musical context.
Barnes is particularly interested in minority languages and has recently embarked on an ongoing project involving marginalised Indigenous
Australian and Indigenous Norwegian languages. Barnes aims to bring the linguistic diversity of rural areas into her creative practice as an
improvising vocalist, developing her findings with musical collaborators and establishing a distinctive improvising language to present to an
urban and international audience."
Recorded by Nigel Brown on June 27, 2013, at Gertrude Contemporary, as part of ‘Vocal Folds’ an exhibition
exploring the physical and spatial qualities of the voice, moving beyond language and melody into the material and embodied.
3. Solo acoustic voice by Gabriel Dharmoo (Canada)
Gabriel Dharmoo’s musical practice encompasses composition, vocal improvisation and the research of South Indian Carnatic music.
As a composer, he has studied composition and analysis at the Conservatoire de Musique de Montréal. His works have been performed in Canada,
the U.S.A, France, Germany, Australia, Singapore and South Africa. He has received 6 prizes from the SOCAN Awards for Young Composers, as well
as the 2011 Prix d'Europe for composition and the Canada Council for the Arts’ 2011 Robert Fleming Prize. Having researched Carnatic music
with 4 renowned masters in Chennai (India) in 2008 and 2011, his personal style explores the theme of post-exotism and the interplay between
tradition and novelty. As a vocal improviser, Gabriel has sung across Canada (Montreal, Québec, Vancouver, Banff) and in Berlin, Germany.
"Inspired by contrasting vocal expressions in different cultures in time and space, I conceive my voice as both a raw and sophisticated
instrument. My musical language is a blend of diverse classical, avant-garde and traditional elements, mediated by an interest in linguistics
and ethno/zoomusicology. Through improvisation, I evoke, transform, decontextualize and combine such elements only to escape them as soon
as there is any hint of an established or clear reference. This in turn creates a flow similar to storytelling, which allows a broad scope of
Performed and recorded at Western Front, VOICE OVER mind Festival, Vancouver, Canda.
New music director/curator: DB Boyko. Friday February 8th 2013, 8pm. Recorded by: Ben Wilson, Western Front.
4. Discurso Mantícora Rogelio Sosa (Mexico)
Setup: Voice solo, microphone, Max/MSP, amplification.
Rogelio Sosa (Mexico City, 1977) is an experimental musician, composer and promoter of sound art and experimental music.
He began his studies in computer music at the Ateliers Upic in Paris and attended the Composition and Computer Music Course at
the IRCAM from 2000 to 2001. In 2002 he pursued a masters degree at the Paris 8 University. Since 2004 he lives in Mexico.
He was director of the Radar Festival from 2007 to 2010. Actually he is director of the experimental music festival Aural.
"Sosa's improvisations and performances are characterized by the expressive use of the voice as a vehicle for emotions and
moods, generating noise and seeking empathy with the audience thanks to the recognizable language of the human voice.
A malleable medium that emphasizes the spontaneity and uniqueness of each presentation. An open system of signification which
holds a dialogue with the structures of the listener's acoustic reference such as music, noise, and gutturality of vocal
gestures, as well as the structures of auditory reference: ring, height, duration and intensity, all of which is not possible
to react to in a pre-codified manner or to advance a determined aesthetic result."
Recorded on June 2006 t Molotov Studio by Daniel Goldaracena.
5. SHERARCHUR Julien Ottavi (France)
A mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect,
founder and member of Apo33, Julien Ottavi is involved in research and creative work, combining sound art, real-time video,
new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation
through computer. Active developer of audio/visual programs with Puredata, he has also developed since many years DIY electronics
in the perspective of knowledge sharing on technological development. His practices is not limited to the art spheres but crosses
different fields from technological development to philosophy / theoretical research, biomimetic analysis & experimentation.
For many years he reflects on the relations between experimental practices and collective practices within the creation of
autonomous collective groups, putting in question the authorship strategy of the “art ideology”.
"Sound poetry opens up the possibility to liberate the potential of the voice, bringing the traditional singing from those
roots, bringing me connections to my history. Discovering your own body, your own shout, your own chant, through the air exhaled
by your lungs and vibrating through your throat. This tells of nothing more than a sound released by a mouth, and yet it is
everything to do with human beings, it tells the stories that we don’t remember, makes connections with that which we forgot,
with people long since gone, all of this resurgent memories come back again in a furore of air that implode within the body.
This piece is about the lost of language and reborn of a new one. We could hear the acoustic of the venue, the human and the
machine through sound powerful expression of life."
