Podcasts about jez riley french

An interview by Justin Hopper with Jez riley French.   Jez riley French is a sound artist and field recordist, who also makes photographs and builds microphones, from Hull, England.   His website is https://jezrileyfrench.co.uk/ where you can find out about activities including the upcoming Murmuration retreat in Scotland (highly recommended), many of his recordings, projects and lectures, or check out his unique microphones for sale.   The recordings on this episode are from Jez's album Returning | Reeds made with Pheobe riley Law, available from the Engraved Glass bandcamp page.   Host Justin Hopper has an Uncanny Landscapes substack. The Substack is free, and includes the podcast + more. JH can be found via LinkTree or on Instagram.   Title sounds by The Belbury Poly, courtesy Ghost Box Records.   The Uncanny Landscapes icon is by Stefan Musgrove.

My guest is Sound Artist Jez riley French. Jez is widely regarded as having played a pivotal role in expanding the use of contact microphones, hydrophones, electromagnetic coils, ultrasonic detectors, geophones, and VLF receivers in the sound arts, sound design (for the screen, theatre, and radio), and music in a wide range of contexts. His work has included commissions and performances for  Tate Modern (UK) The Whitworth (UK) Paradise Air (Japan) MoT - Museum of Contemporary Art Tokyo (Japan) Spikersuppa Lydgalleri, Oslo (Norway) Baltic (UK) Steklenik (Slovenia) Museo Reina Sofia (Spain) Catalyst Arts (N. Ireland) Artisphere (USA) Harpa (Iceland) Mengi (Iceland) The Wired Lab (Australia) Mullae Art Space (Korea) q-02 (Belgium)  In this episode, we discuss Open Space of Yorkshire New Wave and Punk Sharp Recorder Fascination with Listening Sexism in Music Discovering Contact Mics and Hydrophones Listening Below the Surface Pre-Internet Research Music Shop Blokes Swapping Cassettes Feeling Right to Press Record Traces Setting up a Distribution Company Durational Listening The Emotion of Listening Audio Memory Recording Mediums Sound Art Making a Living Field Recording Approaches There Are No Rules Influences Matt's Rant: Holiday Reset Links and Show Notes Jez's Website  Pheobe riley Law Credits Guest: Jex riley French Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

    The 509th of a series of weekly radio programmes created by :zoviet*france:   First broadcast 9 April 2022 by Resonance 104.4 FM, and CJMP 90.1 FM   Thanks to the artists included here for their fine work.   track list 00 [anonymous] - Intro 01 Magda Mayas, Tina Douglas - Point 2 02 John F. Burton and David J. Tombs - Woodland Atmosphere (Including Wood Warbler, Nuthatch, Wren and Redpoll) Exmoor, Somerset, 16 May 1974 03 Heinali - Millefleur 04 Stéphane Marin - Tres fronteras [extract] 05 Synflict - Studio Milano 4 06 Jez Riley French - 16mm Film # 3 – Interlude 07 John Kannenberg - Turning the Pages of the "Description de l'Égypte" 08 TenHornedBeast - This Is the First Death 09 Biosphere - Superfluid 10 Timothy Fairless - Shelter in Noise [extract] 11 Rabbitsquirrel - The Obedience of Charcoal Sands 12 August Stars - In the Hour Before Dawn ++ [anonymous] - Outro    

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“A dawn chorus of birds I recorded during Murmurations, a field recording retreat in Scotland in 2019 hosted by Jez Riley French and Chris Watson. Halfway through you hear a […]

Mark Stephen and Helen Needham hear from sound artist Jez Riley French.

Mark Stephen and Helen Needham talk to artist and field recordist Jez Riley French.

As ecosystems collapse, a frightening number of species are falling silent. In a new series on Radio 4, The Last Songs of Gaia, Verity Sharp listens to how musicians and sound artists are responding. This edition of Slow Radio gives you the chance to immerse yourself in some of the featured soundscapes. Composer and ornithologist Hollis Taylor spends months at a time recording at night in the Australian outback, surviving sinister encounters with pythons and ne’er-do-wells to capture the magical clarion-call of the pied butcherbird, whose endlessly inventive song has been much reduced in recent years of drought. Jez Riley-French revels in exploring and revealing what is usually hidden to the human ear. His work includes the sounds of glaciers melting and mountains dissolving; here, he presents an extract from ‘ink botanic', an attempt to track the journey of certain tree varieties. It includes the creaking of spruce, pines and aspens in Estonia, recordings of the inside of branches and of roots taking in water in East Yorkshire, and a clearance fire in Australia. Percussionist and composer Lisa Schonberg has a background in entomology and has worked in the Amazon recording and researching the sounds that ants make. Her soundscape invites us to experience the Amazonian ecosystem from the ants’ perspective - they chatter and stridulate in the foreground, with sounds of lawn machinery and machetes merging with the other wildlife in the reserve on the edge of Manaus.

