Joda Clément – Sea Songs
Available from caduc in an edition of 100 with custom bookmark
Mastered by Joe Panzner
Artwork by Carolyn Ellen Beattie
Nathan Thomas / Fluid Radio
Frans de Waard / Vital Weekly
Surrey Art Gallery’s 5th Annual Sound Thinking Symposium on art, sound and society.
Sunday November 24th, noon to 5pm
This year’s event will reflect on background sound, sound as cue for directed behaviour and the phenomenon of distracted listening.
Featured presentations from acclaimed sound artists, musicians, writers, including a keynote talk by San Francisco-based Geeta Dayal, author of Brian Eno’s Another Green World (Continuum 2009). The symposium is convened by Constantine Katsiris (Quiet City) and Jordan Strom (Surrey Art Gallery).
Sunday August 12th – Eminent Domain special presentation
NAISA, Artscape Wychwood Barns
601 Christie Street, Studio #252
Bryan Eubanks (USA)
Catherine Lamb (USA)
Joda Clément (Toronto)
GONE FISHING 007 – Monday August 13th
Somewhere There, 227 Sterling Road
Unit 112 (just south of Bloor on Ruttan St.)
Joda Clément solo performance
Bryan Eubanks + Catherine Lamb duo performance (composition by lamb)
Colin Anthony/Aisha Sasha John/Brenda Joy Lem/Michael Lynn performing excerpts from M. NourbeSe Philip’s poetic work “Zong!”
as part of Bryan Eubanks/Catherine Lamb Tour 2012
New music online at homophoni, a lovely netlabel devoted to electro-acoustic composition & improvisation.
joda clément + tomasz krakowiak + pau torres – north north 18:58
recorded in toronto and meaford, ontario, 2011
thunderstorm at dawn, inside metal sphere
“Compositions using field recordings generally fall into two categories: those that describe a location, and those which explore environmental or social themes. However there are also compositions which enjoy experimenting with the qualities of particular sounds, where the musicality of field recordings is manipulated into an unrecognisable form through the tools available to the composer. ‘North North 18:58′ belongs to this later category. Devoid of any specific location it encourages the audience to immerse themselves in heavily distorted synthesised lines which weave their textures around a recording of a storm.
‘North North 18:58′ begins with small drops of rain recorded inside a metal sphere, followed by analog synthesisers with polyphonic drones. The tone created in ‘North North’ 18:58 is that of a work heavily dependent upon studio technology. Purists could raise some objections to this approach, yet in truth field recording is reliant upon studio intervention and technology in one form or another. Whereas some compositions attempt to disguise the technology that produces them, ‘North North 18:58′ revels in the juxtaposition of the naturally recorded elements and those from the studio. This has resulted in an emotionally intense composition which might indicate the direction that some field recordists will take in the future. Continue reading