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  Marinos Koutsomichalis & Z’EV: ‘Ramifications’ (14)

  Ramifications is the result of a collaboration between Z’EV and Marinos Koutsomichalis. The work comprises of Organ recordings (employing the Sir Jack Lyons Concert Hall Organ in York) which have been time-stretched and digitally processed in a various ways before they have been finally diffused and re-recorded in A.S. Rymer Auditorium using 5 Genelec 1038B loudspeakers, a Genelec 7060B subwoofer, and a pair of Neumann KM184 microphones.
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  Coppice ‘Vinculum (Coincidence): Indexed Conjectures Of Coincidence Imprints Once Happened’ (13)

  Vinculum (Coincidence) is the latest installment from Coppice’s archive of sonic artifacts. The original piece was conceived as a site-specific performance and was presented at Without You I Am Nothing: Interactions, a performance series curated by Tricia Van Eck for the Museum of Contemporary Art Chicago.
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  Christoph Limbach ‘begin _if_ (3)’ (12)

  begin _if_ (3) is the third installment in an ongoing series of sound works by Berlin-based sound artist Christoph Limbach. Previous editions have been released on Richard Garet’s Contour Editions (begin _if_ (1), 2009) and Modisti (begin _if_ (2), 2010).
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  Strom Varx ‘A Cogent Heavy High-Technology Works Since Strom Varx’ (11)

  With A Cogent Heavy High-Technology Works Paris-based artist Strom Varx continues his research into seismic noise dynamics and delicate stillness, unleashing over 60 minutes of digital craftsmanship. In his own words “the result is a kind of electronic music that is perennial, futuristic, sensible, provocative and profoundly romantic; music that does not fit to any particular groupings”. Fragments of Karkowskian aggression encounter sections that bring to mind Kevin Drumm’s latest efforts in quietness.
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  Strom Varx ‘The Obliquity Of The Solar Rays In The Vicinity Of The Pole’ (10)

  The obliquity of the Solar rays in the vicinity of the pole was recorded live at ParisHippolytestudio. Strom Varx uses only electronic media.
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  Astero ‘Nadir’ (09)

  Two faces, two approaches which reveal the same enigma: that of sounds shaped in the moment of their own creation, by way of the simple contact of fingers, or of electricity passing through the internal circuits of the modified devices – or perhaps the amplification of materials, rather than objects.
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  Marc Behrens ‘Apparatus’ (08)

  Originally a four-channel sound installation presented May 28 – June 10, 2010 as 9/12 in the ‘Phonebox’ series at IMO, Copenhagen, Denmark. ‘Apparatus’ was composed April-May 2010, using basic sound material recorded 2005-2010 in Austria, Brazil, Germany, Italy, Namibia and South Africa.
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  Kasper T. Toeplitz & Z’EV ‘Fleur De Peau’ (07)

  Z’EV (skins/symphonic bass drum) and Kasper (bass|computer) were recorded live in Sleaze Art studio, Paris, January 2010. Kasper mixed and assembled ‘Fleur de peau’ out of these recordings the following weeks. ‘Fleur de peau’ (literally: flower of skin) could be interpreted as ‘extremely sensitive’.
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  Z’EV ‘Live in Athens’ (06)

  Z’ EV performed for an audience of about 50 Athenians at Knot Gallery, October 2010, in a concert curated by Agxivatein label. The concert was recorded using a pair of spaced DPA 4060 omnidirectional microphones by Nikos Kyriazopoulos. Cover photos by Marinos Koutsomichalis.
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  Francisco López ‘Fango de Euriptéridos’ (05)

  ‘Mud of Eurypterids’ is one of the last sound pieces Lopez created with a reference to arthropods, some twenty years ago, at a time when his research work in entomology was fading away in favor of ecology.
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  Batuhan Bozkurt ‘Laconicism’ (04)

  These are not designs of ‘exactness and perfection’, instead, the artist merely defines limits for a sound-event space.
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  M. Koutsomichalis ‘Malfunctions’ (03)

  Koutsomichalis tries to interfere with various systems and trigger mechanisms that were not meant to be, in order to cause all sorts of malfunctions and explore arbitrary ways of interaction between them.
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  M. Koutsomichalis ‘Peripatetic’ (02)

  Peripatetic consists entirely of unprocessed cityscape recordings, interrogating this way the musicality of everyday sounds by means of ambulatory recording practices.
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  M. Koutsomichalis ‘Trevor Jones Studio Sessions vol I’ (01)

  A series of generative pieces that were performed in the control room of the Trevor Jones Studio in York, UK, in four improvised sessions during spring 2009.