********************************************************************* ...................#.103................ By Elder Almeida http://www.filefactory.com/file/1ggo28cqpflp/103.mp3 Circular Story On Wednesday mornings early there is always a racket out there on the road. It wakes me up and I always wonder what it is. It is always the trash collection truck picking up the trash. The truck comes every Wednesday morning early. It always wakes me up. I always wonder what it is. Lydia Davis ********************************************************************* 01 – Captain Beefheart & His Magic Band – “I´m Glad” (00:21) 02 – Lola Marsh – “She´s a Rainbow” (03:48) 03 – Matteo Uggeri (feat Enrico Coniglio and Gaia Margutti) – “Family Man” (06:43) 04 – Matteo Uggeri (feat Maurizio Abate and Empty velles Music) – “A Lot Of Last Things To Be Done” (12:52) 05 – Enrico Coniglio & Matteo Uggeri – “I Say I May Be Back” (18:34) 06 – Sontag Shogun & Lau Nau – “Photographs From a Moving Car” (21:51) 07 – FUQUGI – “Nightingale” (32:52) 08 – Claudio F. Baroni – “Koshi (the pelvis)” (36:59) 09 – Innesti – “The Conclusion of Us” (42:21) 10 – Arve Henriksen, Eivind Aarset, Jan Bang, Jez Riley French – “Pink Cherry Trees” (48:08) 11 – Arve Henriksen – “Groundswell” (53:10) 12 – Francesco Giannico – “Best Mind Of My Generation” (58:29) A photo by la violinista pazza Total Time: 01:01:05 ********************************************************************* Please visit my blog and podcast at: http://ondasdamusica.blogspot.com/ http://efmalmeida.podomatic.com/ My videos on YouTube: https://www.youtube.com/channel/UCyeuqR69vKfjn4W85cX3ohQ/videos *********************************************************************

This is a composition of field recordings taken at various wind turbine farms over the last year. They are recordings taken as part of a sound project I’m working on which looks at infrastructure; a sonic exploration into the unseen mechanics which underpin our daily lives: Power, transport, sewer systems, communications and supply logistics. The recordings presented here are in a fairly raw state and will be developed and augmented within the wider body of work. However, I think they hold different value in their 'solo' and raw form - and may be of particular interest to listeners of TouchRadio. The modern wind turbine is an awe inspiring machine - gracefully benign from two miles away, yet from within their shadow they assault an image of improbable violence on the senses. Designed to perform modern day alchemy through a screamed slicing of the troposphere, they detune the very skies which hang overhead and broadcast infrasonic resonances into the ground which i was able to record through a geophone from over half a mile away. Within the setting of ‘nature', these machines are the very definition of unnatural; up close, their rotating violations of nature's laws feel viscerally threatening.But then these locations too are, by necessity, raw and unforgiving environments. Bleak moorland at raised altitude or wide unsheltered flatlands; horizon to horizon, exposed, desolate, dystopian. The wind howls across these plains, transforming the totally inert into the wildly volatile at an instant; bracken, heather, gorse, singing fence wires dissecting arbitrary shingle boundaries for mile upon mile. The source material was recorded in multichannel spatial format using various ambisonic and stereo air mics, geophone and contact microphones matrixed to 5 channel surround. Equipment: Sonosax SX R4+ Ambeo / DPA 4060 / MK-416 / Telinga Mk2 JRF contact mics matrixed to 5ch / JRF prototype geophone Thanks to Jez Riley French for the geophone loan, Rudi at Helix Branch and Emily Mary Barnett for her photography/patience.

What does the underground sound like? Beneath the earth lies a noisy vibrant place, from the explosive roar of a volcano erupting, the echoes of caverns down to the barely audible grinding of the earth's plates. All this noise has long inspired composers and musicians - from Stravinsky and Wagner to Howard Shore and Tom Waits, we burrow into the earth itself to uncover the musical treats that lie under our feet. How do you translate the underground into music and does it bear any resemblance to what is actually happening down there? Tom discovers what really lies beneath with the sound recordist Jez Riley French who reveals the hidden sounds from the earth itself turning to underground woodlice going about their daily business. Plus music actually made in the deep places of the world - from Pauline Oliveros's Deep Listening Band to the songs of Welsh miners. Hannah Thorne (producer)

Enter the magical musical world of the forest. It's charming, mysterious, beautiful and scary. Tom Service is your guide as he explores the magical role of the forest in music, from the Romantic charms of Schubert songs to the nightmarish spirits of Weber's Freischütz opera, and beyond to the symbolic psychological forests of Schoenberg's Erwartung and Sibelius's Tapiola. He also talks to sound artist Jez Riley French about his close-up recordings of forests, which bring us the truly wild sounds of un-romanticised nature.

Many of the mountain villages of northern Italy have teleferica systems to bring firewood and other supplies down from the mountaintops in containers. The wires that they travel on have a simple purpose — but put your ear to them, and you’ll hear something magical. Photograph by Awoiska van der Molen. Field recordings by Jez Riley French.

