Following a successful Arts Council England funding bid, Ryoanji Records have been putting out calls to commission new works of electroacoustic/acousmatic music which will be released digitally and physically as a hand numbered, limited edition of 50 CDs and made available via the Ryoanji Records Bandcamp page and through streaming services.
We are now seeking to commission/license artwork for the fourth of these releases.
To apply, please send up to three examples of existing work, and a proposal for how a new piece would respond to the work that is being created (details below). Alternatively you may suggest an existing work that you would like to submit for consideration but that has not yet been used for similar purposes and that you feel works in the context of the album.
The release date for this album is scheduled for mid-July, so work will need to be completed and sent to us my mid-June to allow time for the CD version to be pressed.
Proposals should be emailed to email@example.com by 11:59pm (UK time) on Tuesday 10th May. The selected artist will be notified by Friday 13th May.
Budget and other details:
A commission/licensing fee of £250 will be paid and you will retain all copyrights to your work. We will use the artwork on the album and for promotional purposes, including a short run of prints made for the launch of the album, to be included for free with the first 20 physical copies purchased/pre-ordered.
In Alëna’s words:
“My work is focused on field recordings and acoustic ecology. I study soundscapes and make compositions in the musique concrète genre. My sound practice grows from the relationship with a place and its acoustic properties. I start with field recordings and treat them as musical material. I use elements of documentary storytelling and experimental music (layering, loops and electronic sound modifications) in order to transpose my impressions of the soundscape into musical language.
I’m especially interested in the sounds that emerge in the transition zones between different ecosystems: like city fringes, river banks, wildlife habitats in urban areas, forest edges. These broken borders create the so-called Edge Effect – a change in population or community structures that occur at the boundary of two habitats.
There are not only birds who mark their territories by adapting their dialects to the ubiquitous noise pollution. The lake also tells a story – trickling, clicking, splashing and slurping. The whisper of drying leaves in wind sometimes turn into moaning. Isn’t the same wind passing through our bodies, making sounds as we speak? Numerous intertwined creatures, big and tiny, send their signals, exchanging information each on their own wavelength. No matter how marginalized by environmental disruptions, wildlife is resilient, it reclaims forgotten territories and adapts to cityscapes.
In the last couple of years I’ve been collecting sounds of the Toronto waterfront – a border between the city and Lake Ontario. It is a fluid territory of a more-than-human world where the sounds of animals, plants, people, machines and water meet and overlap, they sing together, or sing against each other.
Combining field recordings with music dramaturgy, I want to create a science fiction soundscape of a charged wilderness lying on the city outskirts which both haunts and reflects the humans who dare to step into it.”
Examples of Alëna’s existing work can be heard at: