forthcoming....


forthcoming:

september 20-21st - landance, valley of stones, Dorset (performance)

september 20th - installation, Cambridge Museum of Technology

september 30th - talk / listening workshop, Newcastle Uni

October 20th - talk / workshop, Leeds Met Uni

November 10th - talk / lecture, Lincoln Uni

December 5-7th - workshop, Norfolk

February 26th - concert, Huddersfield Uni

May 8-11th - workshop, Northumberland

June 9-16th - workshop, Iceland

June 12-14th - score for listening, silo city, Buffalo, USA

Monday, September 15, 2014

following the announcement of the 2015 Iceland field recording trip / course (which was fully booked within 2 days) i've also been working hard on planning a new course for Wildeye - this time we venture further afield here in the UK:


Sound Recording in Northumberland
with Chris Watson and Jez riley French

This long weekend field meeting is an opportunity to practice and develop sound recording skills in the company of Chris Watson in his home patch of Northumberland. Audio specialist and artist Jez riley French will also be present throughout to share his experience, particularly with the use of extended field recording techniques including the use of non-conventional equipment such as hydrophones and contact microphones.
The base location is Mounthooley bunkhouse in College valley, Northumberland, UK. Accommodation is shared bunk rooms. The College valley is in one of the remotest and quietest parts of England. It’s north of Hadrian’s Wall in the wild lands once controlled by the Border Reivers.

In the Cheviot Hills and close to the Scottish border this a wonderful location for wildlife sound recording, around here there are many upland birds, roe deer, red squirrels and the possibility of feral goats. This is a great location for recording individual featured species and spatial soundscapes.

The long weekend will include a day trip, arranged around the tides, across to the island of Lindisfarne and the coast where Chris recorded this the CD In St Cuthbert's Time.
This trip is particularly aimed at those who have already taken our Wildlife Sound Recording Course and who want furrther guided experience in the field (but this is not a prerequisite). It is expected that you will bring your own recording equipment, although there will be additional kit you can borrow from the tutors during the trip. Some hill walking so stout shoes required and wet weather gear.
Itinerary
Friday: Arrive at Mounthooley from 3pm but please aim to arrive by 6pm.
7pm - evening meal served.
8pm - introductory chat - who we are, who you are, and what we will be doing over the next two days.
Saturday and Sunday: Practical sound recording activities at various locations and listening/reviewing sessions back at base. Breakfasts and evening meals will be provided at Mounthooley.
Areas of local interest:Weetwood Moor cup and ring marks Great place to begin an exploration of the many remains left by our ancient ancestors to keep us guessing about their daily activities and unknown rituals. This can be followed by a walk up one of the many hill forts in North Northumberland such as close by Yeavering Bell, home of the famous feral goats. 
Henhole A short walk from the bunkhouse this is a great glacial hanging valley of waterfalls cutting through the Cheviot granite. 
Holy Island 
Weather permitting we’ll take one day to explore as far as Lindisfarne / Holy Island - Home of many seaside walks, ducks, seabirds, religious figures, mead and scriptures. 
Monday: After breakfast depart the venue.....you can of course then head straight home or spend the day exploring Northumberland further.
Tutors
Chris Watson - Sound RecordingTutor - Chris is a composer who specialises in recording the sounds of wildlife and the natural world. His freelance career in film, radio and TV has taken him to some of the worlds’ remotest places. Watson worked on David Attenborough’s Life and Frozen Planet productions for the BBC, which both went on to receive BAFTA Awards in the Best Factual Sound.
Chris’s compositions are based on the voices of animals and habitats in the natural world and the built environment such as heather moorlands, tropical forests, deserts, steelworks and the arctic ocean. As well as creating soundtracks for broadcast, Watson produces multi channel sound installations, live performances, public lectures and workshops. His music career stems back to the early 1970s when he was a founder member of the experimental group Cabaret Voltaire. In 2000 he received an Award of Distinction for his Touch CD ‘Outside the Circle of Fire’ in the Digital Music section of the Prix Ars Electronica. The University of the West of England awarded him an Honorary Doctorate of Technology degree in 2006, and in 2011 he received an Honorary Doctorate from the University of the Arts, London. He has undertaken commissions from Aldeburgh Music, FORMA Arts & Media, the British Film Institute, The Louvre and Museums Sheffield. 
See www.chriswatson.net

