Touchradio

This crepuscular recording was made from 4:45am on the 14th December 2016 in the south Indian city of Kochi. I was there to play Drifting, a performance at Vasco da Gama Square, for Convening #2 hosted by the TBA21 Academy on the following day.

Live at Human Resources, Los Angeles, February 18, 2017 1. Geneva Skeen - Pop Song 16:48 2. Sarah Rara - Separating the Air 20:12. For the closing of Yann Novaks exhibition Repose,Novak invited Geneva Skeen and Sarah Rara to perform inside/alongside his installation. Each artist's performance was accompanied by the sound of Novaks installation demonstrated here via a room-recording from the event. Skeens Pop Song is a temporal response to Novaks drone work, and a cultural response to our times. In harmonizing with Novaks loop - divided into 3-4 minute segments (the average acceptable length of a pop song) - SkeensPop Song acknowledges that populist times call for populist measures, but refuses populist comfort, acceptance, and pale standards of beauty as means of resistance. Raras Separating the Air games of listening and learning between voice and computer at the boundary between music and speech. Each part is a device to punctuate silence, divide time, move the air. Photo: Christopher Wormald.

Farmers Manual is an electronic music and visual art group, founded in Vienna in the beginning of the 1990s. This computer set mode to c'mon in dictation on the B minor Asian. All ReachOut has paragraph and has a hot rod UART 13 of the real problems with seen a shift away levels here promotion and unsuccessful menu change and use the case yet this and this year amended in step 0 for restructuring and chill for Celsius until Vander all the four sources that are real and organs to be called from as a place you'll Flushing's police and how often initially and rendering rulz lives and the madness of all this is the hell is extreme frequencies fat and salt and flickering image's bourse your office. Photo: Nik Gaffney (CC BY-SA 2.0)

Victorian acoustician Herman Helmholtz studied sound and sensation in the 1800s; through his research he developed the Helmholtz Resonator, this object, usually made from glass or brass, is tuned to a specific resonant frequency and used to demonstrate the principle of acoustic resonance. Helmholtz writes about using these tuned devices to listen to sustained pitches from musical instruments. He also accounts hearing waterfalls, the howling wind and horse drawn carriages through his handheld resonators, using these devices to extract tones from the environmental sounds around him. Inspired by the work of Helmholtz, this piece incorporates both tuned and un-tuned vessels to explore resonant sound objects. Using two large glass carboys (designed as liquid transportation vessels) partially filled with rainwater, alongside two smaller Helmholtz Resonators, Surrounding Air comprises extended recordings of these acoustic objects. Each vessel contains its own unique sound space, a distinct resonating signature quie

As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016 Recorded by Jake Muir. With thanks to Steve Peters and Vance Galloway.

As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016. With thanks to Andrew Freid.

As part of the Touch Conference series of events which took place on the west coast of USA April-May 2016. With thanks to Brooke Wentz.

If ever there was a reason for 333 to break its own rules, this is it: the 33rd anniversary of the very first Touch release. So we skip our proverbial anonymous random modus operandi just this once. We even managed to produce proper liner notes to a 3-track extravaganza. And just this once, we -are- naming our sources. This special edition of Touch Radio is a quasi-random mash-up of prior editions: 3, 24, and 33, finely sliced into 3 hit singles in the making, each a good 3 minutes and 33 seconds in length (this one rule is unbreakable). The original cover image was a gift from Shawn Splane, slightly altered with the addition of a further digit.

Ever the archivist at heart, my father, Francisco Alvelos, had the foresight of recording the national radio and television broadcasts of the Portuguese "Carnation" Revolution as it unfolded on the 25th of April, 1974. Just audio, that is: home video was still years away, as was colour TV I was then seven years old, and remember an afternoon without school, the radio hosting strange voices, a still image on the TV set. By dinner time TV broadcast had been restored and some very serious-looking men in strange garments made very serious speeches, my parents expressions of expectancy and excitement an obvious indicator that, despite being beyond my comprehension, something major was taking place. That somehow made up for the disappointing disappearance of cartoons... The World was different back then for a seven-year-old under an ailing European dictatorship. By chance I recently unearthed the cassette tape my father recorded, and took great care in digitising it as it might not survive one last playback. It di

Over 18 people have died as over 40 inches of snow fell on the eastern seaboard of the United States. It was the second largest in New York City, where over 29 inches fell, since 1869... This recording was made in Williamsburg, Brooklyn using a Zoom iQ6 microphone and iPad Air 2. Photo: Dave Knapik

"In Spring 2013 I was part of an ornithological survey (bird migration census) in a desert area in the Nile Valley, Egypt. Our team lived, considering local conditions, in a rather modern building in a town called Sandafa Al Far. Apart from the actual work, our standardised observations, I most of the time made sound recordings of birds, amphibians, insects and the general soundscape in the vicinity of our house. Sometimes guarded by two policemen (because of an allegedly unsafe situation after the so-called Arab Spring) but always accompanied by a cluster of curious and noisy children. The combination of an extreme climate, a precarious political situation, witnessing violence, experiencing severe health problems and not least being surrounded by an omnipresent, diverse and sometimes almost too powerful soundscape led to a somewhat surreal memory of my time there." Photo: Marcus Held

Performed live at Resonant Forms on 11th September 2015 in Hollywood, Los Angeles. Also live that night were Simon Scott & Jen Boyd. With thanks to Volume, Rafa Esparza and Los Angeles Contemporary Exhibitions.

