Phil Julian - Clastics (2017)
Giuseppe Ielasi - 3pauses [Excerpt] (2017)
Graeme Truslove - Intuited Architectures (2017)
Graeme Truslove’s musical output so far has been divided between the opposing spheres of fixed-medium electroacoustic composition and improvised performance. All of the works presented in Intuited Architectures focus on integrating these conflicting extremes in various ways. Throughout their development, the creative processes employed shifted from the sculptural to the performative – from the creation of sonic mosaics, constructed from the careful placement of individual sonic impulses, to the recording and manipulation of performances on self-devised digital instruments. This shift arose initially through attempts to analyse and automate laborious micro-level techniques, however as the possibility to interact with these techniques in real-time emerged, so too did a number of unforeseen expressive possibilities. Montages became performances, which in turn became montages again. Central to all of the compositions is a preoccupation with musical time scales, ranging from the fabrication of synthetic timbres, via these performative-algorithmic approaches, through to their integration within larger-scale temporal strategies. Graeme Truslove is a composer and performer based in Glasgow, Scotland. His output includes sonic and audio-visual compositions, and improvised music – playing guitar and/or laptop in various solo and collaborative projects. He holds both an M.Eng in Electronics with Music, and a Ph.D. in Music Composition from the University of Glasgow. He currently lectures in Composition and Music Technology at the University of the West of Scotland. Truslove has performed and exhibited his work internationally, and has attracted awards and nominations from: Métamorphoses (Belgium, 1st prize), The Salford Sonic Research Commission (UK), Creative Scotland, The British Council, The Performing Rights Society Foundation PRSF (UK), The Dewar Arts Award (Scotland), Sociedad General de Autores y Editores SGAE (Spain), The Prince’s Trust (UK), The Phonos Foundation (Spain), The Lumen Prize (UK), The International Computer Music Association (USA).
Jim Haynes- Throttle and Calibration (2016)
Kindohm - RISC Chip (2016)
Vitor Joaquim - Geography (2016)
John Grzinich - Prevailing Wind, Tangled Under (2016)
Anyone who has followed my work over the years knows of my interest in several key themes related to sound; resonance, tectonic acoustics and incidental installations. I have often treated these independently either as actual subjects or conceptual studies, but my passion lies in the possibility of fusing these together. This is the special case of one such object which has been the focus of many experiments for over a decade, an unused water tower I call the “cactus” because of its shape and surface covered by spiky metal protrusions. While the tower looks impressive as a solitary monument standing about 4 stories tall, it is its hollow volumetric character that offers possible intervention and acoustic exploration. With the steady rotation of artists visiting for Active Crossover: Mooste, the water tower became a site for revisitation, to be observed and recorded in different weather conditions and modes of interaction with each visit. What I noticed over time was how the magnetic character of the tower affected people, first with its monumental stature when seen from a distance, then how people are pulled inward upon hearing the depth of the reverberations from within. In numerous instances time seemed to stop as we gathered around, crawling about, climbing, plucking, bowing, striking, howling, stringing and generally playing in and around the great structure. In a matter of minutes the tower becomes a subject of transformation, from relic of Soviet industrial agriculture, to an acoustic temple for ritual intervention. All the while we lend our ears to the moment. "Prevailing Wind, Tangled Under" brings together two independent recording sessions at the tower, carried out a month apart. The first was a dialogue of sorts between three artists carried out through sporadic sounds and the second was a solo follow-up to meditate on how the various artifacts attached in the previous months were affected by the windy conditions on a particular afternoon one day just before the solstice. Both sessions were durational in nature which I have left unbroken to give the tower the attention it deserves and to convey in part, the monumental scale in which the tower itself exists in relation to the surrounding environment. Here the reverberant character and material qualities are not merely used for effect but allow one to hear the tower live and breathe in its own element.
@c - ree-Body Problem (2016)