Deep Wireless 14 Compilation Album

“The work is questioning the interactions between an autonomous generative device that produces the musical material for 16 channels with the hyperactivity of a computer system and the composer in his role of formatting and supervising the syntax. Sound materials used explores different kind of machine’s sounds archetypes like pure sounds, noises, glides, glitches, mechanical iterations and so on with perfect parametric control on every aspect as well as some anthropomorphism of the machine as imagined by my human ears influenced by popular and sci-fi culture trying to giving it a language.Finally, some on-board conversations of the Apollo 11 crew were used (NASA, public domain). I’m fascinated by space and those people who explores the unknown. The piece is largely inspired by the sci- fi literature and space conquest is a prolific field of how human dreams can be fulfilled by relying on machines.” – JH

Jullian Hoff’s creative fields are divided between works for media (acousmatic and videomusic) and multimedia comprovisations (mixed music, musical algorithm, generative audiovisual devices, physical interfaces). His inspiration derives from lyrical abstraction, surrealism, the human element of technology, technoculture and post-humanism.

A vision of Macbeth in life and death: four dying gasps release a torrent of sound. In part one we meet the man of evil, a rich setting. The second part presents the eternal Macbeth, now he is a she, tormented by self hatred. The end returns the beginning.

Bernard Clarke (1967). Radio broadcaster by day, radio creature by night.

“Stillness invites the act of listening. Life on an island does this, too. Instead of moving through the world, living on a small island gives one the sense of having the world move through oneself. Monica Kidd does this every summer when she travels to her family’s cabin on a small island in the Bay of Exploits, Newfoundland. There is no electricity or running water, and the world, except for the water and weather, is very still. “Summer Stillness” is a soundscape from that time and place.” – MK

Monica Kidd is a writer and audiophile in Calgary, Alberta. She formerly worked as a reporter for CBC Radio, and for ten years has run a website for found sound called curiaudio.com.

“A self portrait reflecting on interviews about listening with seven women artists and colleagues working in Thunder Bay, Ontario during a six month period recording and considering my relationship to the place I live in.” – ZG

Included in this piece are the voices of Ardelle Sagutcheway, Michelle Derosier, Leanna Marshall, Jean Marshall, Elizabeth Hill, Jayal Chung, Kerri White and Tracie Louttit.

Zoe Gordon is a media artist living in Thunder Bay, Ontario. She is also a sound recordist and designer for independent film and video with her boutique production company, Cricket Cave.

“This wordless narrative takes place in logging and recreation forests around the former missionary project and railroad settlement of Mission, British Columbia. Reconsidering nature and enclosure, I compose electroacoustic land-and-memory-scapes. I use vehicles as recording media and bodily prosthetic; place myself in friction with park design and flow; listen beyond visual frames; and trouble spatial narratives.” – HK

Helena Krobath uses sound to explore phenomenology of place. She participates in soundwalks and gives workshops in aural poetics for research-practitioners and storytellers. She co-hosts the Soundscape Show on Vancouver Co-op Radio and recently worked with the Still Creek Salmon Sounds project to sonically document a rehabilitated urban salmon run.

Gateway invites listeners to feel the ecological and social changes affecting the Kiewa Valley and High Country in Australia. It is created by little stories that describe the relationship between people and their environment. Gateway is a sound art project produced by the Bogong Center for Sound Culture. Fieldwork was made possible with the assistance of B-CSC’s supported residency program, French Institute and the municipality of Toulouse.

Benoit Bories is a sound documentary maker and acousmatic composer. He creates works for radio (France Culture, Arte radio, RTBF, RTS, live performance and theater. He has won several prizes and mentions in international festivals (Prix Phonurgia, Prix Europa, Prix Bohemia, Prix Italia, Sheffield Audio Award).

Tsikatsii. A large grasshopper with a loud percussive wing flap. Original field recording of Tsikatsii made on Blood reserve Kainaii, Southern Alberta.