Recorded on January 19, 2013 at Centrum Kultury Zamek in Poznan, Poland. Mastering at Bruit Brut Studio on February 2014.
6. Totally Sick Throatsinging Lathe Cut Arrington de Dionyso(Olympia)
Track taken from "Songs of Psychic Fire vol. I", "a series of short, minimalistic duos between bass clarinet and piano with Thollem McDonas (San Francisco) ,
recorded to a 1940's era Wilcox Gay record lathe. This is "post-improvised" music, i.e. these pieces are free improvisations in
the sense that players are free to make any choices desired, however the choice in most of these pieces is improvise within a
very narrow bandwidth of sound color, emphasizing attack, decay, and the repetition of short interlocking phrases rather
than linear melodic or rhythmic development."
"Arrington de Dionyso (b. January 4th 1975) makes trans-utopian world music for a world that exists in fever dreams and
hallucinations. Using performance and visual art, he traverses the nameless territories held between surrealist automatism,
shamanic seance, and the folk imagery of rock and roll. He clarified his eccentric brew of ecstatic lunacy and prophetic madness
during his 15 year tour-of-duty with Olympia’s Old Time Relijun (1995-2009). Arrington tours constantly both with Malaikat dan
Singa and as a versatile solo artist. Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly
multi-phonic ability inspired by Tuvan throat-singing and the ecclesiastics of Albert Ayler and Don Van Vliet. Arrington attended
Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater.
In 1995 he founded the group Old Time Relijun. He is also the founder and curator of the Olympia Festival of Experimental Musics."
* Thollem McDonas,is a peripatetic pianist/keyboardist, comproviser, singer-songwriter, educator, and social critic.
His musical compositions and performances range from post-classical, to free jazz, to noise to punk rock. He has been touring perpetually throughout North
America and Europe since 2006, performing solo works and collaborating with an array of musicians, dancers, and filmmakers.
He is the founding director of Estamos Ensemble, a project bringing together improvisers and composers across the Mexico/U.S.
Recorded to blue plastic plates using a Wilcox Gay record lathe, on August 9th and 10th 2011 at Le Chateau Circular Ruins
in Olympia, Washington. IMPORTANT: Thollem McDonas doesn't play on this track / Link to full album
7. Pada Siang Hari by Senyawa (Indonesia)
"Wukir Suryadi, born in Malang, East Java December 1977, joined art community since 12 years old, and since then actively learned and worked
as music illustrator for theater, poetry, and short stories. In order to do the job, I kept experimenting, from seeking the source of sounds
to create that source of sounds. Now, I am involved in experimental music scene, perform in concerts or represent my music and my instruments
anywhere I could. I learned about art and life from Bengel Teater Rendra, and I learned a lot from the late composer I Wayan Sadra."
Rully Shabara: "Most of the songs are written in Bahasa Indonesia but there are few songs where I sing in Javanese language. And many times I don't
even sing in any language, just random voice sounds when I feel that language could actually be limiting... In Senyawa
vocal portion is huge and I have to treat it not just as an instrument but also an instrument that should be able to match
Wukir’s versatile instruments."
This track was an unreleased demo. Recorded, mixed, engineered and produced by Andrew McLellan in Pengerat, 2011.
The complete promo-album as we've said before, is absolutely amazing: [ar089] SENYAWA | RULLY SHABARA & WUKIR SURYADI | INDONESIA 2010-2013
8. Sound for Soloists by Cia Rinne & Sebastian Eskildsen (Gothenburg/Copenhagen)
Cia Rinne (Gothenburg 1973, raised in Germany, lives in Berlin), writes minimal texts using different languages.
Her poetry publications include the printed work zaroum (2001), the online-work archives zaroum (Afsnit P 2008), the book notes for soloists
(OEI Editör 2009). The two books were released as Ubuweb editions, and as a single volume in France in 2011 by Le clou dans le fer.
Her works have been exhibited at the ISCP in New York, at the Turku Biennial, the Grimmuseum Berlin, at Signal in Sweden, and the Kumu Art Museum
Sebastian Eskildsen, born 1970 in Copenhagen, graduated in sound engineering from the Royal Danish Music Academy where he also studied flute.
He works with sound design, music, sound engineering, video, and as a music producer, and has been working at the Royal Theatre of Copenhagen
Sounds for soloists" was originally produced at the request of Henning Lundkvist for radiowy, a platform for the production and distribution
of text-based sound art in Malmö. It was first installed at the radiowy listening station at UKS in Oslo, and published online on radiowy.se.
Since then, new sound has been added, and the piece has been exhibited various venues in Berlin, Sweden, Finland, Norway, and Estonia. The sound
piece is based on notes for soloists, a collection of visual and conceptual poetry by Cia published in 2009 by OEI Editör in Stockholm.
The base for the sounds for soloists was a vocal recording of Cia reading her book notes for soloists. For the making of the sound design,
Sebastian concentrated entirely on the rhythmic qualities of the text and voice. His idea was to create a sound stage that would enable all sorts
of things to happen, and so he introduced Cosma, a little figurine from Cia’s first book zaroum, as main character and imaginative speaker.
Sounds for soloists was recorded in Copenhagen on April 30th, 2011, and has been performed live at Louisiana Literature in August 2012,
and at the Copenhagen Jazzhouse in November 2013.
Text and voice by Cia Rinne.
Music, sound design, recording, mixing, mastering and production by Sebastian Eskildsen
Setup: Neumann usm69, Pearl ELM-A, RML SAWStudio, NI Battery, RME Micstacy, RME Babyface.
9. Ringelschnattern by Annette Giesriegl & Cordula Boesze (Graz/Vienna)
"Annette Giesriegl is a dynamic, exciting and creative vocalist who is based in Graz/Austria and works in the field of free jazz and improvised
and contemporary classical music. Ms. Giesriegl has been performing for over 25 years in Europe and the United States and has been connected with
London´s Free Improvised Music scene for over 10 years having worked with Veryan Weston, Steve Beresford, John Edwards, Alison Blunt, Lol Coxhill,
Rowland Sutherland, The London Improvisers Orchestra, etc. Find out about furthermore collaborations and projects, released CDs and credits
at her Homepage"
Cordula Boesze is a flute player and composer in the field of new music, based in Vienna.
"Giesriegl´s emphasis is the use of her voice in a vast context. She relies on her intuition to create music in the moment. Her musical
material comes from listening to all kinds of music and from studying all different styles of singing from all over the world and at times
she works with electronics to expand her vocal material in terms of sounds and virtuosity. The piece "Ringelschnattern" is a word creation which
means "chatter of the ring snake". Blending voice and flute Annette Giesriegl and Cordula Boesze create a soundscape in playing musically
with the topic of their piece."
Recorded by Marufura Fufunjiru, live at the Interpenetration Festivalat "Postgarage", Graz, Austria.
10. Drinking Song From The Tomb by Dave Phillips (Switzerland)
Dave Phillips re/searches and ponders existences and behaviourisms humanimalistically via audio de/construction,
psycho-acoustics, sonic rituals; sound as communication in direct and primal form, a tool of metaphysics, a conscience,
an unrestrained language. sound as a means to activate primordial shared emotions otherwise hidden by civilised experience.
dp's work engages, invites rumination, endorses sentient and environmental e/quality and encourages intervention and action;
therapeutical stimulation is acknowledged. A form of release is evoked, a liberating cleansing, a sound catharsis that opposes
the omnipresent reduction of existence, that puts us in touch with our sentient origins as well as with the realities of our
times. dp rings in the era of humanimal.
dp has been sonically active for over 25 years, has appeared on more than 150 releases and has played around 400 concerts
in 40 countries.
psycho-acoustics. composition. field recordings. sonic rituals. audio exorcism. humanimalism. voice. body. organics.
electronics. video. performance. interdisciplinary. multimedia.
We published this track previously in the promotional compilation about Syrphe database:
[ar088] SYRPHE | NOISE MUSIC IN AFRICA & ASIA | DATABASE 2002-2013
11. 03:22 a.m. danza con figuras y herramientas semejantes by Cacophonic Joy (Mexico)
Rodrigo Ambriz (México City, 1983), vocal Improviser. Currently his main projects are Cacophonic Joy (solo) and (sic)
in duo with Julian Bonequi. He has collaborated deeply in the experimental scene in Mexico City with noisers and improvisers
from different stylistic contexts includig .RR, Los Heraldos Negros, Juanjose Rivas, Germán Bringas, Fernando Vigueras,
Angélica Castelló, Arthur Henry Fork, Eduardo Meléndez, Felix Blume, Alejandro Tux, among others. He has published in labels
such as Ruido Horrible, Noxa Recs and Suplex.
