Martin Rosen - Untitled

The only instruction on this untitled graphic score reads:

Whatever sound(s) you choose, make sure the sound(s) you don’t are just as important.

Immeadiately (I hope) this reveals some unwritten intention in the score: that in its performance, there should be a focus on not only making sound, but a focus on the gaps around it.

The recorded acousmatic realization is my own. I wanted to reveal how subtly this instruction could be taken - the space where no sound is made is often fleeting, and masked by other voices or reverb.

Martin Rosen is an American composer and artist, currently travelling Europe.

Lee Riley - Untitled

I wanted to produce a sound able to fill a large space, and entice an audience into an experience.

My initial fascination was the projection of light when the bowl was raised, and this was something I wanted to capture as much as the sound.

Placing the hydrophone near to the pump added another dimension to the sculpture: an effect inside the bowl, water interacting with the pump and hydrophone, whilst making light reflections through the bowl, projecting on the surface to illustrate this sound as it happens.

Each part of the sculpture was necessary to hold the weight of the bowl and the water, with the clamps and lamp adding a scientific look to the sculpture.

I wanted the experience to be unique, and let the imagination of the audience speak for itself.

The responses to the experience from the piece that I found interesting were that “the water was nurturing the microphone”; the orb “all seeing, all knowing”; and that, as an audience, “we are in the bowl and outside the bowl”.

I wanted it to be unusual and strange, but at the same time to have an intrigue that would have the same effect on the audience as it had on me when experimenting that first time. I was excited, and couldn’t really understand it, but it amazed me and it still does.

Lee Riley is a sound/visual artist based in Oxford, working under the name Euhedral as well as his own. The sound and light sculpture Untitled was recently installed as part of Blessing Force 4 at Modern Art Oxford, curated by Oxford collective Blessing Force

Jeevan Rai - Ten Year Threnody

I remember the images. I think we all remember the images. Ten years on, the decade anniversary of 9/11 was surrounded by media talk of how it changed the course of history and its political aftermath - with little attempt to remember, acknowledge, recognise or confront the event itself. And to me that seems odd, because it is the event itself which sums up everything important about how I feel about it. It was the bubble of our western first-world security bursting. In that moment of impact, from that image of the towers aflame screamed one word: helpless.

To me art is something which can take us places we could not otherwise get. Steve Reich and John Adams have both done 9/11-related works which are respectively spectatorial and eulogic. What I have tried to do is connect with the moment right inside the event. Because what few people seem to be willing to do in recollection of 9/11 is really try to imagine what it might have been like in the last few moments of those lives. What happens in that terrible epiphany of helplessness, the realisation that there is no way out? In accounts of those who have brushed with death, the same descriptions keep cropping up: time stops, gravity stops, everything stops.

I used (among other sound sources) sirens of NYC emergency service vehicles, some piano recordings, fire alarm klaxons of the type typically installed in New York skyscrapers, the sound of Boeing 757 and 767 jets taking off, inflight soundscape elements of aeroplane passenger cabins, Northeastern-US news footage from the morning of the event, and the static noise of a phone call being cut off.

May the dead rest in peace.

May we hope for humanity’s future to be better than its past.

By night, Jeevan Rai is a composer, sound artist and improviser. By day, he is a mathematician. He completed an MMus under Stephen Goss and Matthew Sansom at the University of Surrey, where he now does doctoral research on symmetry algebras.

Pfft. - 868686868886

868686868886 is a piece created under the assumption that the adept modern listener can accept any interval possible on a standard piano.

After declaring that all chords produced are permissible, the track is performed under the influence of MIDI pitch randomization of 65%, with primary focus on dynamics and pacing.

868686868886 is part of a larger series released on Ronerberg Records entitled A Book Of Random Numbers, and is alternatively labelled 21904.;

Manos Panayiotakis - Inertial Motion

One of my main compositional concerns of the past five years is to explore and invent the ways that modality exists into spectrality and vice versa. Having been born in a country with a strong Eastern music tradition and at the same time decisively influenced by Western elements, it would be almost impossible for Hellenic culture not to have contributed to the development of my musical language. Most of my recent works focus on the exploration of ways that modality can be extracted from spectrality and vice versa.

