Tracklist & Artist Info:

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Biography:
Joshua Pearson (b.1995) is an ambitious New Zealand born Samoan creative artist who is multifaceted in many areas.
He is known as a [crazy] sonic artist, a [self-taught] visual artist, a [self-proclaimed] xerox photographer,a [reflective] poet, [extreme] vocalist, and [daredevil] performer.

Joshua has been creating innovative graphic/choreographic scores, producing live electroacoustic works, performing his own compositions, composing for film, collaborating with other creatives, experimenting with new extended vocal techniques, writing poetry, tissue drawings, making xerox photography, and many more.

Joshua is a recent graduate in Music Composition and Sonic Arts at the University of Auckland, specializing in Vocal/Instrumental and Sonic Arts (Electroacoustic music studies) under the tutelage of renowned composers Eve de Castro-Robinson, Leonie Holmes, and sonic artist John Coulter.

Website : www.joshuapearsonartist.com
Soundcloud : soundcloud.com/joshuapearsonsonicartist
Instagram : www.instagram.com/xerox_froste/

"The Duck Feeder – Colin Woods, 2018.

This piece was assembled from recordings at Lough Neagh, Co. Antrim during a stay in Ireland in 2018. The MIDI instrument tracks use data extracted from processed versions of the actual audio of the water and ambient sounds. The work is from Colin Woods' forthcoming album “Compound Eye” and also has an accompanying video.

See www.colinjameswoods.com."

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vgst1 is a piece realised in Max, but built on a jam session early in 2019 with an old friend, Steve Turner. It strikes me now having to write a bit about the piece, that it is more significant than I'd initially given it credit for. Steve and I had collaborated in the mid-00s, he as a guitarist and I as a bassist, and coincidentally and for different reasons we both ended up exploring modular synthesis. The raw audio captured in our jam is reminiscent, albeit, radically different from, the type of recording a band might do in their first sessions. In this case we were playing with gear that we were both learning and each with very different aesthetic goals. With the raw material I then fashioned it algorithmically into this piece, the significance being a key marker of the gigantic shift in aesthetic and adaptation of musical activity that I've been on since 2008.

Bio:

Vincent Giles is a composer; a tinkerer with acoustic and electronic sound in the context of concert music, electronic music, installation, and performance. His work is strongly influenced by the natural world, science, and mathematics, and his music is best characterised as experimental, being built on emergent properties. He utilises traditional notation, graphics, computers, interactivity, custom instruments, and is currently interested in machine learning and other forms of artificial intelligence as part of a computer-assisted compositional practice. Vincent’s works are often structurally complex, employing what he calls polyphony of form, an emergent property of superimposed musical forms interacting in time. Together with sound artist Alice Bennett, Vincent founded and co-directs Tilde New Music and Sound Art Inc., presenting a biennial festival and new music academy. He enjoys cooking vegan food, drinking coffee, and being a recluse.

Website(s): vgiles.net | vincentgiles.bandcamp.com

"I'd like to bring together my background in micro software engineering, live
playing, old-school synths and modern texturing to bring musical life to concepts and stories"

www.flickr.com/photos/97814409@N04/albums/72157671619263690

Variables was recorded this winter specifically for WFLS. It features the Russian SOMA Laboratory Lyra-8, accompanied by occasional flourishes of filtered noise.

You can find more from Speck of Dust at speckofdust.bandcamp.com "

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