Jez riley French - Sound Recording Tutor - Jez is a composer, artist & audio specialist whose output involves elements of intuitive composition, field recording (using conventional & extended methods) photographic images (including their use in photographic scores) and improvisation. He has performed, exhibited and had his work published widely across the world and also lectures in both field recording and the act & art of listening. Recently his work has been exhibited at Tate Modern, Tate Britain, Artisphere (USA) & at festivals and galleries in Italy, Japan, Czech Republic, Australia, Iceland etc. He also curates the 'a quiet position' project / facebook group on aspects of field recording / listening.
Jez also makes & sells his own hydrophones and contact mics (http://hydrophones.blogspot.com). In recent years Jez has been working closely on a number or projects that seek to capture a sense of place and moment that is both highly personal and yet offers a fascinating opportunity to look and listen anew to the environments in which we spend our time.http://jezrileyfrench.co.uk

Booking Information

Costs: £375 per person
This includes tuition, 3 nights accommodation, breakfasts and 
evening meals. Lunches are available from Mounthooley for £4.50 or self-catering. .
Note that transport during this trip will be in cars of the tutors and attendees, so it is hoped that enough of you will be coming in cars and be happy to offer lifts to others durting the trip to facilitate this. The longest trip however is expected to be to Lindisfarne which is only 40 mins drive. When you book please mention if you will coming by car and if you are happy to offer lifts to those who are not.
College valley is remote and it has restricted access to cars (but ok for us staying there).
Dates:
8-11 May 2015


a new 'score for listening' will be part of the Silo City event curated by Null Point in Buffalo, USA - June 2015

alongside performances, guided walks and installation by other artists

Sunday, September 14, 2014

Sound Recording in Iceland
with Chris Watson and Jez riley French





Following our previous highly popular sound recording trips to Iceland in 2013 and 2014, for 2015 we’re returning to this fascinating country, this time to the Selfoss region in the South for an opportunity to spend several days recording the sounds of spring in 24 hour daylight with Chris Watson, a leading figure in the world of wildlife sound recording, and field recordist and artist Jez riley French.

Our base will be Hotel Borealis, close to the largest lake in Iceland, Pingvallavatn, and surrounded by stunning locations including the Pingvallir national park and volcanic rift, the Gulfoss waterfall and the famous Geysir geothermal area. Further afield is the moon-like landscape around the geothermal vents of Krysuvik. 

We’re also within a couple of hours of the South coast, with its numerous black sand beaches and the fishing villages of Eyrarbakki and Stokkseyri, with its surrounding swamp-like waterways. 
June in Iceland is a time of 24 hour daylight - so we’ll have lots of time for recording, exploring, discussing and, occasionally, sleeping ...
We’re booking all rooms in the main hotel and two separate bungalow style buildings and as well as the friendly hotel staff there will be a French chef (who has lived in Iceland for over 30 years and is an expert in both French and Icelandic cuisine) and two minibuses to allow us the greatest flexibility for recording trips. The range of spectacular habitats will enable us to experiment with surround sound techniques, ambisonic microphones & software, hydrophones, contact mics, geophones, ultrasonic detectors, parabolic systems and a range of stereo and mono recordings. We will also have genelec speakers at our base for reviewing recordings and group discussions. It is expected that you will have some recording experience and your own equipment to bring (although we will have some extra gear with us that everyone is welcome to try).
Some of the many wildlife species we may encounter include: red throated diver, whooper swan, atlantic puffin, himbrimi, arctic fox, arctic terns, whimbrel, golden plovers... whilst we’ll also be hunting for fence wires, bubbling mud pools, abandoned structures, melting ice and spaces with unique natural acoustics.