Edgardo Morneno is a Chilean born musician and composer who dabbles in film, documentary, contemporary dance scores. He lives in Hamilton Ontario. www.musicamoreno.com

Kime Ani are words in the Tahltan language, translated to mean “home coming” or also “let’s go home.” Included here is a seven part electronic work created from a selection of vintage audio samples from Edzi’u’s three generations of grandmothers and matriarchs, recorded as early as 2017 and as late as 30 years ago.

A mixed race Tahltan-Tlingit electronic singer/songwriter and composer, Edzi’u mixes electronic music with classic songwriting sensibilities, exploring texture and narration, and sampling vintage recordings from many generations of her grandmothers. Her voice and music fully encompass her life and colonial inheritance as a twenty-first century Indigenous woman.

“At the end of the year, I hear the bells on New Year’s Eve. In order to wash away all the bad things of the year. And, as next year will be a good year, I wash out the heart. New Year, I will pray to the shrine.” – KI

Kazuya Ishigami is a composer, sounds performer and sound engineer born in 1972 in Osaka, Japan. He studied electroacoustic music composition at INA-GRM in 1997. His pieces were performed at DR(DeutschlandRadio/Germnay) ,WDR(westdeutscher rundfunk/Germany), FUTURA(France), MUSLAB(Mexico), ICMC(2015_USA/TEXAS) and others.

Time has different meanings. We have our own biological time and psychological time. The working time measures our daily routines. Mass and energy warps space and time. Quantum theorists studying the fourth dimension propose that time can bend, allowing us to glimpse the future. ‘Time Anomaly’ is influenced about the concept of time and the work is a study about the common time machine, the clock. The sound source of the work is just one clock and its ticking sound (60 bpm) which is manipulated with the help of granular synthesis.

Petri Kuljuntausta is a composer, improviser, musician, and sonic artist. He has performed underwater music for an underwater audience, improvised with the birds, and made music out of whale calls and the sounds of the northern lights. As an artist he often works with environmental sounds, live-electronics, and installation art. Kuljuntausta has performed or collaborated with Morton Subotnick, Atau Tanaka, Richard Lerman, David Rothenberg, and Sami van Ingen, among others. He has made over 100 recordings for various record labels in Australia, Colombia, Finland, France, Germany, India, Sweden, UK and the USA. Star’s End and Inner Space radio shows selected Kuljuntausta’s ”Momentum” as one of the most significant CD releases of the year. Kuljuntausta has published three books on Sound Art and Electronic Music. In 2005 he won an award, The Finnish State Prize for Art, from the Finnish government as a distinguished national artist.

A recording of a live micro-FM transmission performed at the Lizard Wireless Telegraphy Station, Cornwall: site of Marconi’s first ‘over-the-horizon’ wireless transmission in 1901. The composed transmission is based on field-recordings collected on the Lizard Peninsular, a landscape littered with the architectural remains of listening and communication. Haunted by the did-dit-dit of Marconi’s test signal tapped out on the towers and blast walls of these architectural ghosts, the emerging soundscape mingles local sounds with others recorded on the Isle of Wight, from where Marconi’s original signal had arrived. The transmission begins as the first illuminated arc of the Lizard Lighthouse signals nightfall.

Sebastiane Hegarty is an artist, writer and lecturer. His research explores the perceptual geographies of sound and listening, through field-recording, live radio transmissions and the production of phonographic objects and actions. Sebastiane has exhibited, performed and broadcast across the UK and Europe, including works for BBC Radio 3, Radiophrenia (Glasgow/Bergen) and IMT Gallery (London).

“Qu-Extensions is an arrangement of found sounds, and their processed counterparts; I view this arrangement as a type of ‘slow improvisation’. For the work’s construction, my setup in the studio was adapted from a previous performance system, which had initially generated seemingly meditative and tranquil sonic forms.” – SR

Seth Rozanoff’s work tends to manage musical dialogue through combining a range of scores, studio techniques, and live electronic systems. He enjoys performing with software instruments, in addition to working with drum-machines, and synths. His work has been heard throughout the US, UK, Korea, Japan, and Europe.