"My way to approach sound is this phonic-waste voragine; grunts, suffocated exhalations, shriekings, whispers, squawks and
screams. I'm focused on deconstructing, alter and multiply the phonic material. The first thing that interests me about
the voice are the physical sensations that come from manipulating the vocal apparatus, air travel in internal cavities,
tremors in different parts of the body, the stresses and strains. All this brings me to a primary state. The voice that exists previous
to language. I'm interested in the voice as generator of a constant flow of dizzying associations, the voice that enters
in a channel of automatism and glossolalia."
Recorded in Mexico City, on April 2014 by Luis Ortega.
12. Live at Quiet Cue by Antoine Mermet (France)
Mouth & static microphone.
Antoine Mermet (1987) mostly uses saxophones and voice. He plays Improvised Music with Markus Pesonen, Emilio
Gordoa, Adam Pultz Melbye(...) and Written Music in bands such as CHROMB!, The Very Big Experimental Toubifri
Orchestra among others. He also works with the dancers Benjamin Coyle, Stina Nilsson and the poets Pierre Gonzales iz neR
and Sarah Pellerin-Ott.
This solo work is about Silence that never really exists. This ficticious silence is surrounded by very amplified mouth and
vocal noises. It also deals with the solist position of a musician that shows nothing but himself, without any
disguise - no effect pedals nor tape. Having mainly worked for 3 years with collective music projects, pushed me to pure
loneliness on stage.
This extract was recorded at Quiet Cue (Berlin) on the 23rd of
August 2013.Recorded / mixed / mastered by Michael Renkel.
13. Tasteless (excerpt) by Yi Xin Tong (China/New York/Canada)
Setup: empty beer can, voice, heavy metal pedal, mixing console and amplifiers.
Yi Xin Tong works with moving and still images, sound, three-dimensional objects, and words. His research-aided work takes
form as installations with sculptural, video, print, and writing components. Cultural and natural landscape, fiction, metaphysics,
musicality of the mute, visual art as writing, and the dialectics of poetry and naïveté are subjects he is studying.
Tong is attracted to the phenomena of knowledge formation in relation to human history, and his work derives from the elusive
clashing of discrepant epistemology. Drawn to the historical scent of archival materials, he collects and forges dispersed
knowledge fragments to create new and fictitious scenarios.
This piece is called Tasteless. An empty beer can and my voice are the sound sources. The music is an interplay between
vocal sounds and electronically generated sounds. Especially, the utterance of language and the sound of feedback mutually
mimic and react to each other. It is difficult to make out the semantic meaning of the poetry that's read, when the sounds
start to lose their linguistic references. While at the same time, the symbolic form of both words and the behaviour
of poetry reading retains.
Recorded by Yi Xin Tong at BLIM in Vancouver, BC, 22/10/10. It was performed at the series 'Not Sent Letters & Guest.'
14. "A Body Defeated By Anarchy" by Bonequi (Mexico)
Julian Bonequi (Mexico, 1974 ), works with multi-genre improvisation and outsider expressions since 1995. Also works with handmade illustrations,
cg-art and as professor of 3d animation, as well as manager of Audition Records platform and guest curator at Ex Teresa Arte Actual Museum in Mexico City.
He has performed under the conduction of William Parker, London Improvisers Orchestra, Berlin Improvisers Orchestra... and played with
musicians such as Vagina Dentata Organ, Paal Nilssen-Love, Joke Lanz, Mat Pogo, Audrey Chen, Els Vandeweyer, Tristan Honsinger, Paul Hession,
Ute Wassermann, Olaf Rupp, among many others... in the 90's he was drummer of the legendary experimental mexican band "Decibel", founded in 1974.
"In terms of concentration and therapeutic practices of memory, while refracting the time and seeding the hybridization of extreme tensions while improvising, as an
intimate technique to ritualize the constrained physical possibilities of the body, and using the constant change of the breath provoking hyperventilation -,
I search for primitive states over mind explosions fed by frecuency attacks... If you can feel the shout of the body as an extra manifestation of empathies,
and the strength of its accents while the gesture - in and out, in and out, out out... - the interior tremblings... the vibrations of the bones,
the skull and the brain; the voice through the spine while advancing the forced sounds with your throat... hitting up and down your chest and stomach inward like...
- Yes, probably you are dressing something. Mixing the rhythms of subconsciousness and the fainting as a pleasure turns unstability into new narratives to compose
and improvise defeated by Anarchy, portraying something is broken - a human being - as a social phenomena of lost roots and forbidden evidences in a
City like Mexico. Based on this words, my work is focused in alienated rituals as an act of concentration. A kind of mysticism fed by self-induced alienation."
