Podcast appearances and mentions of olivia block

Experimental songforms, percussion, breakbeats, prepared piano, sound-art… LISTEN AGAIN to the art of sound… stream on demand at fbi.radio or podcast here. Not Drowning, Waving – Amaravot [Not Drowning, Waving Bandcamp] We’re starting with an Australian band who were really decades ahead of the ball with ambient pop, melding field recordings and live tapes with creative studio techniques, acoustic instrumentation, effects and electronics. Because of David Bridie‘s soft voice and slice-of-life lyrics, I feel Not Drowning, Waving were seen as less revolutionary than they really were – and yet when David released solo albums that emphasised songwriting over sonic creativity, the music media predictably celebrated his “maturity” and suchlike nonsense. I love David’s solo work, and the often-twee but always lovely work of the post-NDW acoustic ensemble My Friend The Chocolate Cake, but Not Drowning, Waving nevertheless hold a special significance. For many, their career higlight was the groundbreaking album Tabaran, much of which was recorded with musicians in Rabaul, Papua New Guinea including the remarkable vocalist Telek (now Sir George Telek MBE!). Their travels to PNG triggered the band’s strong sense of social justice, and they became tireless promoters of West Papuan independence. The song “Blackwater“, about the brutal suppression of independence for West Papua, is haunting and still as relevant today. Fast forward to now, and David Bridie & George Telek have been friends for more than half their lives. A concert performing Tabaran was put together early last year, celebrating 50 years of Papua New Guinean independence, and the band (including Telek) enjoyed being together so much that they created a whole album’s worth of new material. My dirty secret is that, despite the stunning highlights like “Blackwater”, I always preferred the albums before (Cold and the Crackle and Claim) and after it (Circus) in their catalogue because I wasn’t so into the Papuan stringband music. However, whether I’ve mellowed over the years (lol, lmao) or whatever it is, this new album feels wonderful from start to finish, and Telek is an integral member. What an achivement! I have no idea how it sounds to those who didn’t, to some extent, experience the band while they previously existed, but I hope they have an enduring legacy. On Diamond – It’s Me Calling [Eastmint Records/Bandcamp] Naarm/Melbourne’s On Diamond are the perfect example of indie pop done experimental. Frontwoman Lisa Salvo writes beautiful, touching songs that have slippery chord changes and deeply unusual arrangements created together by the band. Previous members, often involved in the more experimental end of Naarm’s music scene include the brilliant drummer/composer Maria Moles, drummer Joe Talia (who recorded & mixed the album), and guitarist/vocalist Hannah Cameron (who contributes backing vocals along with Aarti Jadu and others). Along with Salvo’s vocals, Jules Pascoe on bass, Myka Wallace on drums and Scott McConnachie on synths and those frequently demented guitar solos, the band itself now features the glittering harp of Genevieve Fry and the percussion of Australian legend Duré Dara, born in Malaysia to an Indian background, a celebrated restaurateur with Order of Austrlaia Medal as well as jazz musician and improvisor. That’s a loaded band, put in service of Salvo’s aforementioned songs, which take strange, sidelong looks at matters of grief, longing and the passing of time. In a better world we’d be hearing these songs on rotation all day, but you – yes you – have the power to fix that, in the palm of your hand. gushes – Game One [PTP/Switch Hit Records/Bandcamp] gushes – CUT [PTP/Switch Hit Records/Bandcamp] Trust PTP (aka Protect The Peace, fka Purple Tape Pedigree) to release one of the most bizarre & brilliant albums of the year (in conjunction with artist collective Switch Hit Records). Jennae Santos’ gushes presents an unrestrained amalgam of prog metal, psych rock, jazz & classical and electronic experimentation. But there’s more than just this: the album begins with voices talking in Tagalog, and influences from Indigenous Filipinx psychology and combat swirl around with land-sea ecologies, plant medicine and queer politics of decolonization… Delicious Collision is a fully-through-composed experimental rock opera, appropriately given Santos’ background (on top of everything else) in theatre, site-specific performance & dance. Agriculture – The Reply [The Flenser/Bandcamp] With The Flenser you know