Accommodation is in private rooms with wi-fi. Most of the rooms are in the main hotel (which we are booking in full) and each room has its own bathroom. Three rooms will be in 2 separate bungalows (each with one bathroom). Breakfasts and two course evening meals are included.
In an interview with Chris Watson in Music Tech magazine (Dec 2012 issue) when asked his favourite place to record Chris said: 'Iceland ! it's a beautiful place, with great people and great culture. What's more, it's relatively noise-poluution free. It's where fire and ice meet, of course, so there's great sound potential there.'


Itinerary
Day 1: Travel from Reykjavik to Selfoss - an approximate 2-3 hour drive in our two minibuses. We’ll break the journey for a rest and also to call at a supermarket for basic extra supplies. We aim to arrive no later than 6pm, in time for an evening meal and to settle in.
Day 2-7: Recording activities - places we are likely to visit include:
Day 8: Depart. We will set off early, after breakfast, for our return drive to Reykjavik, perhaps taking in one last stop along the way. We will aim to arrive in Reykjavik in the early evening.

Personnel

Chris Watson is a composer who specialises in recording the sounds of wildlife and the natural world. His freelance career in film, radio and TV has taken him to some of the worlds’ remotest places. Watson worked on David Attenborough’s Life and Frozen Planetproductions for the BBC, which both went on to receive BAFTA Awards in the Best Factual Sound.
Watson’s compositions are based on the voices of animals and habitats in the natural world and the built environment such as heather moorlands, tropical forests, deserts, steelworks and the arctic ocean. As well as creating soundtracks for broadcast, Watson produces multi channel sound installations, live performances, public lectures and workshops.

His music career stems back to the early 1970s when he was a founder member of the experimental group Cabaret Voltaire. In 2000 he received an Award of Distinction for his Touch CD ‘Outside the Circle of Fire’ in the Digital Music section of the Prix Ars Electronica. The University of the West of England awarded him an Honorary Doctorate of Technology degree in 2006, and in 2011 he received an Honorary Doctorate from the University of the Arts, London. He has undertaken commissions from Aldeburgh Music, FORMA Arts & Media, the British Film Institute, The Louvre and Museums Sheffield. 
See www.chriswatson.net

Jez riley French is a composer, artist & audio specialist whose output involves elements of intuitive composition, field recording (using conventional & extended methods) photographic images (including their use in photographic scores) and improvisation. He has performed, exhibited and had his work published widely across the world and also lectures in both field recording and the act & art of listening. Recently his work has been exhibited at Tate Modern, Tate Britain, Artisphere (USA) & at festivals and galleries in Italy, Japan, Czech Republic, Australia, Iceland etc. He also curates the 'a quiet position' project / facebook group on aspects of field recording / listening.
Jez also makes & sells his own hydrophones and contact mics (http://hydrophones.blogspot.com). In recent years Jez has been working closely on a number or projects that seek to capture a sense of place and moment that is both highly personal and yet offers a fascinating opportunity to look and listen anew to the environments in which we spend our time.http://jezrileyfrench.co.uk


Travel Information
Visas: Please check if you need a visa to enter Iceland (holders of normal British 'European Community' passports do not need one).
Insurance: It is essential you take out comprehensive travel insurance. Whichever insurance you choose please ensure it provides adequate cover for both you personally and also for any equipment you may be bringing with you.











Dates:
9-16 June 2015

Costs:
UK£1,595.00 plus international flight to Reykjavik (which you book yourself - recommendations will be sent on booking). You may have to/wish to arrive a day or so early due to flight times, so you should also budget for accommodation to cover this.
Includes activities, local travel, accommodation and breakfast/evening meal each day.

Booking: If the home page shows that there are places available please complete the online application formand send in your deposit/fee as detailed. Booking requires a deposit of £200, the balance to be paid two months before the start of the trip.
Places are strictly limited so early booking is recommended (as is the booking of flights).