Setup: A “hand cut” amplified drums of 10 and 12 inches + bass amplifier, live mixing and voice.
Recorded at Papagayo Studio by Daniel Goldaracena, on September 3, 2013 in Mexico City.
For the title the phrase have been taken from the book "Tokyo Doesn't Love Us Anymore" by Ray Loriga. An history about a
drug dealer -drugs of oblivion- who wants to forget all.
15. Songs for a Stranger: (v) in the midst by Nichola Scrutton & Céline Hänni (Scotland/Switzerland)
Two amplified vocal performers improvise with pre-composed vocal/sound material that is diffused live over 4 speakers.
Nichola Scrutton is a freelance, Glasgow-based composer, sound artist, performer and facilitator. Her practice ranges from
acousmatic compositions to live vocal performance work, from interdisciplinary collaborations to education/outreach projects.
Nichola received her PhD in electroacoustic composition from University of Glasgow (2009) and worked there for 2 years
as a Teaching Fellow in Music.
Céline Hänni studied harp and voice, developing a versatile spectrum of experimental vocal techniques. She gives many
performances of contemporary works e.g. Archipel (Geneva), Open Op - Neuköllner Oper (Berlin) and Operadagen (Rotterdam).
Céline likes to combine her acoustical explorations with the theatre and graphic arts.
"I am particularly interested in the sonorous and expressive potential of the voice both through and beyond text.
This work was inspired by the notion that everyone feels like a stranger sometimes – when travelling somewhere new;
returning home; confronting solitude. Some feel estranged in close intimacy; others find connection through anonymity.
Songs for a Stranger is a collection or cycle of electroacoustic works that draws metaphorical inspiration from these many
senses of the word ‘stranger’. Two performers improvise with fragments of text and extended vocal techniques, interacting
and merging with layers of pre-composed sound to create a series of self-contained but interconnected states.
Recorded at The Arches Live! in Glasgow, on September 20, 2011. Sound composing, production and vocal performance:
Nichola Scrutton Vocal performance collaboration: Céline Hänni. Performance sound diffusion: Graeme Truslove . Selected by The Arches as an Arches Live!
production Supported by Creative Scotland.
16. VACUUM FERTILIZATION Joachim Montessuis (Paris)
Joachim Montessuis develops an experimental contextual practice mainly around voice, drone, noise and resonance since the
early 90's. His current work is directed towards conceptual experimental processes of the issue of observation and perception
of reality through a non-dual approach. His vocal performative work explores various states of trance through the extreme
potentialities of amplification and electronic transformations of screams, throat singing, and also words. He designs his actions
as processes, "noise poetry-codes reality fertilizers".
He has shown his work in many festivals around the globe (more than 200 performances) and he has collaborated with more than
100 artists, including Charlemagne Palestine, Henri Chopin, Maja Ratkje, Master musiciens of Joujouka, Phill Niblock....
He runs the label erratum.org since 1997. He lives in Paris and teaches
sound and intermedia art at HEAR in Strasbourg.
""VOICE IS A POTENTIAL PSYCHOTROPIC CODE REPROGRAMMING REALITY AND CONSCIOUSNESS - A REGENERATIVE QUANTUM SYNTHESIS THROUGH
INTERSUBJECTIVE VIBRATORY RESONANCE"
Live recording @ Le Volume, Nice - France, 09-05-2014, during festival de M.A.I.
with one microphone, one computer and max/msp patch + 3 amps + 2X stereo P.A.
17. Improvisation by Ferran Besalduch (Barcelona)
Ferran Besalduch is always exploring in his extrems saxophones: big Bass Saxophone and Sopranino Saxophone. Looking for new
sounds and mix them with both natural sounds. At this moment Ferran is member of some bands from Barcelona: Sin Anesesia
(more than 10 saxophones), Malaclypse Sax quartet, Blow (band about very low instruments), and a lot of others musicians
in duos, trios, etc. He is constantly collaborating with artists from other fields, like dancers, sculptors, painters,
filmmakers, poets, actors...
Recorded at "Poesia als parcs", Font del Pradelló, Olzinelles. Catalunya on September 23, 2012.
18. Improvisation with Sonolin by Chris Tonelli (Canada)
Improvisation on solo voice & Sonolin (a MIDI interface invented by Andrew Staniland, Scott Stevenson, Andy Fisher,
and Nick Krouglicof. Here the Sonolin was controlling the Stanilooper Max patch developed by Andrew Staniland).
