prices / ordering


all engraved glass releases can be purchased via the bandcamp page:


https://engravedglass.bandcamp.com/merch

mp3 extracts from engraved glass releases

Saturday, December 13, 2008

instamatic series editions

the first editions in the 'instamatic' series. Releases feature mainly one take recordings capturing simple moments in each location. The recordings were made on days when recording was initiated for my own pleasure & without any advance preparation or pre-concieved aim. It's often the case that one ventures out with ones equipment & spends several hours recording only to return without any recordings that hold the attention. The instamatic series was concieved to present recordings that were pleasant, simple suprises.

Each release comes in a folded card outer sleeve containing the cd & an original, limited digital photographic print.

3 new releases by Jez riley French:





instamatic # 1 - Bridlington harbour & Thornwick Bay
hydrophone recordings made in June 2008 egcd024
3inch cdr - folded photo print sleeve + photographic digital print
click here to listen to extract






prices









instamatic # 2 - Vienna
binaural recording made sitting by the Danube waiting for a train, September 2008 egcd025
3inch cdr - folded photo print sleeve + photographic digital print
click here to listen to an extract





prices









instamatic # 3 & 4 - Ghent
# 3 - Ghent bird market
# 4 - Ghent beguinage
recorded with binaural, contact & stereo microphones in Ghent, October 2008 egcd026
3inch cdr - folded photo print sleeve + photographic digital print
click here to listen to an extract







prices



Monday, June 30, 2008

pocklington canal head (extract)


mp3 extract (please note: this track has been reduced in quality for mp3 format)


pocklington canal head (hphone) 2 mp3.mp3

Sunday, June 29, 2008

Jez riley French - 'pocklington canal head / wansford canal and watton beck'



. pocklington canal head (early afternoon)



.. wansford canal and watton beck (early afternoon)



these waterways, close to my home in east yorkshire, have been a source of many days pleasure over the years. I have always had a fondness for small rivers and canals - thier banks to walk, thier unique hold on local wildlife and of course the varied and constantly fascinating, evolving sounds that exist due to thier pressence.



here are two pieces created from recordings made with hand-made and other hydrophones.



--------------------------------------------------------------------

review from 'The Wire' (December 2008 issue):

'two pieces comprising untreated field recordings of Yorkshire waterways, recorded with the composer's self built hydrophones. He insists that it's not the technical perfection of a location recording that he's after, but a sense of emotional interaction with the landscape. That's not to say that he's slapdash with his methods - both tracks have a fabulously evocative tactile quality that clearly demonstrates the composer's attention to, and delight in the most minute details of sound. The result of such open-hearted diligence is a brief, captivating mini-cd, beautifully packaged (Richard Skelton's work comes to mind), and which reminds us that listening is the most important part of composition' - Keith Moline



. limited edition release (46 copies)

. photo print and paper folded cover

. vintage postcard mounted cd

cd edition sold out









Tuesday, June 10, 2008

Jones / Palacy / French - 'tierce'

eg.pcd001: tierce - Daniel Jones / Ivan Palacky / Jez riley French

*8cm cdr on printed postcard / in plastic sleeve*




Tierce (mp3 extract)

recorded @ seeds & bridges (afternoon)

Daniel Jones - e-guitar, turntable, electronics, objects.

Ivan Palacky - dopleta 160 knitting machine

Jez riley French - guzheng, zither, field recordings, objects






prices (inc p&p)




review from 'just outside' (Brian Olewnick):

'I'm increasingly at a loss for things to say about work like this, especially when I enjoy it, which I very much do in this case. Descriptions are inevitably feeble but simply observing that it somehow conjures up a situation, a place, a real or imagined environment and does so convincingly doesn't do justice either. I will say the trio (Jones, guitar, turntable, contact mic, objects, mixer; Palacky, Dopleta 180 amplified knitting machine (!); French, field recordings, guzheng, zither, objects) strike a delicate balance, managing to capture something of a field recording feel in their improvisations (certain taps, for instance, evoking the naturally irregular rhythms of water drops), that the performance tumbles along like a quiet stream over a complex bed. It's really, really good (a 3", by the way) and you should hear it'

--------------------

Tuesday, April 1, 2008

Jez riley French - 'field recordings volume 21' (egcdfr021)



Jez riley French - wensleydale fence wire (mp3 extract)

1) elleker stream (hydrophone) - east yorkshire

2) aldeburgh sluice gate (hydrophone) - suffolk

3) heating pipes - dolni pocernice - prague

4) marina jetty - east yorkshire

5) table surface - vienna

6) faxfleet pond fence wires - east yorkshire

7) fence wires - wensleydale

8) fence plate - wensleydale

9) semerwater lake fence - wensleydale

10) fence wires #2 - wensleydale
.
click here to read review
limited edition, high quality pressed cdr in full colour, 3 panel card sleeve


to order the cd version please see the first post on this website

also available as a digital download:


