EARS HAVE EYES // Episode 34
Airing Wednesday, December 11, 2024 at 8 pm MST
on CJSW 90.9 FM, NAISA, & Golden Co-Op Radio
FEASTING:
delicious sounds for hungry ears
ARTISTS:
Alëna Korolëva
Berk Yağlı
brekekekexkoaxkoax
Brigitte Haas
Clare Duckett
Evamaria Müller & Thomas Catlaw
Stijn Demeulenaere
Toby Kaufmann-Buhler
This program is co-hosted by Caitlind r.c. Brown & Wayne Garrett, and curated and edited by Caitlind Brown. Thanks to CJSW, Golden Co-Op Radio, and NAISA (especially Kaamil, Claire, and Darren) for supporting this show!
EARS HAVE EYES is a monthly sound art radio program airing on CJSW 90.9 FM in Calgary/Mohkinstsis, Golden Co-op Radio in Golden, BC, and NAISA Radio in South River, Ontario. You can listen to podcasts of previous episodes here.
For many, December is a month of feasting. For our last episode of 2024, we invited local, national, and international sound artists to submit delicious sounds, ranging from literal recordings of food being prepared and consumed, to the strange, hyper-specific noises that they just love. We’re setting the table for a veritable feast of strange, scrumptious, and occasionally disgusting sound art – this month, variety is the spice.
Thanks to the participating artists and our friends at CJSW, NAISA, and Golden Co-op Radio!
Alëna Korolëva
Alëna Korolëva is an artist and curator, who works with sound, photo and video. Her sound work is focused on field recordings, acoustic ecology, soundscape studies and acousmatic composition. Her technique employs elements of documentary storytelling and experimental music.
Breakfast at the Pig Farm is a field recording based composition. Sounds were recorded in Evoramonte district, Portugal in 2022.
Berk Yağlı
Berk Yağlı (born 1999) is a Cypriot guitarist, composer, and producer. His mission with his music has been to talk about social, political, and philosophical matters interestingly to invite the listeners into reflecting on the topics. He is working on hybridisation between electroacoustic music and metal as part of his PhD at the University of the Arts London.
Hypnagogic Hallucination Machinery is about the 21st-century condition. Living in a hyper consumer-based world, where everyone happily becomes a commodity to take part in society, the concepts of individuality, freedom, privacy, and humanity once again become crucial to be questioned and discussed. The sea of endless escapism, simultaneously fractured and monotonous people and ideas, we are now a part of the systematic hallucination machine more than ever. This piece aims to reflect these topics in an auditory way. The focus on 21st-century Capitalism’s hyper focused/overproduced reality informed the sonic choices in the piece with the hope of feasting the ears through having a hyper-reality/hallucination-induced-machinery sonic world.
brekekekexkoaxkoax
brekekekexkoaxkoax is a sound art project since 1996 of Josh Ronsen and numerous collaborators in Austin, Texas, exploring new ways of working with instruments, recordings and performance.
Dugmahrak in Hebrew roughly translates to “sample soup,” uses sounds recorded in the kitchen to create a delicious stew of sounds you may recognize from cooking.
Brigitte Haas
Brigitte Haas is a sound artist and percussionist living in Luxor, Egypt and Germany. She loves weird and interesting sounds, silence and humour.
About Linda’s Heaven:
“My cat Linda, crazily in love with the small bird she can`t reach- in heaven with chicken bones- and back. Food is a feast.”
Clare M. Duckett
Clare M. Duckett is an artist, musician, life-documentarian, and caregiver for a majestic dog named Ernie.
Clare’s recordings is comprised of off the cuff chewing sounds and salad commentary.
Photo by Jared Sych.
Evamaria Müller & Thomas Catlaw
Evamaria Müller is a sound artist and field recordist living in Vienna. Thomas Catlaw is a sound artist and field recordist living in Arizona’s Sonoran Desert.
After meeting at a field recording seminar in the French Pyrenees this past summer, Thomas and Evamaria decided to engage in an artistic dialogue via sound over distance. Over several months, they exchanged emails between Arizona and Vienna, between heat waves and floods, adding layer after layer to the compost soundscape, accompanied by thoughts and memories linked to the sounds of their changing environment and developing composition.
Compost X is a soundscape of this unsettled, liminal moment in the Earth’s history. “Compost” names a multi-species collaborative hope that as natural, social, and political systems breakdown these elements may serve as the nutrients and raw material for a better future. As artist Anne Duk Hee Jordan recently said, “To ensure a liveable future for the following generations, we, as mortal ‘critters’ need to link up with multiple configurations of places, times, matters, and meanings so that new life can be ‘composted’ from the planet-destroying Homo sapiens.” “X” references the strange, damaged Area X from Jeff Vandermeer’s Southern Reach Trilogy. “Nature” is transforming Area X and itself being transformed as it reclaims the space. In our piece, sounds from beyond the human world—bats, insects, birds—and the constructed human world—trash cans, water infrastructure, airplanes—are composted layer by layer in a mash of ocean, river, desert, and mountain geographies. Sounds decompose, become-other, and push into different registers and temporalities. We hear an emerging, living world at once familiar and disorienting in its newness
Stijn Demeulenaere
Stijn Demeulenaere tries to understand places by listening to them. He is intrigued by how we give meaning to the sounds we hear, and how we use those sounds to give meaning to spaces and places.
About Munch Munch:
“I was standing in a small and almost deserted tiny harbour in Zeebrugge, Belgium. A city with a big port, but this was the tiny harbour for the few small boats and yachts they have there, miles away in distance but mentally I estimate a few lightyears. Only a few boats were there, and a small old battered fisher trawler. There was a pier running into the middle of the small harbour, and I walked to the end of it, ignoring the sign saying I was not supposed to do that. I walked to the end of the pier and dropped my hydrophones in the shallow water. By accident I dropped in on somebodies lunch and I was treated to the sound of this drama: the sound of something eating something else.
The water was murky so I couldn’t see what was. An educated guess would be a crab eating some kind of shellfish. I guess my hydrophones were almost right next to it. This was recorded during the making of my installation “Zijlijn” (sea my other submission). For more information on Zijlijn, see here.”
Toby Kaufmann-Buhler
Toby Kaufmann-Buhler explores history, memory, identity and sensory perception in relation to his family and himself, within individual lives and across broad sweeps of history and culture. This work takes form in video, film, found/composed sound, text, installation, performance and interactive media. In 2024 he installed the exhibition “Parallel to all truth” at The Arts Federation (Lafayette, Indiana USA).
Three Parts for a Dream Palace a Sawing Sound production, using three distinct field recordings as a basis (made in very different locations and times). These three parts center creatures whose sounds we prize for their unique attributes.
Thank you to the artists & listeners!
Special thanks to CJSW.
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