Chris Tonelli's first public performance as a soundsinger was a duo for voice and amplified florescent light in 2001
at an international conference on acoustic ecology. Since then he has been performing solo and collaboratively in Canada,
the United States, Japan, Mexico, and New Zealand. He is a graduate of the doctoral program in Critical Studies and Experimental
Practices in Music at the University of California, San Diego and in addition to his soundsinging practice he is a historian
and theorist of related forms of vocal music. His recordings include a solo vocal recording and his GO Duo project.
"I believe there is socio-political value to extra-normal vocality. I began soundsinging because it's pleasurable, but it
soon became apparent it compels some listeners to perform in response. The epistemologies of modernity that allow the powerful
to legitimize their privilege depend on notions of a species-ideal, human-animal opposition, and rationality. Listeners who
encounter soundsinging often see it as a violation of these notions and, through speech acts or other behaviours,
take action to police and contain it. There is social benefit to denaturalizing these notions and making ethico-aesthetic
choices that oppose them. Soundsinging, to me, is both pleasure and politics.
Recorded by Andrew Staniland and Scott Stevenson. at D.F. Cook Recital Hall in St John's, Newfoundland, Canada on September 12, 2012 as part of concert celebrating
the work of the composer Andrew Staniland.
19. Brotkatze für Paul McCarthy by Kommissar Hjuler (Germany)
Piano, mono cassette recorder
"Recording depends on articles in magazines concerning G8 politics of Europe, the dissobvedienti group is a group oif Italian activists,
articles have been read in parts, complete text (spoken sentences or words by KHj.) was made by cut up (manual), mostly with two tapes."
"Kommissar Hjuler (born 1967 in Detlev Hjuler) works as a sound recordist in the field of Noise and Post-industrial music, visual artist,
film maker and police officer at Flensburg, a town on the German border with Denmark. He often works together with his wife Mama Baer
as Kommissar Hjuler und Frau. As self-taught artist he began making music in 1999 and visual art in 2006. He is considered to work in the
field of neo dada, whereas his output also contains elements of fluxus and art brut."
Music releases are available at independent labels like Intransitive Recordings, Blossoming Noise, Goaty Tapes, Feeding Tube Records,
and Nihilist Records. Since November 9, 2009 he is a member of the NO!art movement, founded by Boris Lurie, Stanley Fisher and Sam Goodman
at March Gallery, New York in 1960.
Recorded by Mama Baer at Central Police Station Flensburg (no kidding ! Kommissar Hjuler has been formerly a police officer) on Autumn 1985.
We released a short edition on our own label (SHMF), then in 2005 has been on our first LP "dissobedienti" by US label SH-RMF-001 and Scott Rautmann.
Special edition with wooden box 15" x 15" created by Scott and his wife.
INTERNATIONAL DATABASE 2010-2015
[ar093] VOIX BRUTES | Vol.II
Promotional compilation produced by Audition Records & Julian Bonequi.
Special thanks to Mirjam Tally, Jenny Barnes, Gabriel Dharmoo, Rogelio Sosa, Julien Ottavi, Arrington de Dionyso,
Joachim Montessuis, Senyawa: Rully Shabara & Wukir Suryadi, Cia Rinne & Sebastian Eskildsen, Annette Giesriegl & Cordula Boesze,
Dave Phillips, Cacophonic Joy, Yi Xin Tong, Nichola Scrutton & Céline Hänni, Antoine Mermet, Ferran Besalduch, Chris Tonelli & Kommissar Hjuler.
We would also like to thank to the Estonian Academy of Music, Visby International Centre for Composers (Sweden),
Gertrude Contemporary (Melbourne), VOICE OVER mind Festival and Western Front (Vancouver), Centrum Kultury Zamek (Poznan),
Bruit Brut Studio, Le Chateau Circular Ruins (Olympia/US), OEI Editör and radiowy.se (Stockholm), Interpenetration Festival
and Postgarage (Graz), Quiet Cue (Berlin), Not Sent Letters & Guest (Vancouver), Le Volume and Festival de M.A.I. (Nice), Poesia als parcs
(Barcelona), Papagayo Studio (Mexico), The Arches (Glasgow) and Creative Scotland,
D.F. Cook Recital Hall (Newfoundland/Canada), and NO!art(NY).
Joachim Montessuis, picture by Renaud Ruhlmann. Design by Audition Records.