you’re going to expect dark, probably metal-adjacent music, and you know it’ll probably diverge from typical genre norms. Ecstatic black metal band Agriculture do indeed employ black metal’s tremolo guitars and blast beats to reach for altered states, but then the thunder gives way to a different kind of ecstasy at times – gorgeous harmonies and clean guitar? The last track on the album somehow combines it all together – blissful chugging blackgaze, and a fragile interlude of just voice and guitar. Channeling Zen Buddhism and social collapse alongside queer history & survival, The Spiritual Sound is easily among the albums of the year. sunn O))) – Raise the Chalice [Sub Pop/Bandcamp] So yeah, the southern lords of drone metal, sunn O))), have signed to Sub Pop, the little label that could. That’s the Sub Pop that was the centre of the Seattle sound, from Mudhoney & early Soundgarden to Nirvana – in fact Nevermind‘s profits, after their contract was bought out by Geffen, were what brought them back from early ’90s financial difficulties, and their (excellent) debut Bleach, which remained a Sub Pop release, was enough to keep the label chugging along for ages. The label pretty quickly expanded out of Seattle/grunge into all sorts of other areas, as diverse as Fleet Foxes, The Postal Service, and the greatest, Clipping. Still, the stentorian, rumbling noise of sunn O))) is an interesting step sideways, hopefully a great move for both parties. Their first EP for Sub Pop follows a 7″ (yes, two tracks under 6 minutes each!) back in 2023 for the Sub Pop Singles Club, but one side of this 12″ is the 14-minute “Eternity’s Pillars”, while the flip has 2 tracks each around 8 minutes – still pretty contained. The band for these tracks is the back-to-basics core duo of Greg “The Lord” Anderson and Stephen O’Malley, and the crushingly slow unison guitar/bass is by and large the totality of the sound, but I do love the disconcerting high-pitched flicker that rises through the last part of “Raise the Chalice”. Susannah Stark – Minor Gestures [Night School Records/Bandcamp/STROOM.tv/Bandcamp] When Utility Fog started back in 2003, folktronica was a genre of which I was very fond – but it was already pretty hazy as to what it was. Slightly glitchy hip-hop sampling acoustic instruments like Four Tet was what I thought, I guess, although when Tunng came on the scene literally later that year, it held a lot of similarity without quite being the same. And meanwhile The Books were doing studio-mediated music with acoustic instruments that somehow was something else entirely, despite arguably fitting the mould. So I love that in the years since, there have been untold different approaches to “folk” + “electronics”. On her new album Minor Gestures, Scottish musician Susannah Stark takes her Gaelic (Gàidhlig) folk music in experimental directions, which might involve drone passages on harmonium or modular synth, interpolated field recordings, or sample-based programming. The production touches only serve to heighten the sense of an arcane, otherworldly setting, as if being performed just out of sight or transmitted from a past-future. It’s quite a remarkable album. Haykal, Julmud, Acamol | هيكل، جلمود، أكامول – A'saab أعصاب [Bilna’es/Bandcamp] Cross-media artistic duo Basel Abbas and Ruanne Abou-Ramme formed the record label & publishing platform Bilna’es along with producer Muqata’a as a space for artistic expression & criticism in Palestine & beyond. Along with the amazing productions of Muqata’a, a highlight was the 2022 solo album from Julmud, Tuqoos | طُقُوس. Now Julmud teams up with label founder Abbas, the latter under the name Acamol (Arabic for Panadol/paracetamol), along with Palestinian rapper Haykal on a new album Kam Min Janneh | كم من جنّة (How Many Heavens). The beats, produced by Julmud & Acamol separately & together, present a glitched version hip-hop drawn from the music & percussion of the MENA region, while Julmud & Haykal swap verses evoking the life of dispossession under occupation, colonization & genocide. It bears mentioning that while the killing continues in Gaza despite the so-called ceasefire, settlers continue to violently disrupt the lives of Palestinians in the West Bank with impunity – destroying property, beating and killing people and blocking access to their own land. In that context, this is a powerful work of resistance and solidarity (and some injections of humour). As I’m writing this late, you can read Emad Al Hatu’s excellent article on fbi.radio, as this was made album of the week at the beginning