Saturday, August 23, 2014



'if you so wish....' (scores for listening)



high resolution pdf book of the scores + an on-going archive of realisations by various artists.





inc. recordings / performances  by JrF, Ryoko Akama, Cheryl Leonard, Yui Onedera, Pierre Gerard, Phil Maguire, Mihalis Santamas & more....
 

jez riley french  |  dissolves: the eating of fruit

eg059



using specially adapted JrF contact mics - strung with wires - these two recordings made in Italy capture the sound of different species of ant consuming fruit. The first (a section of which formed part of the piece 'resonances di topoolo') is what remains of an original 4 hour recording of ants eating an apricot. The second captures a more subtle event - with a smaller number of ants eating a strawberry.

Tuesday, July 22, 2014


catch AQP at 'end of the road' festival !

with Jez Riley French, Chris Watson, Julia Holter, Jana Winderen, Signe Liden, Dawn Scarfe, Kiyoshi Mizutani, Sawako, Ames JN Newton, Embla Quickbeam, Fiona Sally Miller, Peter Toll, Anne Guthrie & more....


Saturday, July 12, 2014

jez riley french - 'a quiet position  |  (resonances) leigh woods'

digital download




leigh woods sits on the south bank of the avon gorge on the edges of bristol - one of those liminal spaces that we perceive according to our subjective ideals - a small piece of nature where we might find some calm, both in terms of sound and sensation. 

‘an english woodland is a place of contemplation, wherein ones most obvious companions are the birds, trees and ones preoccupations alone’ in fact, as the lens of field recording shows, there is a cacophony of sound that, closely observed, allows us to form a more rounded view of locale and our impact on it. In this way, when the question is asked ‘what is the sound of leigh woods ?’ the first responses could be birdsong, the rustle of leaves in the breeze, children playing and climbing etc. However, if a single sound dominates the woods it is the constant sound of traffic on the A4 below. Perhaps, as listening becomes a more diverse and enacted choice with a wider potential than mere hearing, we will begin to take stock of whether our understanding of nature and countryside is or ever was based on a stable reality. over the course of the year I visited leigh woods there seemed an invisible barrier between myself and the locale. Eventually I gathered around 40 recordings that represented various aspects of the woods and that communicated something of its position. A selection of these were used in a three sectioned commission exploring the contemporary and historical use of the woods. this release uses some of the field recordings to form the two ‘a quiet position’ pieces, which can be listened to anywhere, including as you sit in or walk through leigh woods, if you happen to visit. Also included are some of the individual recordings and a map showing the locations. 

commissioned by: National Trust / Trust New Art Bristol / MAYK

Tuesday, June 17, 2014


an extract from a recording of cod, shrimp & krill recorded in Iceland, June 2014 with 2 x JrF d-series hydrophones....
                        https://soundcloud.com/jezrileyfrench/cod-grunts-and-other-species



recorded with 2 x JrF d-series hydrophones placed directly in the 100 degree centigrade + mud pools at Krafla, Iceland, June 2014....

https://soundcloud.com/jezrileyfrench/krafla-mud-pools-with



Wednesday, June 11, 2014


inspired by Flickr: Jez riley French

Geology is at the heart of our latest Inspired by Flickr contribution. Out of more than 1 million images, field recordist and artist Jez riley French was drawn to a simple line drawing of a piece of chalk, found amongst the pages of the 1883 publication 'The History of a Lump of Chalk, etc' by Alexander Watt F.R.S.A.
- See more at: http://britishlibrary.typepad.co.uk/sound-and-vision/2014/06/inspired-by-flickr-jez-riley-french.html#sthash.3YWu1mpt.dpuf

http://britishlibrary.typepad.co.uk/sound-and-vision/2014/06/inspired-by-flickr-jez-riley-french.html

Saturday, May 17, 2014

Jez riley French - 'room tone'

eg049

available now




recordings of architectural acoustics, locales filtered through buildings

recorded with JrF contact microphones, geophones and conventional microphones






sections of the work were exhibited at Continuo Associazione Culturale gallery, Udine , Italy 





'room tone' comes amidst a sustained and intense period of creativity for Jez riley French....the subtlety, the fantastical attention to listening and bringing new aural experiences to his audience grows more and more obvious with each release'



'....just when you think JrF has opened your ears as wide as they can go, he reveals yet more'



'a simply stunning release....at first I can hardly hear anything other than the low throb of the geophone recordings but, as with anything of value, the more I listen the more that is revealed, not least of which is the way the sounds sit alongside ones actual surroundings, as Jez intends, without even attempting to dominate them'






Wednesday, April 30, 2014



major new project going ahead:
'house dissolve' - an entire stone built house, disused for some years, is dissolved in a solution - the sound heard via multiple hydrophones.