Jez riley French - 'generator pieces 2727807' (egcd-gp001)


'onsite one' extract


onsite one master.mp3

Jez riley French - 'generator pieces 2727807' (egcd-gp001)


1) onsite one
2) onsite two
3) offsite one
.
full details + review can be read by clicking here
.
£6 inc p&p - high quality pressed cdr in 3 panel full colour card sleeve - limited to 250 copies




to order the cd version please see the first post on this website

Jez riley French - 'two events' (egcdr2007-41)



1) april - east yorkshire
*field recordings, zither, insides & clear inputs, objects*
2) holy trinity - west yorkshire
*church flower stand, field recordings, piano*
.
cd-r in 3 panel colour card sleeve
.




to order the cd version please see the first post on this website

also available as a digital download:


Jez riley French - 'field recordings volume 20'


extract from 'lake konstanz'


fr020 extract.mp3

Jez riley French - 'field recordings volume 20' (egcdfr020)


1) Lake Konstanz
2) bridge and wind turbine
3) canal head and pig feeder
4) Aachen
.
cd-r in colour 3 panal card sleeve
.




to order the cd version please see the first post on this website

available as a digital download:

Friday, March 28, 2008

Various Artists - 'Rhythm' (Cherry / Gruenrekorder)


1) Peter Cusak - 'through the robots'
2) Eric La Casa - 'Clisson:'
3) Roland Etzin - 'premium 900'
4) Jez riley French - 'boat ropes & lake hollow pole'
5) Takahiro Kawaguchi - 'for example #1'
6) Dale Lloyd - '1928 Australian streetcar'
7) Takefumi Naoshima - 'self adjustments on mirror'
8) Lasse-Marc Riek - 'Matti, 06.02.2007, 10.29am'
9) Sawaka - 'rain clock'
10) Walter Tilgner - 'tag, mittelspecht'
.
for more info click here





postage options




Monday, March 24, 2008

Jez riley French - 'church flower stand # 2' (egcdr040)


1) church flower stand # 2
.
£3.50 inc p&p - 3inch cdr in fabric sleeve.
.














Saturday, March 22, 2008

brzeska 1991-2002 - limited recycled cassette


brzeska - 1991 - 2002

limited edition recycled cassette (eg- no number)

£3 inc p & p or free with the purchase of any other 'engraved glass' release

clear input and inside methods recorded between 1992 & 2002.

just about the first thing I ever released was a few home made copies of some tape & feedback pieces. They were run off over cassettes that i'd found at school & so it must have been 1980 or so. Now, to re-release some of these early pieces of improvised clear input / internal sounds (long since out of print in thier original cassette or cdr formats) & faced with a pile of cassettes that need to be recycled, it feels somewhat suitable to issue this release.

Thursday, March 20, 2008

Jez riley French & Lee Patterson - 'at seeds & bridges' (no number)


1) part one
2) part two
'
£7.99 inc p&p - very limited edition cd-r
.














Wednesday, February 27, 2008

four questions # 3: Jez riley French


going through the process of asking other artists to answer the four basic questions for my 'in place' blog raised a few suggestions that I should perhaps answer them myself - so here goes !:

JrF: when & why did you become interested in field recording ?

JrF: when I was quite young (around 12 I think) I was given a small portable cassette player/recorder. I walked around listening to tapes & recording playful things. Out in the garden one time I pressed record instead of play – after about 10 minutes I realized why the tape wasn’t playing & then on listening back to the sounds of grass, neighbours mowing their lawns, birds etc I thought it was more interesting than what was on the cassette before. From then on I just enjoyed listening to the sounds around me & I didn’t divide between ‘music’ & non-musical sound. At that age that was very liberating for me.

JrF: how do you use your field recordings in your own artistic output ?

JrF: I’ve used field recordings for several years now, alongside instruments and objects in live performance (improvisation / intuitive composition). Before that I just listened. I never process the sounds – at the most I will sometimes build a piece up by using a loop station pedal for example. I don’t use computers or processing for lots of reasons but the biggest one is that for me I find there is enough variety and creatively interesting sound without the need to use those methods. Perhaps when I feel there is not enough variety in the sounds as they are then I'd consider transforming them, but I can't see that happening. I'm still excited by the exploration and discovery. Besides it's also possible of course to find new sounds from the advances in technology anyway - like through 'inside / internal' methods of sound capture.