of November. Mohammad Reza Mortazavi – Zendegi [Latency/Bandcamp] Mohammad Reza Mortazavi – Silent [Latency/Bandcamp] French label Latency have no interest in following any kind of expectations – they’ll flip from chamber jazz to minimal techno to post-classical to percussive bass. In 2019 they released the album Ritme Jaavdanegi by Berlin-based, Iran-born percussionist Mohammad Reza Mortazavi, and now Mortazavi is back on Latency with his new album Nexus. The previous album showcased Mortazavi’s incredibly detailed and complex rhythms on traditional Persian instruments – the tombak and daf. On Nexus, Mortazavi’s playing is just as accomplished, but he extends the percussion with electronic effects and his own voice. The music is full of an otherworldly sensation, of suspension in time and place. There’s an incredible 25-minute remix by Ricardo Villalobos of the track “Swamp” from this album, coming out on December 5th – don’t miss it! IKI – Regenerate [IKI Bandcamp] IKI – Dance [IKI Bandcamp] It’s a sure bet that anything involving Danish singer Randi Pontoppidan is going to be something unique, challenging and beautiful. While she hasn’t been a member of Scandinavian vocal ensemble IKI since the beginning, she’s a perfect fit for IKI’s improvisational, electronically-mediated style. Pontoppidan joined Danish, Norwegian & Finnish singers Anna Mose, Guro Tveitnes, Johanna Sulkunen and Kamilla Kovacs four or five years ago, and BODY is their most intimate album. It can sound extremely electronic at times, but even at their most sharply edited & granulated, every sound comes from the voices of the five women. The recorded works reflect the group’s interest in how life extends past the body, and explores how the women become one organism when performing together. george-i & Older Brother – To Be A Man [GRACE/Bandcamp] Portugal-based MC Darius Rodrigues aka Older Brother has been working with London producer George Harris aka george-i for ages. Now the duo have finally come out with the Warm Skin EP on Berlin-based DJ Katiusha‘s label GRACE. And these four tracks of trip-hop-inflected bass music do walk with grace, holding Older Brother’s lyrics about the state of the world, and – on this closing track – seeking a new, post-patriarchy definition of maleness. Sun People – Herbie’s Delay [All Things Records] Austrian producer Sun People has released some creative and hard-hitting jungle & drum’n’bass that hybridizes with footwork and techno. His All Things Records provides an avenue for music of all kinds, so his new LP Look Within isn’t tied to any tempo – faster or slower than 160bpm, with a few beautifully-produced beatless tracks too. But as with “Herbie’s Delay”, there’s still some creative, syncopated jungle/d’n’b to be found too. Hyperfocus – Sentinel [Machinist Music/Bandcamp] For his fifth release (in two years!) on Canadian drum’n’bass master John Rolodex‘s Machinist Music label, Hyperfocus brings beats precision-tooled in the Machinist Music labs with evocative atmospheres and restless basslines. This is where the jungle revival bleeds back into the d’n’b mainstream, and I’m here for it. San – In Plain Sight [Rua Sound/Bandcamp] Appearing for a third time on Dublin jungle/bass label Rua Sound is Bristol’s San, a slightly mysterious individual who is apparently a techno producer working under a separate alias. This is dark stuff for haunting rave dancefloors and lying on your back with headphones on. Constantly changing cut-up breakbeats, deadly deep subs and spooky atmos, taking the cyberpunk ethos of mid-’90s drum’n’bass and applying it to contemporary jungle. POL100 – TRIBE [early reflex/Bandcamp] Turin’s early reflex label brings as usual cutting-edge experimental bass & club music as part of their Eyes series of two-track EPs. Here’s Italian producer POL100 mutating jungle and techno into strange new shapes – it’s half drumfunk and half electro maybe? Well worth your time. Hello Psychaleppo – Al Wa6an | الوطن [Fake Lines/Bandcamp] Joy Moughanni – I Can’t Seem to Find it At Home | مش عم لاقيه بالبيت [Fake Lines/Bandcamp] The first release from non-profit label Fake Lines has launched itself with a mega compilation – 36 tracks over 3 vinyl LPs – called Fake Lines: Sono Levant. It’s packed to the brim with excellent music, gregarious with genre – it may lean towards electronic music but there’s folk, hip-hop and rock of a sort. There’s an emphasis on Levant artists, but the tracklist also reaches further afield to other MENA countries and more. Montreal-based Syrian DJ Hello Psychaleppo contributes some stuttering