AUDIO

Alissa McKendrick and Brian Belott  

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Low art/high art — the culture world will have a hard time shaking off that distinction. Hecker’s artistic process on this album could be tracked down to it, too (or at least that’s what he wants us to believe): acid house on the one hand, modern composition on the other. However, his music has been working on that both-sides-of-the-fence mode from the beginning, as he has been using the raw power of electronic music in increasingly circumvoluted processes and formulas. Acid in the Style of David Tudor may be marginally easier to listen to than Sun Pandämonium or PV Trecks, ...

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Original interviews with the artist. “I don’t have to know how to do a baby’s hands or a bleeding guy nailed to a piece of wood. I don’t need to know about any of this stuff. I can do mirror cubes. And that’s it. What a great idea…all I have to do is make sure they are interesting.” There is a democratising impulse in Robert Morris’ mirrored cubes. Liam Gillick’s work, however, is not a mirror of anything, but an attempt to look around the mirror. The key to this is the quality of interest and this often has to do ...

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With Ajay Kurian and Darren Bader

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Interview with Rose Marcus

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Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...

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15 minutes, 51 seconds duration Performed by the artist and Cia Rinne, with birdsong recordings from the Tierstimmenarchiv (Animal Sound Archive) at the Museum für Naturkunde in Berlin selected by Dr Karl-Heinz Frommolt The analytical bibliographer charts the movements of books through time and space. Each copy of an edition makes its own journey, like a migrating bird. Only in the painstaking, scholarly work of bibliography is the homecoming of an entire edition possible. A copy of ‘Vögel vor der Kamera’ — birds on camera — is disbound. Artist Susanne Kriemann overprints the loose pages with large letterpress type. The letters H, O, ...

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New York based conceptual artist James Hoff returns to PAN with ‘Blaster’, a document of his explorations of computer viruses as agents within the composition process. Specifically, Hoff used the Blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions. Hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and Hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. BLASTER is a timely exploration of the infectious qualities of sound, and how it ...

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Nick Buffon and Daniel Heidkamp

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APRIL 2017 CONSTANCE DEJONG SERIES ONE On a Street, 2015, 9:27 Jewelry, 2015, 7:53, performed by Jim Fletcher SERIES TWO Nightwriters 7, 2016, 3:03 Nightwriters 9, 2016, 3:21 SERIES THREE In a Cabin 3, 2016, 5:02 In a Cabin 7, 2016, 2:31

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FEBRUARY 2017 VIVIENNE GRIFFIN SK (4:48 Psychosis by Sarah Kane, 1999) 2012, 33 min. 41 sec. I As In Us, 2017, 6 min. 44 sec. Release Your Inner Dolphins, 2016, 7 min. 44 sec.

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Bureau gallery audio program, 2017. MARCH 2017 MATT HOYT SIDE A Birds on Front St. Melting ice under BQE Drainage pipe in the woods Drainage stream in the woods  SIDE B Stream and crickets Ocean waves Eddy and small waterfall Stream medley Birds and rain

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Catching Net is a collection of selected installations and compositions Eli Keszler created during the last two year. The double-CD set includes both stand-alone recordings of the installations and the integrated ensemble scores performed in conjunction with those installations. The first disc features two ensemble versions of Cold Pin, previously released in a 2011 LP of the same title on PAN, plus a 26-minute, previously unreleased live ensemble recording (mixed sextet and piano quintet; these are captured in contrasting acoustical spaces). The personnel for all three tracks is Eli Keszler drums, percussion, crotales, guitar; Ashley Paul, alto saxophone, bass harp; ...

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Pam Lins and Lee Maida

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Generative music is a term used to describe music which has been composed using a set of rules or system. This series of six episodes explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century and examines the use of determinacy and indeterminacy in music and how these relate to issues around control, automation and artistic intention. Each episode of this RWM series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists ...

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Dawn of Midi is a Brooklyn-based acoustic ensemble made up of Aakaash Israni from India on double bass, Amino Belyamani from Morocco on piano and Qasim Naqvi from Pakistan on drums. Formed in 2007, the band name was happened upon after Naqvi casually uttered the phrase by chance as a non sequitur for the improvised music the trio was making at the time. With Dysnomia, Dawn of Midi abandon improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, ...

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Deceptionista is a new audio-visual work by composer and artist Aaron David Ross (ADR). Realized as both an album and a fully immersive virtual ecosystem, Deceptionista unpacks and further mystifies the spiralling inconsistenciesthat permeate our globally networked lifestyles. Released through PAN via digital and a limited edition SD card as well as a series of live performances, Deceptionista combines the relentless unknowability of the real-time internet with ADR’s distinct compositional approach. As a classically trained musician with a propensity towards contemporary art & technology practices, ADR’s work has distinguished itself through its formal deliriousness and playful tenor. Deceptionista seeks to accelerate ...

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Though the exact where and when of this Destroy All Monsters live recording remains a mystery to fans (and even the band members), it’s speculated that this performance was recorded in the early ‘80s. The Stooges’ guitarist Ron Asheton counts off the first song as front-woman Niagara comes in singing with the demure cool of a pre-Blondie Debbie Harry over a mantra of repetitive garage-rock riffs before the band tears into their first single “Bored,” sounding like Sonic Youth’s Kim Gordon fronting the Stooges (Sonic Youth claim Destroy All Monsters as one of their main influences). Making good on its ...

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“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis & field recordings developed in the software bidule. It strives to create a multidimensional listening experience both subtle & engaging. It is intended for listening in quiet environments through headphones or monitors with little distraction. The photograph is a book (The Queen’s Gambit), a bookmark (acid) & one of Ingmar Bergman’s favorite quotes “We come into this world with sealed orders”. All of this is inspired by smothered mate (chess) which is a checkmate delivered by a knight in which the mated king is unable to move because ...

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This version of Nebula Prospekt is a slightly remodelled version for the EBM (T) Community Exhibition which I am happy to be a part of. Here some excerpts from the programnotes from 1984 ……… As I mentioned earlier, Nebula Prospekt is a simple play with a structure and ”colours” – it’s completey free to see it as satire, parody, boring, terrifying, something lyrical, crazy, stupid, naive…….. For myself it was a joy to play with my different attitudes and finalize the work in Bourges. Here some excerpts from the programnotes from 2000……. Nebula Prospekt is developed from different works, both from a ...

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Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.

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RHSM is a crystallization of MSHR’s live performance- an electronic ceremony that glides through four movements. Each movement acts as a virtual scape, defined by a distinct system for improvisation between the players and their handmade analog electronic instruments. MSHR’s pathway through the possibility matrix of each scape was mapped to an 8-track tape machine and digitized multiple times per track. These tracks were interwoven to create the iridescent effect of tape phasing as a compositional element, augmenting the psycho-acoustic content of the original improvisation. Scape 1: Unfolding Hyper-Shape Alap This track was recorded live in an electronics array in our bedroom ...

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