Bleep

Press Release

‘It is tempting to think of Barrett’s sounds as living organisms, darting around in your peripheral vision.’ - The Sound Projector

‘Natasha Barrett is now one of the leading composers in the emerging field of 3D audio: using high-density loudspeaker arrays and cutting-edge recording and mixing procedures to create works full of ingenuity and drama.’ - The New York Times

Persistence of Sound presents a new solo LP from one of the world’s leading voices in electroacoustic music.

Natasha Barrett is known internationally for her intense explorations of the movement of sounds through space. Whilst studying with Jonty Harrison at the University of Birmingham, Barrett worked with BEAST (Birmingham ElectroAcoustic Sound Theatre), which led to a doctoral composition degree supervised by composer Denis Smalley.

Barrett has since established an international reputation as a composer of 3D audio and ambisonics. She treats spatialisation as a musical parameter, and told the New York Times,

“I’m really concerned with the idea of tangibility. Sound is invisible, but we can do things that make you want to reach out and touch it.”

Barrett describes her inspiration as coming from the immediate sounding matter of the world around us, as well as the way it behaves.

Barrett's works are performed and commissioned throughout the world, and have received a long list of prizes, including the Giga-Hertz Award and the Bourges International Electroacoustic Music Awards.

Persistence of Sound was founded by composer Iain Chambers, of the musique concrète ensemble Langham Research Centre. Its releases span electroacoustic music, field recordings, and the unclassifiable music between these genres.

Heterotopia and Urban Melt in Park Palais Meran are in 7th order 3D Ambisonics. The versions here are made especially for this stereo release.