samples and bass heft, while Lebanese producer Joy Moughanni combines jagged almost-rhythms and sound design to impressive effect. Lone – Ascension.png [Greco-Roman/Bandcamp] I’ve had an on-and-off relationship with Lone‘s music, but new single “Ascension.png” combines chromed cyberpunk and fuzzy vaporwave with jungle and rave bliss, and that makes a winner. Kelly Moran – Chrysalis [Warp/Bandcamp] A year and a half after releasing her last album, Moves in the Field, Kelly Moran returns to her more familiar territory of chiming prepared piano and electronics, with an album that’s complementary to last year’s. For Moves in the Field, Moran took her piano compositions and programmed them into a Disklavier, a physical piano that can be played via digital programming. So Moran was able to perform alongside her digital copy, with dazzling patterns climbing up and down the keyboard. On Don’t Trust Mirrors, the sound is more uncanny – synths and prepared piano melting into each other – but the performances are more clearly human. And those familiar with the previous album will hear echoes of those pieces throughout. Quartz Sand – Chemical Sedimentary (excerpt 2) [Flaming Pines/Bandcamp] I was lucky to get to see Kate Carr & Cath Roberts playing together at a gallery in Hoxton, London back in May. Carr is an Australian sound-artist who runs the impeccable Flaming Pines label and is one of our finest proponents of field recording, as well as music made from non-musical objects; Roberts is an improviser and composer who has been working with the Lyra-8 synthesizer, an “organismic” synthesizer, whose 8 voices interact in non-linear ways along with some effects. The duo’s name, “Quartz Sand”, suggests minerals and inorganic matter (quartz is silicon dioxide, perhaps the most basic inorganic molecule), and the idea of the album’s title, Stratigraphy, is to imply a vertical structure – rather than a typical horizontal time-based structure – as primary. But don’t be fooled: these two near-half-hour pieces aren’t static at all. It’s just that the action happens often between the crinkly, whistly high frequencies and the gurgling, grinding bottom end. It’s like listening to a cross-section of the earth’s crust – in a good way. Lea Bertucci – Two Way Mirror [Cibachrome Editions] It should be well-known and universally acknowledged now that Lea Bertucci is one of the best sound-artist/composers of the last decade and a half. Whether site-specific works exploring & exploiting – for instance – the resonance of a hollow bridge in Köln (2020’s Acoustic Shadows), myriad works live-processing her own saxophone and other instruments, or her work with reel-to-reel tape machines, she’s a master of her craft. Recent times have seen a number of incredible collaborations from Bertucci: in 2022, she operated tapes & electronics around Robbie Lee‘s baroque & medieval instruments on Winds Bells Falls, while on Murmurations, her tapes were as prominent, but she also brought various wind instruments and her voice to the table, next to Ben Vida‘s synths & voice; and on her tectonic collaboration in 2023 with Brisbane’s own Lawrence English, cello, viola and lap steel guitar emerge as well. Earlier this year Lawrence’s ROOM40 released an astounding work of Bertucci together with another masterful sound-artist, Olivia Block. So needless to say her new album The Oracle is a tour de force, engaging her many instruments, field recordings and, importantly, her own voice, all filtered through tape manipulation and digital processing. Only on the last track are percussionists from the Wesleyan University Taiko Ensemble enlisted for a booming – yet obscured – finale. Of course, it’s not just technially interesting or impressive (although it is those things) – it’s also music that will draw you in and move you, despite the vocals being twisted into non-textual shapes. It’ll easily be high on my albums of the year list for 2025. Alexandra Spence – Magenta (with Delphine Dora) [Students of Decay/Bandcamp] Back to Sydney to finish, Alexandra Spence is another brilliant sound-artist who works with field recordings and found objects to tell a story about place and memory. Her last two albums (from 2022) arose from a fascination with oceans and waterways; the scope is wider here, from mountains to backyards, but the ecological and geological also interact here with the personal. As well as recordings of places and non-musical objects, Spence (a clarinettist) here uses sounds from Serge Modular synths and a custom-built lyre, and on tonight’s track, Spence also brings in the voice and instrumentation of French composer & musician Delphine Dora. Listen again — ~222MB