Many of the mountain villages of northern Italy have teleferica systems to bring firewood and other supplies down from the mountaintops in containers. The wires that they travel on have a simple purpose — but put your ear to them, and you’ll hear something magical. Photograph by Awoiska van der Molen. Field recordings by Jez Riley French.

framework:afield, entitled ‘a quiet position: orford ness', curated in the uk by phoebe riley law and jez riley french. this is our last show before our summer break; we'll be back on september 17th!

Programme de JEZ RILEY FRENCH pour webSYNradio : through the more recent things.Ce programme pour websynradio est centré principalement sur des enregistrements récents de sons localisés et leur utiliSation dans des compositions intuitives, par moi-même, ma fille et dans l'un de nos récents projets collaboratifs. La plupart des enregistrements sont des extraits d'écoute et d'enregistrement à durée déterminée à travers le monde entier.This websynradio program focuses mostly on recent recordings of located sound and its use in intuitive compositions, by myself, my daughter and in one of our recent collaborative projects. Most of the recordings are extracts of durational listening and recording around the world.

As the Broadway classic 42nd Street tap dances its way into the West End, the show's director and writer Mark Bramble discusses the great 'star is born' tale, which sees understudy Peggy Sawyer thrown into the spotlight to take the lead. Anish Kapoor takes Samira round his latest exhibition in which he blurs the line between two-dimensional paintings and three-dimensional sculptures, including a pair of red stainless-steel mirrors.The vast Humber Bridge is the focus of a new artwork for Hull UK City of Culture 2017. Norwegian musician Jan Bang and Hull-based sound recordist Jez Riley French discuss The Height of the Reeds, an interactive soundtrack they have created for Opera North, to be listened to on headphones as you cross the length of the 2,200m bridge. The Ted Hughes Award for New Work in Poetry highlights exciting new work by recognising not just poems on the page, but poetry written for a wide variety of contexts - such as the stage and art instillations. Previous winners have included Andrew Motion, Kate Tempest and Alice Oswald. We hear from this year's winner.Presenter Samira Ahmed Producer Jerome Weatherald.

This composition features unprocessed recordings from Krafla Geothermal Power Station and the nearby mudpools and steam vents of Hverir in Northern Iceland. The recordings were made in June 2014, on the Wildeye sound recording course led by Chris Watson and Jez Riley French, using a SoundField SPS200 and JrF contact microphones. The composition draws upon the spatial experiences of recording at these sites, journeying from the booming, all-encompassing drone emitting from the boreholes; through the uncontained, explosive energy of steam vents and bubbling mud-pools; and into the inner sonic worlds of the metal pipes and geodesic structures that punctuated the lava field.

Photograph: Peter Caldries The remote Snaefellsness Peninsula in Iceland is home to the tallest structure in Western Europe. A transmitter built originally in 1963 as a long-range, low-frequency (LORAN-C) navigation system and now used for longwave public radio purposes. During a recent sound recording trip to Iceland, i was fortunate enough to gain access to the transmitter facility and able to take a series of field recordings, using an array of contact microphones attached to the mast and supporting guy wires. Several of these recordings were particularly arresting, capturing the structure as it radiated a myriad of constantly shifting harmonic progressions, in response to the hot Icelandic summer sun and strong icy winds blowing in from the nearby Snaefellsjkull glacier. These two extremes combined caused rapid expansions and contractions in the 200-700metre steel support wires and core mast, to produce a spiralling, ever-changing, kaleidoscopic drone. Of particular note as well, during a quiet point in the recording, my microphones started to pick up the audio of the longwave radio transmission. A graceful violin solo for 3 minutes, before the sun broke through the clouds and caused the structural resonance of the mast to increase once more, drowning out the radio with a music of the structure's own making. Particularly beautiful is the notion that there is an ever-changing and constantly-in-flux sound emanating from this structure; an unbroken music, in direct response to its environment, which has been playing in constant form for the last 50 years. The sounds captured here represent a snapshot in time taken on the 15th June 2013, the specifics of which have never been, and will never be, repeated. Equipment: JRF C-series contact mics | Sound Devices 702 | Marantz PMD 661 Processing: Izotope RX | Max/MSP With thanks to Jez Riley French and Chris Watson

1. Robert Logan , Wire Tapper 21, Accurate Spit Boy2. Barbara Morgenstern, Wire Tapper 21, Morbus Basedow3. Jez Riley French, Wire Tapper 21, Audible Silence - enter4. Animal Hospital, Wire Tapper 21, His Belly Burst5. Hitoshi Kojo, Wire Tapper 21, Hiruko6. Violet, Wire Tapper 21, Violet Ray Gas7. terminal sound system, constructing towers, theme for broken home8. Unlearn , Places, Whiteout9. Burning Star Core, Challenger, Through the Bars of a Rhyme / Mezzo Forte10. Blank Dogs, Yet1 #6 magazine, Spinning11. M. Mucci, Under the Tulip Tree, Along the Speed River12. Juana Molina, Un Dia, Vive Solo13. Animal Collective, Merriweather Post Pavilion, Also Frightened14. Flipper, Gone Fishin', In Life my Friends