Inertial Motion was composed during the autumn 2010 and includes some of the techniques which characterise my compositional language. The compositional plan of this work was the expansion of a minimum music material (in particular two frequencies) to large amounts of sonic information and the textural shaping by transforming the harmony into timbre and vice versa. There are three basic descriptive musical ideas which were used to organise three contrasting textures: The ‘smooth’, sustained, spectral surfaces, the 'angular’ texture comprised by rapid, upwards modal gestures and the 'granular’ texture, constructed from various percussive sounds which form several timbral blocks. Miscellaneous extended techniques such as breath tones, multiphonics, timbral trills, jet tones, scratch tones and percussive sounds were used to form the timbral palette and support the textural development. Usually, the pitch or the chordal material is transformed into timbral sonorities to modulate the tension and prepare for following passages.

The main compositional issues this work tries to address, were the balance between the algorithmic and the freely composed material, the scientific and the intuitive way of thinking, and finally the computer and the composer. OpenMusic software is a useful tool to generate and elaborate the spectral material and produce specific textures using algorithmic, aleatoric experiments. However, the final decision always belongs to the composer, a fact that provides a personal way for the development and the manipulation of algorithmic material. For this reason, several mathematical formulas and algorithms had to be revised, substituted or removed during the compositional process, in order to achieve the desirable sound result.

Manos Panayiotakis is studying a PhD in Composition at the University of York.

David Morin - Anhimaharua

Anhimaharua was inspired by Henri Michaux’s writing and his interest in the effects of hallucinogenic drugs, particularly mescaline.

With its use Michaux wanted to travel in this other world exactly like he had done across the globe.

This sound piece is an invitation to a sonic interpretation of Henri Michaux’s description of his visual experiences.

David Morin is a sound artist based in Sheffield.

Phil Maguire - Entgleisungen

Entgleisungen explores loss of reality and tricks of the mind. The title of the piece, meaning ‘derailments’ in German, refers to a train derailment, but more importantly to the thought disorder in which a person speaks or writes a sequence of ideas that are unrelated. The piece attempts to speculate where an individual’s mind travels to during a mundane, frequently undertaken task.

Phil Maguire is a sound artist and experimental guitarist based in London, and selects Christian Fennesz, Phill Niblock and Phillip Jeck as recommended listenings

Andy Ingamells - Solo

Is improvisation like masturbation?

Are electric guitars like penis extensions?

Can pornography be a score?

Is this a load of wank?

Andy Ingamells is a composer who lives in The Netherlands.

Circle-jerk is an ensemble performance of Solo recorded especially for CNCPTN on October 16th 2011, featuring Darrien Brito, Genevieve Murphy, Noah Rechtenwald, Ivan Renqvist, Maya Verlaak.

Footage of the first Solo performance from November 2010 can be found at

Andy will perform his piece Piano Recital with collaborator Jessica Cooper at The NewBridge Project in Newcastle on November 3rd as part of Wunderbar Festival.

Emphemetry - Old Dreams

My studio, where my piano is kept, is situated in a very old mill at Darley Abbey in Derby.

There are crooked passages between the mill’s buildings, bits of machinery from dead industries, and strange empty structures with walls swelled by years. In the foggy none-days of mid-late winter this place has an uncanny resemblance to how I picture the shadowless walled town in the ‘end of the world’ scenario from Haruki Murakami’s novel Hard-boiled Wonderland & The End Of The World.

I started bringing the book with me to recording sessions, and taking it to the ghostly pub around the corner. With every chapter I could point to a place or think of a person in the world around me here that fits the words perfectly.

Inspired by the piano in Nils Frahm’s studio (where he mixed my album A Lullaby Hum for Tired Streets), I began playing mine with these similarities in mind, and recording it in new ways (capturing some of the inner workings of the instrument as well as the music it makes).

This is the first piece from a set of pieces inspired by Darley Mills and Hard-boiled Wonderland & The End Of The World - a soundtrack to one of my favourite books, or to a film of it I wish someone would make.

At the end of the recording there’s the sound of geese flying past the window as the last chord rings out, and the hiss of the violent weir below the Mill: uncanny artefacts in the recording, that further blur the distinction between the book and this place.

Emphemetry is the guise of Derby-based musician Richard Birkin, also the founder of the label Time Travel Opps. You can find out more about Nils Frahm’s aforementioned studio at