Taktlos. Das ist das Zürcher Festival für kreative Musikformen im Grenzbereich von Jazz, experimentellem Rock, Neuer Musik, Improvisation und Komposition. Mit dem Trio Heinz Herbert hat dieses Jahr ersten Mal eine Band die Programmkuration des Festivals übernommen. Wir haben einen kleinen Querschnitt in der kommenden Stunde, Aufnahmen aus dem Kunstraum Walcheturm vom März dieses Jahres: mit Le Recueil des Miracles, Electric Indigo, Olivia Block und dem Trio Heinz Herbert.

CITR's 24 Hours of Radio Art in a snack-sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Friday afternoon's broadcast features new Lea Bertucci / Olivia Block, Retina.it, Pye Corner Audio, and Tim Hecker.

CITR's 24 Hours of Radio Art in a snack-sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tonight's broadcast features new People Like Us, Primal Era Worship, Sissy Spacek, Lea Bertucci / Olivia Block, Theresa Wong, Alphaxone, Gelbart, Ste?phane Odrobinski, and Christopher Nosnibor.

Conscious Caregiving with L & L is "Tackling the Tough Conversations."   The topic of this episode is on "Mental Health & Seniors" and features an All-Star Panel.    Dr. Linda Ganzenmuller, Doctor of Psychology:   Dr. Ganzenmuller is a Doctor of Psychology and president of Supportive Psychological Services of Long Island, where she has dedicated most of her career to focusing on Senior Citizens and their caregivers. She is the author of the Tiny Professors series of children's therapy books intended to help children and the adults in their families cope with life's most difficult challenges, which includes having a loved one with Alzheimer's; and Grief over the death of a loved one.   She currently practices on Long Island, New York caring for adults of all ages, with the hopes of helping at each stage and teaching the generations to learn how to understand, support, and rely on one another through the years.   Olivia Block, Registered Nurse in Minnesota:   Olivia Block is a Registered Nurse in Minnesota. Most recently she has been practicing as Director of Nursing in an Independent, Assisted Living and Memory Care community and part-time as a hospice nurse.   Her heart is in working on helping seniors continue to feel valued and whole as they adapt to changes in their lives.   Christina Keys, Owner and Founder of Keys for Caregiving:   Christina Keys went from a career woman to a caregiver on March 16,2013. Her mother had a life-changing stroke and was given a 1% chance to live. Within 3 years of caregiving for her mother, she was financially, emotionally, mentally, and physically bankrupt. The doctors told Christina She would be lucky to live 6 months if that. Her body was literally shutting down from the stress of caregiving. She had a choice to make, figure out how to change her life while caring for her mother or give up and start making arrangements on how her mother would be cared for after her death.   Christina chooses to live and not only change her life but now helps to change the lives of caregivers all across the US. Her mission is to make sure caregivers everywhere are seen, heard, valued, appreciated, and Never Alone, She founded and ran an award-winning local non-profit, and was the Director of Community Growth for a National company. She created and led a team of almost 200 Caregiving Champions in cities across the US. She is now a National Speaker and Advocate as well as the Founder and CEO of "Keys For Caregiving" Christina cared for her mother until she passed from 2013 to Dec 2022.   Lance A. Slatton and Lori La Bey Co-Host and Produce Conscious Caregiving with L & L.   Visit their website at: https://consciouscaregivingll.com   To learn more about Lance A. Slatton and Lori La Bey you can visit their websites.   Connect with Lance A. Slatton: Official Website: https://lanceaslatton.com/ Official Website for All Home Care Matters: https://www.allhomecarematters.com   Connect with Lori La Bey: Official Website: https://alzheimersspeaks.com/ Official Dementia Map Website: https://www.dementiamap.com/    

New music from SISTER ZO + SAM BINGA, THE GLITCH MOB, LOW END ACTIVIST, µ-ZIQ, OLIVIA BLOCK + more, on this ABSTRACT SCIENCE podcast, hosted by BILL BEARDEN aka WHOA-B + CHRIS WIDMAN. BILL begins with a self-described mix of “kitchen sink 140”, covering UK club, breakbeat, dubstep, grime, garage + techno. WIDMAN follows with... The post absci radio 1313 – whoa-b + chris widman appeared first on abstract science >> future music chicago.

