Touch, February 2009

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Ash 7.5 | Three Questions and an Answer

Ash Internation # Ash 7.5
Cassette only, in a limited edition of 104 copies.

Angel c/w Ghost

Commissioned as part of “Psychometry” (The Space Between Seeing and Knowing is Haunted), an exhibition curated by D–L Alvarez at Exile and Arratia, Beer, Berlin [07.02.2009 – 04.04.2009]. Arranged and produced by Philip Marshall. Voices sourced from “The Ghost Orchid – an Introduction to EVP” [PARC, 1999]. Rain recordings courtesy of Dale Cornish. Photography by Eddie Nuttall.

Philip Marshall's soundscape "Three Questions and an Answer" is an immersive elegy to the noises that you never notice. The ghosts of our time found, easily and not-so-easily, in the everyday.

Buy Three Questions and an Answer in the TouchShop
Listen to Three Questions and an Answer on TouchRadio

Reviews of recent releases

We receive many reviews for Touch editions, and they can be read in the catalogue section of this site. Just select the release from the pull down menu, and there you will find not only reviews, but also information relating to it.

For example, reviews for our latest release, Jana Winderen's "Heated", can be found here, and those for Fennesz's "Black Sea" here.

Tone 37 - Nana April Jun "The Ontology of Noise"

Touch # Tone 37
5 tracks - 36:39

CD in Digipak
Cover art: Jon Wozencroft

Track Listing
1. The One Substance
2. Process Philosophy
3. Space-Time Continuum
4. Semantic Shift
5. Sun Wind Darkness Eye

The Ontology of Noise researches the dark associations of post-black metal. No traditional instruments are used on the album and all techniques are digital in their application. There are almost no arrangements or layers, but the pieces consist of single streams which change intuitively. This makes The Ontology of Noise a concrete journey through an abstract language evolving around light and darkness, nature and artificiality, and sometimes even takes the form of a sound very similar to an electric guitar...

The Ontology of Noise explores the filmic qualities of noise - the image-creating mechanisms that arise almost hallucinogenically from subtle variations of frequences. By using a special set of digital mastering and filtering techniques, the recordings often sound very much like the sounds of nature; wind in trees and water. The Ontology of Noise opens up an audial perception for these sounds of nature and ask questions about their ontology...

[ref: Burzum's Filosofem]

Nana April Jun is one of the personas of Christofer Lämgren (b 1974), a visual artist, composer and art magazine YKKY [] editor/curator based in Gothenburg, Sweden.

Buy The Ontology of Noise in the TouchShop

Touch Live in Budapest | Saturday 21st February 2009

Saturday 21st February

Tráfo, Budapest, Hungary
with Hildur Gudnadottir & BJNilsen, Jon Wozencroft & Mike Harding

The Wire 300: changing uses of field recordings

Will Montgomery has written a previously unpublished article, commissioned especially for The Wire 300 online season, on the changing uses of field recordings. Touch artists Chris Watson and Jakob Kirkegaard are featured. Click here to read the article.

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We do hope you will take advantage of this service; not only does it offer you value for money, saves you having to repeatedly order new items in the TouchShop, but you also receive exclusive offers.

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Touch Radio 39 | Paulo Raposo | Joao Silva

24.02.09 - The Book of Hours – 23:24 - 320 kpbs

(guest: Carlos Santos)

Recorded 17.01.08
Dome of the National Pantheon, Lisbon

João Silva: crystal bowl
Paulo Raposo: space multi-channel diffusion and real-time processing
Carlos Santos: glass and bell

"Book of Hours" was recorded in the remarkable baroque central dome of the National Pantheon in Lisbon.

The musicians (and the audience) were 40 meters above ground level on a narrow circular balcony looking out over the abyss. The main sound source was a crystal bowl, played by João Silva, which was struck and resonated with a stick. Paulo Raposo processed these sounds and diffused them throughout the space via 6 channels, 4 of which were small self-powered speakers, arranged symetrically around the circumference of the dome. Carlos Santos also moved throughout the space and the audience with a small glass and a Tibetan bell.

The sonic interactions in "Book of Hours" aimed to reveal the inherently active qualities of the space, itself a performer in this acoustic dialog.

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