Tuesday, April 15, 2014


new album of hydrophone based recordings

available now as a limited edition cd and digital download


Thursday, April 3, 2014

clevedon for lunch, then on to dorset....

beginning work on recording the valley of stones....for a performance event in the valley 





Sunday, March 23, 2014



lengthy negotiations, running to months then years, were needed for 2 recording sessions to take place inside the structures of the humber bridge - directly under the carriageway and in the north bank footing tower. eventually permission was granted and, for the first time, a private individual was allowed to make sounds recordings.

care was taken to choose the specific locations and the set the equipment for recording. my normal way of working is to be in the location listening and to record when the moment feels right, but on these occasions that was not possible, as only maintenance and inspection teams are allowed to stay in these restricted spaces.

so, after positioning the contact mics and conventional microphones, I pressed record and returned to the main bridge offices. 4 hours later I was escorted back to retrieve my equipment and, hopefully, 4 hours of recordings. what was actually gathered was around 1 1/2 hours of usable material and a 2 1/2 hour recording of an inspection team walking around the recording locations discussing various technical, structural details. whilst frustrating on one level, it is this kind of unplanned for situation that makes field recording a creative act rather than a mere technical exercise.

the piece presented here features two sections of the recording sessions, in 2008: firstly under the road carriageway and then in the north footing tower. 
re-posting / gathering of a few short extracts from experiments with 

(adapted) geophones

geophones are measurement devices for monitoring seismic activity. 
they're not really designed for audio although some are often hooked up to audio recorders - with varying degrees of success.
 and so, for the past couple of years i've been experimenting with different ways to adapt the geophones to give a decent audio signal.

below are some of the resulting recordings....you'll need headphones or proper speakers (not computer speakers) to hear these....

an earlier test, shortly after an initial adaptation of a single geophone - ground spike placed against the railings of the humber bridge....




you'll need headphone for this piece & the geophone recording comes in stronger towards the middle of the piece...



in this piece for tate modern, the end section was recorded using geophones placed on the floor of the turbine hall during the night....the sound we hear is the earth vibration filtered through the structure - mixed with the slight rumble of traffic and the river....a section of this recording was also exhibited at Tate Britain, pressed onto vinyl - it was quite something to watch people trying to hear the sound....


.

& again, you'll need headphones or speakers (not computer speakers) to hear this track properly - the geophone coming in towards the middle of the piece....



bower floor | dawn chorus with rain | canyon wires
music sits above and under the first impression.
when duration allows these things come into focus, increasingly.
in swifter moments a sense of quietude is possible.
still, finding pace with listening as a lens, moving
recorded september 2012, during time spent following a residency at The Wired Lab, this piece begins with two recordings playing at the same time. One of a bower floor, with contact microphones and geophone (nb. some of these low frequencies will not be audible via computer speakers) alongside a dawn chorus amidst light rain - drops falling centimetres from a conventional stereo microphone. Towards the middle of the piece, a further contact microphone recording enters, revealing one of the most bizarre fence wire sounds i've yet managed to gather. Despite returning to the same stretch of canyon fence several times, this particular effect was only present on one occasion and lasted for around 10 minutes. My best guess is that humidity and the rising temperature combined to create a momentary, unrepeatable and extremely evocative effect on the wires. It is this infinite and unpredictable aspect to listening in situ that continues to fascinate me. Getting closer to and underneath the surface of environments and spaces is a constant revelation, a constant pleasure.
jrf c-series contact microphones | jrf prototype geophone | sanken cuw-180

Friday, March 14, 2014

nice review, inc. words on the extract from 'teleferica'....

http://www.nypl.org/blog/2014/03/14/kinokophonography-night-lpa-hearing-believing