Episode No. 535 of The Modern Art Notes Podcast features curator and historian Marin Sullivan and artist Olivia Block. Along with Jed Morse, Sullivan is the co-curator of "Harry Bertoia: Sculpting Mid-Century Modern Life," the first American museum retrospective of Bertoia's work in over 50 years. The exhibition is at the Nasher Sculpture Center in Dallas through April 24. The exhibition features over 100 works, including Bertoia's early jewelry and furniture designs, monotypes, sculptures, and commissions he fulfilled for architect-clients such as Gordon Bunshaft, Eero Saarinen and Minoru Yamasaki. The exhibition is accompanied by an excellent catalogue published by the museum in collaboration with Verlag Scheidegger & Spiess. Indiebound and Amazon offer it for $59. The Nasher has commissioned Olivia Block to make a new sound installation from recordings of Bertoia's so-called sonambient sculptures. Block's new composition, titled The Speed of Sound in Infinite Copper, will highlight the Bertoias' ability to create a palpable sonic space while allowing the audience to activate the sonic experience by moving about a gallery. The Speed of Sound in Infinite Copper will be presented at the museum through April 24. Block's discography includes over 20 solo and collaborative recordings. She has performed and exhibited around the world including in Chicago's Millennium Park, and at venues such as the Institute of Contemporary Art, London and the Museo Nacional Centro de Arte Reina Sofia, Madrid.

Liturgical lullaby, canine concrète, a chess game that never ends. The Chicago-based media artist and composer talks about three important albums.Olivia's picks:Alèmu Aga – Éthiopiques 11: The Harp Of King DavidBeatriz Ferreyra – Huellas EntreveradasMorton Feldman – For Samuel BeckettHonourable mention: Kim Jung Mi – NowOlivia also mentioned another record in the Éthiopiques series: Piano Solo by Tsegué-Maryam Guèbrou.Olivia's new album, Innocent Passage In The Territorial Sea, is out now on Room40. Check it out on Bandcamp here. Her website is here.PLUS: Head over to ATTN for a premiere of the video for "Laika", directed by Deborah Stratman.Crucial Listening is taking donations on ko-fi: https://ko-fi.com/cruciallistening

Desde el pasado 14 octubre, y hasta el 11 enero del 2021, el Museo Nacional Centro de Arte Reina Sofía (Madrid) acoge, en la tercera planta de su Edificio Sabatini, una amplia exposición titulada "Audiosfera. Experimentación sonora 1980-2020". El comisario —y, en cierto sentido, gran protagonista— de la exposición, Francisco López, escribe que ésta “(…) propone cubrir un vacío histórico y cultural en cuanto al reconocimiento, exposición y análisis de una parte esencial de los cambios recientes que se han dado en la concepción artística de la creación sonora”. Ahora bien, tal y como argumentamos en esta edición de Ars Sonora, podría afirmarse que, en realidad, “Audiosfera” apenas proporciona elementos de análisis que permitan valorar apropiadamente ni las obras presentadas en la exposición (nada menos que 728 en total), ni en consecuencia esos cambios a los que se refiere López. En un sentido similar, tampoco es fácil entender por qué el comisario afirma que su exposición ha sido “(c)oncebida desde una perspectiva social, con el objetivo de revelar y proporcionar un contexto para la reflexión y discusión sobre los cambios tecnoculturales ocurridos desde la década de 1980”, cuando ese contexto interpretativo, según explicamos en el programa, ha sido reducido al máximo en lo que respecta a cada una de las obras, lo cual disminuye en igual medida las posibilidades de la reflexión a la que alude explícitamente Francisco López. No queda claro, finalmente, qué se quiere decir exactamente cuando se habla de que la exposición ha sido “concebida desde una perspectiva social” —si bien esta cuestión será más detenidamente examinada en la próxima edición de Ars Sonora, que también estará dedicada a esta ambiciosa y relevante exposición, cuya visita no dejamos de recomendar por su excepcionalidad y previsible trascendencia—. Acompañamos estos pensamientos de la