Bethan Kellough – The Underlying / venoztks – light breaker

California Dreaming: The Underlying, by sound artist Bethan Kellough and light breaker, by the anonymous venoztks, offer two very different sonic impressions of California. 

For Kellough’s contribution to Touch’s Displacing subscription service, that impression was informed by field recordings made at the edge of Salton Sea, not far from the Joshua Tree National Park and the Mexico border. We hear birds, insects and a gently unfolding natural ambience, but we also hear an undercurrent of something darker – the drones and white noise from a nearby geothermal power station. The power source, heralded as one of several sustainable alternatives to traditional oil and gas, is nevertheless obtrusive and impactful on the environment that surrounds the power plant. 

Kellough’s sleight of hand is to take those two sets of sounds – the delicate vibrancy of nature and the omnipresent hum of the power station as she approaches it – and augment them with a sensitive arrangement of sounds that somehow resonate much closer to the choruses of birds and insects than the mechanical interjections of the power stations. 

light breaker is the latest missive from venoztks, an artist who doesn’t so much operate at the margins but within the interstitial frequencies of shortwave radio. The fifty-minute piece that light breaker consists of (‘Indent’) is structured from captured radio recordings – voices overheard as fragmentary mid-conversation non sequiturs, howling white noise, brittle static and resonant bass sounds that ebb and flow as menacing slow-motion pulses. The effect is like listening to an intense analogue synthesiser improvisation, but everything you hear came from the radio and the manipulation of its dials. 

As well as being an intriguing, absorbing listen from the outer edges of found sound, the album also acts as a highly effective sonic screen. I found myself listening to this while undertaking an array of tedious domestic chores, where the barrage of abrasive, sculpted sounds and found drones also provided a useful means of drowning out the tedious mumbly hip-hop music that my wife was playing far too loudly elsewhere in the house. 

The Underlying by Bethan Kellough was released August 27 2021 by Touch. light breaker by venoztks was released August 26 2021. 

Words: Mat Smith 

(c) 2021 Further. 

Yifeat Ziv – Amazonian Traces Of Self

Yifeat Ziv is a Jersulem-born, London-based sound artist who won one of the six coveted prizes at this year’s Oram Awards. With a practice focussed primarily on the use of voice, Ziv’s works include 2019’s Rish Rush, based on the prevalence of onomatopoeic gestures in all languages, performances at Café Oto, a collaboration with David Toop on his recent Apparition Paintings album, and sound installations at numerous galleries in Israel and the UK. 

Amazonian Traces Of Self, Ziv’s latest work, arose from a ten-day AER Labverde residency in the Brazilian rainforest last year. For the piece, Ziv undertook a series of excursions into the rainforest, making field recordings of the natural ambience and capturing her own vocal improvisations, both of which are combined together into this thoughtful composition, here presented as a seventeen-minute live piece recored at Iklectik in January of this year, but which also has a parallel existence as a sound installation (The Echo Of Our Breath). The CD release is accompanied by an essay, designed to be read after listening to the piece.

If you are remotely environmentally-minded, any mention of the rainforest should, by rights, bring to mind the progressive deforestation and devastation that the natural landscape has endured as a consequence of humankind’s progress; whether for repurposing as land for rearing cattle or for growing the so-called ‘sustainable’ soya beans that propel the world’s biofuel hopes, the rainforest has decreased in size at a phenomenal rate – over 50% over the last 60 years. 

By focussing its initial attentions on the natural sounds of the environment, the piece prompts complex emotions. There is a sense of tranquillity and serenity, but it also feels strangely unsettling, like a creeping sense of impermanence that coincides with Ziv’s reverberating vocal interjections – breath, a sort of staccato passage, tremulous, quivering passages and almost bird-like calls. These sounds feel alien, like they have no place in this location, something that Ziv describes as “vocal pollution”, an allegory for the way we have encroached upon, and starved, the Earth’s lungs. A middle section of wailing voices sounds like a desperate, mournful elegy to what is lost, what cannot be replaced and that which we have caused. 

Yet as the piece progresses, Ziv’s layered vocal sounds take on a different hue. They feel curiously natural and optimistic, sitting in balanced evenness with the natural sounds that she is vocalising over. We start to feel a symbiosis between her sounds and those around her, almost as if she is gently reminding us of our dependency on this place, of how we can live in harmony with these spaces. A sense of optimism begins to emerge, a feeling that all is not lost, that our devastation of a place upon which we all depend for our live-giving oxygen is not yet entirely irreversible. 

Amazonian Traces Of Self by Yifeat Ziv is released November 17 2020 by Flaming Pinesflamingpines.bandcamp.com

Words: Mat Smith 

Greg Nieuwsma – Travel Log Radio

Greg Nieuwsma - Travel Log Radio

Travel Log Radio by US-born, Krakow-based sound artist and electronic musician Greg Nieuwsma arrives at a point where travel, either for work or pleasure, has become an almost entirely alien concept. Whereas there was a time before lockdown when you ignored planes in the sky because of their ubiquity, nowadays you see a pair of isolated vapour trails high above you and reflect on their rarity, as if we were transported back thirty years before skies were crowded and travel was commonplace ritual, not a privilege. Today, the only travel most people seem able to do involves switching their Zoom backgrounds for photos of somewhere far afield containing perfect vistas and idyllic, untroubled, virus-free sunsets.

Nieuwsma is part of Krakow’s vibrant music scene, primarily as a member of the band Sawak, and professes an interest in the ethnographical aspects of music. You can hear that creeping into the music he makes with Sawak, and it forms the exclusive concern of his new album, which consists of four pieces recorded in four specific locations – Italy, Morocco, India and the US – over the period 2015 to 2019.

These pieces are either constructed from straight, unaltered field recordings, or are subject to subtle processing and adornment. The effect is akin to sonic postcards, each one taking a dreamy, otherworldly resonance, like flicking through photos of trips and barely-remembered memories, made all the more poignant by the absence of specific location or temporal detail.

Even in the most joyous moments – snatches of choral singing in Italy, prayer calls or the bustling hubbub of a Moroccan souk – there is an inevitable poignancy here as you reflect on not going anywhere for the foreseeable future. There is also drama in these recordings – street sounds and radio broadcasts from India evoke the sensory overload that comes from finding yourself in an unfamiliar place; the interaction with an overzealous authority figure, or a series of hypnotic platform announcements in the US brings to mind the strange detachment and uncertainty that comes from jetlag; a recording of reverberating saxophone transports you to the serenity of a late night New York subway platform.

The sound of water features in several places. It is a strangely unifying, universal interjection, free of specific language or identifiable sonic provenance. It serves to remind you, in a way, that the borders we cannot presently cross are entirely abstract, artificial constructs that nature has no need to observe.

Travel Log Radio by Greg Nieuwsma is released June 5 2020 by TQN-aut.

Words: Mat Smith

(c) 2020 Further.