"After a heat wave of almost one month in the south of France this is the sound of that first rainy morning at the swimming pool. I recorded the rain and thunder in the countryside near Quissac (between Nmes and Montpellier) with 2 Line Audio CM3 microphones in a spaced pair configuration into a Mixpre-D into a Sony PCM-M10."

"Mark (Van Hoen) and I visited the tunnels underneath downtown Los Angeles on Tuesday. Many miles of these tunnels are closed to the public, but a section underneath the city archive collection is open. We recorded using an iPhone 6 and a Zoom H6. One of the signs had been adapted to read SOUNDs HORNy.

To call this field recording would be crediting the situation with more adventure than it deserves. At five in the morning, with a hangover starting to percolate, the ideal conditions are surely to just roll over, hit record and go back to sleep and that is pretty much what happened here. End of disclaimer. Boats, whether out at sea or in harbour, have a particular vocabulary of sounds. On the water, they are masked by the white noise of the ocean, in which as many sailors have reported you can hear almost any sound imaginable. Moored up, where things are quieter, the water laps and slaps the hull while the wind plays aeolian harp on the mast. That rigging sound is often a chorus of tapping lines against masts, but this particular boat a cruising yacht with a Bermuda rig, moored at Yarmouth after a days sailing had an unusually musical voice, sounding clear notes as the wind passed through its structure. At sea this was a contented hum, but at night it felt much more ominous. The tones in this piece w

The word gibbet is used both to refer to an executional structure and to a hanging iron cage that used to display the remains of executed prisoners; when someone is thusly displayed, it is known as gibbeting. Recording the wooden gibbet in 2012, believed to be haunted burial site and located at Caxton in Cambridgeshire, to capture the sound of the gallows wood (elm) and saproxylic (dead wood) invertebrates (beetles) that lived within it was a challenge because of the vast amount of traffic that passes by. It is located beside a busy roundabout (A428 to Cambridge) and I initially found it difficult to capture the wooden gibbet creaking and moving in the way I had envisaged. I therefore used contact microphones to get inside the construction. I was inspired by the grim history of this location, the place of multiple murders and capital punishment, and also from reading about Bernie Krause (b.1938) who, on the CD included in his wonderful book Wild Soundscapes, explains that "recordings are an illusion the bes

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.

"Inspired by BJ Nilsen's performance at LACE in Los Angeles last month, I decided to attempt my own composition using field recordings. The source recordings are quite crude in comparison to those made by the great Mr Nilsen; I even used only an iPhone to collect the recordings; but after a little judicious use of processing back at the studio, I am pleased with the results. On leaving LACE after the show, I noticed how many homeless were sleeping in the doorways at the back of the venue, where my car was parked. There were several droning air-conditioners, some emitting quite rhythmic sounds. It occurred to me that there are many that would hear this as music (myself included) but it's very doubtful that those sleeping in those doorways do... or perhaps some do find some comfort or music in such sounds. I assembled several of them to create this, an anthem for the homeless." Photo by Mike Harding taken in downtown Los Angeles

Recorded by Myke Dodge Weiskopf at Touch presents... Live in Los Angeles, 21st January 2015. With thanks to LACE, VOLUME and especially Yann Novak.

Field recording of fireworks on Saint John's Night, June 23, 2014, the local pagan inheritor celebration of the Summer Solstice. Recording by Heitor Alvelos on Bruce Geduldig and Bernadette Martou's balcony, Porto, Portugal. The vantage point, overlooking the tail end of the Douro river from a considerable height, allows the acoustic experience to become as impressive as the visual: the sound of the fireworks travels back and forth through the valley in considerable detail. Recent trends in mass entertainment have dictated the expectation for further ingredients of sensory input, i.e. the "pure" experience of the explosives shall not be enough. Cue the arrival of pop anthems as an added sound layer that, as far as acoustics go, can only be experienced as a distraction. This is the main reason for the dramatic pitch shift in the present recording: the sound fabric is brought down to the point where pop pap no longer hurts. In the meantime, a different landscape emerges, austere and foreboding. Edited by He