audición de algunos fragmentos de obras presentadas en “Audiosfera”, firmadas por Jana Winderen (“Heated”, de 2008), Olivia Block (“Foramen Magnum, de 2013), Chantal Dumas (“Oscillations planétaires: Magnétisme terrestre, de 2019), Barbara Held (“Pausa”, de 2018), Christina Kubisch (“Seven magnetic places”, de 2017) y Susana López (“Fenomenología”, de 2012). Aunque, de manera excepcional, apenas comentamos cada una de estas composiciones en esta edición de Ars Sonora —al contrario de lo que es habitual en nuestro programa desde su fundación en 1985, pues consideramos que ello es fundamental para el “reconocimiento, exposición y análisis” de las piezas y sus autores—, sí proporcionamos las referencias a las ediciones anteriores de nuestro espacio dedicadas a cada una de las mencionadas artistas. Escuchar audio

Listening to assholes, inner/outer presentations of self, power chords over trap beats. The Texas-based artist discusses three important albums.

Some might think that art descends on Miami just once a year in December for Art Week. In fact, this city has a year round cultural life. On our radio show, meet a few of the curators, gallerists and artists who animate South Florida’s year round contemporary art scene. Listen to locals in conversations about urban development and gentrification, racial and social issues, and experimental music and sound art. Featuring Gustavo Matamoros and Alba Triana (subtropics24/ArtCenter/South Florida), Anthony Spinello and Natalie Alfonso of Spinello Projects and Maria Elena Ortiz, Perez Art Museum Miami. Sound Editor Guney Ozsan | Special audio features courtesy Cara Despain, Sinisa Kukec, Mirza Haroon, Alba Triana and subtropics | Photo credits in gallery Cathy’s notes: An Miami field trip gave me the idea for this show’s theme… Four local galleries staged a progressive brunch one Sunday in late June. Mindy Solomon, Spinello Projects, Emerson Dorsch and RedDot welcomed a steady flow of visitors to experience four unique exhibitions in the Little Haiti and Little River Arts Districts. Riffing on the Sunday brunch concept, each gallery offered a special dish simultaneously over from 11am to 3pm. Their goal? To highlight their exhibitions and invite visitors to linger for conversations about art. One of those conversations will give you an idea of the experience. I recorded with gallerist Anthony Spinello and gallery manager Natalie Alfonso inside the exhibition titled Mere Façade. The word ‘façade’ has a couple of meanings that come into play: one is the face of a building, the side that looks onto a street or open space. Façade also refers to an outward appearance that conceals something unpleasant or insubstantial. From outside Miami looking in, the word might make you think about the superficial side of this city… Another exhibition that opened this summer invites visitors to play dominoes. Curator Maria Elena Ortiz brought the show about a favorite pastime in Miami—to the Perez Art Museum. In a curatorial collaboration with Arden Sherman of the Hunter College Gallery in New York, Maria Elena shows us that there’s a lot more to dominoes than meets the eye. Also at PAMM, curator Diana Nawi invited London-based artist Haroon Mirza to create an immersive sound experience in the museum’s double-height gallery. You enter a darkened project space to experience A C I D GU E S T. A specialized technical system transmits an electrical current through speakers and light-emitting diodes (LEDs) activated by noise frequencies. sound and light experience based on a concrete poem he wrote. A C I D G E S T takes its name from the phrase “acid test”, (refering to the parties held in the 1960’s where groups of people would come together to legally experiment with LSD). The last segment of our show features subtropics, the experimental music and sound art biennial at ArtCenter/SouthFlorida organized by sound artist Gustavo Matamoros. Alba Triana tells the story behind her sound and light installation Microcosmos and Gustavo introduces sound art and experimental music performances by David Dunn, Olivia Block, Carles Santos and Abbey Rader.