I also create pieces using just field recordings – again, so far, I have always done this via intuitive composition. By that I mean that I create these pieces ‘live’ (in a studio / home studio or performance setting). I prefer this to using computer technology to compose. It allows me to feel that I am still involved in the element of momentary, emotive response in some way - at least to the sounds of the environments. This is one of the reasons why I tend to do a lot more site-specific work when performing in public these days. Recording in & around where the performance will take place adds further to the intuitive response.

Occasionally, I find that I have enough interesting material to release the field recordings just as they are. ie. not part of a composition or improvisation (as with ‘field recordings volume 21’)

I guess I'm quite often drawn towards sounds that are small or aren’t heard in our normal aural range. Detail has always interested me in general anyway - visually, musically & in every day life. Sometimes I look for hidden sounds with contact microphones or by recording spaces & structures in order to draw the attention back to the audible elements that we perhaps filter out.

JrF: do you regard 'natural' sound as a musical element (bearing in mind that the conventional definition of 'music' is rapidly becoming obsolete) or as sound ? is this definition important to you ? does it matter ?

JrF: For me, I can listen to it all as music. I think I do that because I didn’t go through any formal musical education when I was younger that would have taught me the 'correct' definitions. I’m fully aware of the differences between the definitions of ‘music’ & ‘sound’, but I think how one thinks of these terms isn't always informed by technical description. I thought of it as music because when I was younger it felt more liberating, more positive & more enjoyable to do that & I still feel that way.

There are sometimes certain issues to do with these definitions, but they are mainly centered around the mechanics of funding or public performance. I think ‘music’ had more to benefit from the expansion of sound art than the rest of the art world did & that elements of what is labeled sound art have been investigated by musicians also but without perhaps the emphasis on publically expressed theory. It’s a complicated area & there is blame on all sides for any issues. After all the music world has been dominated by commercial concerns for so long that the term musician or musical artist has been used to describe all kinds of unoriginal and culturally barren trash. Equally the art world sometimes applies conditions and value judgements to these two definitions that aren't always reflective of the reality.

Are these definitions important ? sometimes, in a practical way – they can affect how some might listen to or approach a piece of work & they can affect funding applications or performance opportunities for example. However on a personal level life is too short & to me it’s music because that is how I chose to listen and feel about what I do. I don't like to think that the use of either term will affect the way ones work is experienced, but that is down to the listener I guess, no matter what term is or isn't applied. After all both terms are just human inventions.

JrF: has the act of making field recordings had an effect (positive or negative) on the way you listen to your everyday surroundings and how has it affected the way you listen to other music and sound (if at all) ?

JrF: I’d say the effect kind of ebbs and flows. Sometimes I find myself listening too much, trying to hear things too much. For me, being aware of the massive richness of natural or man-made sound has added to my everyday experience in a positive way. It’s hard to see a negative side.

March 2008

Saturday, January 19, 2008

instamatic series editions

editions in the 'instamatic' series feature mainly one take recordings capturing simple moments in each location. The recordings were made on days when recording was initiated for my own pleasure & without any advance preparation or pre-concieved aim. It's often the case that one ventures out with ones equipment & spends several hours recording only to return without any recordings that hold the attention. The instamatic series was concieved to present recordings that were pleasant, simple surprises.

egcd032 - Jez riley French - 'prague'
*this release features a series of recordings made as I walked around prague* (72 minute disc)
egcd026 - Jez riley French - 'Ghent' (8cm 20 minute disc)
egcd025 - Jez riley French - 'Vienna' (8cm 20 minute disc)
egcd024 - Jez riley French - 'bridlington harbour & Thornwick bay' (8cm 20 minute disc)

Monday, January 7, 2008

other cd's for sale

every now & then one needs to make some space & so i'll list single copies of certain cd's here - drawn from my own collection etc. All have been well cared for & are in mint condition unless otherwise stated. To purchase please email me at tempjez (at) hotmail.com:

Taku Sugimoto & Annette Krebbs - 'Eine gitarre ist...' (mint/sealed/new/unplayed) - £6

Various - 'Signal' - inc. Lee Patterson, Angus Carlyle, Mark Wastell, Lawrence English & more (double cd) (new / unplayed) - £8

Alison Knowels & Taketo Shimada - 'Fluxsweet' CD + DVD (mint) - £8

Area C - 'Traffics + Discoveries' (mint) - £5

Uchihashi Kazuhisa (Altered States) - 'Flect' (Mint) - £5

Kazunao Nagata - 'world of electronic sound 2' (mint/sealed/new) - £8

Kazunao Nagata - 'world of electronic sound 3' (mint/sealed/new) - £8

updated March 2008