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with objects

by Heather Frasch

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Hermit 20:28


"I selected the scores by lo wie and Ryoko Akama because they resonated poetically with my own practice as a performer/composer and allowed me to engage with my ongoing interest in working with objects.
My own text score, influenced by the writings of Gaston Bachelard’s notion of topology or the memory of past houses to understand the human soul, focuses on objects (physical and sonic) that remind me of places I’ve lived for longer than 1 year. I carefully constructed a distinct set-up for each piece in order to intimately intertwine score together with instrument; to further blur the boundary between composition, actualization, composer, and performer.
The recording style of these pieces attempts to capture an aspect of live performance that is usually lost in clean studio recordings, namely the extended sonic environment.
The performance of each score conveys this element in different ways, varying the presence of external sounds through a combination of microphone placement, and the opening and closing of a window.
I recorded these pieces in December 2018, a very dark and grey time in Berlin when daylight is scarce. By recording each piece after sunset I aimed to capture the feeling that comes with this intense mid-winter darkness, and how it effects the sound, mood, and performance of each piece."

- Heather Frasch, 2021


released May 11, 2021


1.) (Frasch score)
Weaving Broken Threads for digital boxes by Heather Frasch 2017
performed by Heather Frasch

2.) (lo wie score)
there will be no sound, by lo wie 2017
realized by Heather Frasch (kinetic sound sculptures)

3.) (Akama score)
Hermit for Objects by Ryoko Akama, 2015
realized by Heather Frasch (kinetic sound sculptures, objects & harmona)

4.) (lo wie score)
there will be no sound, by lo wie 2017
realized by Heather Frasch (kinetic sound sculptures)


HEATHER FRASCH, is a composer of acoustic and electroacoustic concert music, performer/composer (flute, laptop/electronics & sonic objects), and creator of interactive sound installations and digital instruments. Through the creation of complex timbres, the usage of unstable notation systems, and electronics her work explores notions of fragility and stillness within an intermedia sonic arts practice. Influenced by the dis-embodiment of acousmatic music practices, she investigates the re-embodiment of sound and the intimacy between humans and their technological objects.

She is interested in asking questions and finding the unexpected through a creative practice. By using different mediums, she is able to look at her investigations through various lenses. She is excited when previous notions are challenged and broken, making room for new ideas to emerge.

She co-edits mumei publishing which publishes online journals and monographs that concern text-sound perceptions. She is co-director of vibrant matter, who curate events, investigating the blurred boundaries between text/object and sound. Both projects champion experimental interdisciplinary programming, commissioning new works to support underrepresented voices.

She holds a PhD from the University of California, Berkeley and further degrees from IRCAM, CNR de Lyon, and Temple University. Frasch was composer-in-residence at the IEM (Institüt für Musik und Akustik) in Graz, Austria (2015) and at the Villa Ruffieux, in Sierre, Switzerland (2017). Other honors include: artist residency at the EMS in Stockholm (2014), the George Ladd Prix de Paris in Composition (2008), International Sergei Slonimsky Composition Competition Prize (2012), and the Nicol DeLorernzo Prize in Composition (2010 and 2008). She has performed and had her work performed at: the Kilkenny Arts Festival, CTM Festival, UdK de Reihe Series, Unfinished Descritpions Exhibition, Moscow Autumn Festival, San Francisco Tape Festival, NYCEMF, Mixtur Festival, hcmf//, Akademie Schloss Solitude; and by the Ensemble SurPlus, A.pe.ri.od.ic Ensemble, Ossia New Music Ensemble, Quiet Music Ensemble, sfSound, Vertixe Sonora, Adapter Ensemble, BCMP, DNK Ensemble among others. Her work has been supported by: Musikfonds e. V., Initiative Neue Musik Berlin and Kulturförderung des Goethe-Instituts. She was a Visiting Assistant Professor at The University of Virginia in the department of Composition and Computer Technologies (2018-2020). Born in Philadelphia, she was a music tutor of electronic music at the Catalyst Institute for Creative Arts & Technology in Berlin (2021) and will be Associate Professor of Music Technology at the Norwegian University of Science and Technology NTNU (Fall 2021 )



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