The letter B leads us to the in-between and composers Antoine Beuger, Martin Bartlett, Gilius van Bergeijk, Olivia Block and Gavin Bryars in the second instalment of our experimental music alphabet! Array to Zed is a monthly podcast exploring experimental music by way of the alphabet. Hosts Martin Arnold, Artistic Director of ArrayMusic, and Georgia Carley chat about the ideas, procedures, composers and music that make up that nebulous beautiful thing we call “Experimental Music.” Music Credits: Antoine Beuger’s music is available at www.wandelweiser.de Pythagoras Ghost, a collection of Martin Bartlett’s music that includes the piece heard on this podcast is available through the Western Front at western-front.myshopify.com/products/pythagoras-ghost X-OR Records, the company that put out 2 volumes of Gilius van Bergeijk’s music, is sadly no longer in business. However their remaining stock, including both van Bergeijk volumes, seems to be still available at: powensemble.nl/x-or-records As Martin says, buy everything you can as fast as you can! More information about Olivia Block’s music can be found at www.oliviablock.net More information about Gavin Bryars’ music can be found at www.gavinbryars.com We also referenced Elizabeth Grosz’s Architecture from the Outside: Essays on Virtual and Real Space (MIT Press, 2001) https://mitpress.mit.edu/books/architecture-outside and NPR’s “Composer Olivia Block In Her Own Words” (January 7, 2016), www.npr.org/2016/01/07/462230441/composer-olivia-block-in-her-own-words

  Rare Frequency Podcast 60 1 Goh Lee Kwang, "untitled 1" __, and Vice Versa (Herbal International) 2011 CD Time: 00:00-01:44 2 Jon Mueller, "A" A Magnetic Center (Rhythmplex) 2015 cassette/mp3 Time: 01:45-20:18 3 Coppice, "Flut (Tighter)" Preamble to Newly Cemented Dedication to Freedom (Aposiepese) 2016 CDr/EP/mp3 Time: 20:18-24:48 4 Olivia Block, "Dissolution BDissolution (Glistening Examples) 2016 LP/mp3 Time: 24:47-38:18 5 W. Zabarkas, "Autumn Invades the House" The Origin of Dreams (Glistening Examples) 2016 LP/mp3 Time: 38:18-46:40 6 Kassel Jaeger / Jim O’Rourke, "Side A" Wakes on Cerulean (Editions Mego) 2016 LP Time: 46:23-56:18 7 Linda Catlin Smith, "Part 14" Dirt Road (Another Timbre) 2016 CD Time: 56:25-1:05:59 8 Morgan Evans-Weiler, "Ensemble 3" Endless Overtones in Relational Space (Suppedaneum) 2016 CD Time: 1:00:59-1:13:20 9 Conrad Schnitzler & Pole, "Drachenbäume sind friedliche Wesen" Con-Struct (Bureau B) 2017 CD Time: 1:15:38-end

On August 6th, Ben Remsen and Olivia Block spent a couple hours in the former's apartment in the Rogers Park neighborhood of Chicago, listening to eight tracks related in some way or another to her work. Here is what she had to say. To find out about Olivia's recordings and performances, check out www.oliviablock.net. photo credit: Ryan Lowry for the Chicago Reader Subscribe to the Now Is Podcast in iTunes.