threehundredandsixtysix

by Steph Horak

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1.
03:53
2.
03:59
3.
03:51
4.
03:58
5.
04:00
6.
01:44
7.
00:51
8.
03:16
9.
03:02
10.
02:26
11.
02:26
12.
02:58
13.
02:58

about

Steph Horak (aka SheIsRevolting) is a sound and video artist. As a vocalist/producer she experiments with different systems for voice and composition, whether through the use of self-programmed systems or combinations of hardware and DIY electronic instruments. Stylistically, her sound edges somewhere between experimental electronica, conceptual soundworks, songwriting, noise and punk.
Horak is a producer for arts organisations, universities, charities, and independent artists. She collaborates with Tokyo-based live-coder Renick Bell, and plays on the improvisation circuit.

stephhorak.wordpress.com
soundcloud.com/sheisrevolting

threehundredandsixtysix is a collection of vocal pieces composed using material recorded during 2016 when I sang a note a day for a year to see if my body holds a sonic bias/resonant preference. Each note was recorded daily without hearing the others. Each month I analysed the note values and made a piece of music using every note for that month, and nothing else aside from some light EQ. The material was arranged and mixed quickly so as not to influence the future selection of notes. I chose to arrange the notes creatively and not chronologically. The habit formed quickly and within one month it was an automatic daily process. During the year there were some uncontrollable factors including access to my laptop (the recording device of choice), and the presence of sonic artefacts such as birdsong, festival sound-systems, passers-by, and heavy rain. The result is a series of intense ‘sonic washes’ with varying degrees of harmonic resolution. The final piece on side b is a short burst of all 366 notes played together. The cover artwork is a hand-drawn data visualization of the note values across the year, with 12 months spread across the x-axis, and each day on the y-axis. The key for colour to note values is included on the inlay.

I would like to thank Marlene Ribeiro and Nick Rothwell for their advice on synaesthetic responses to the music, Graham Dunning for releasing the material, and the stranger on the train who let me record a note on their mobile and email it to myself.

credits

released February 23, 2018

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Fractal Meat Cuts London, UK

Processes & experiments in sound & music.
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Label & radio show run by Graham Dunning

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