'The second half of the program was curated from open call submissions. It was such a pleasure to finally hear Jez Riley French’s Teleferica recording after reading his previous guest blog about the process of placing contact microphones on teleferica wires used to haul wood from the hills into the village of Topolo in Italy. Initial listening was abstract and gave me a feeling as though I were listening to something from the inside. When I found out it was the contact mic piece that French had written about, I thought about it for a long while later that night – how each leaf or bug or bit of dust grazing the wires became a full, present sound, and how we otherwise simply would never notice'

Thursday, March 13, 2014

collaborative sound walk for MayFest, Bristol



What would we hear if, on one night, we could enter into a museum of sounds – the sounds that have resonated through the site of Leigh Woods across its history? The echoes of a fire crackling through an ancient camp, or tidal rhythms above a tropical sea bed, three million years ago? Perhaps the sound of the Earth slowly turning, or the groaning of oak trees upon an arctic tundra?
Following a year-long residency with the National Trust, artists Tom Bailey and Jez riley French invite audiences to go with them on a re-exploration of a beloved Bristol landscape, wandering with field recordings in the dark.
Nightwalk 2014, commissioned by Trust New Art Bristol and MAYK as part of Mayfest for the National Trust Leigh Woods.

Tuesday, March 4, 2014

'foxley woods fence posts' 

will be part of the current season of events at the Juan March Foundation, Madrid, Spain

Thursday, February 20, 2014


the 1st edition sold out in just a couple of months !

2nd edition now available:

'In the Field - the art of field recording'
by Cathy Lane and Angus Carlyle.

240 page book, hand sewn with flaps.

conversations with Manuela Barile, Angus Carlyle, Budhaditya Chattopadhyay, Viv Corringham, Peter Cusack, Steven Feld, Felicity Ford, Jez riley French, Antye Greie, Christina Kubisch, Cathy Lane, Francisco López, Annea Lockwood, Andrea Polli, Ian Rawes, Lasse-Marc Riek, Hiroki Sasajima, Davide Tidoni, Hildegard Westerkamp and Jana Winderen. 

cover photo by my daughter (proud dad moment !) Pheobe riley Law

£12 + postage and packing



book + postage options

Friday, February 14, 2014




field recording, in all its forms, has been through incredible creative growth in the last few decades & yet its essential power to engage us in the act & art of listening remains inextricably linked to its subtle simplicity, its ability to make us listen ever more closely to the world in which we move by making us stop for a time....

during 2013 I curated several audio screenings - playback sessions of field recording based work - this collection gathers some of those pieces and, in my opinion, offers a fascinating insight into some of the varied approaches taken by the artists / recordists involved.

Friday, January 31, 2014


a special 8 channel mix of 'teleferica's' will be premiered as part of Artisphere's Fermata exhibition. 



line up for this major exhibition:

                                                                      Alvin Lucier
Christine Sun Kim
Jez riley French
Lawrence English
Ryuichi Sakamoto
The Books
Brian McBride
Eddie Ruscha
Francisco Lopez
CFCF
Alberto Gaitán
Annea Lockwood
Chad Clark
Kate Carr
Forest Swords
Jarboe (Swans)
Scarfolk Council
Devin Underwood (Specta Ciera)
Markus Guentner
Toni Dimitrov
Lucianne Wolcowicz
Salome Voegelin
SaåadIM Rawes (London Sound Survey)
Don Zientara & Ian Mackaye
John Henry Blatter

http://www.washingtonpost.com/entertainment/museums/spring-arts-preview-gallery-picks/2014/01/31/5a080e12-82b6-11e3-bbe5-6a2a3141e3a9_story.html

Monday, January 20, 2014

to london with Pheobe, who takes the best photos of me for certain !










portabello market, rough trade west, nice hotel with a pillow menu !, tate britain to watch the vinyl cut being installed, looking at the turners, tate modern to listen to the full 'audible silence - tate' piece with pheobe, harry callahan exhibition....

interesting (!) to be in the Tate jukebox as part of the british art walkthrough timeline - bowie, eno, dowland, gainsborough, deller, lucas, turner,....& jrf ! er....