been looking for this for a long while

Nesting Stones by playingwithwords

cathy lane on 'nesting stones'

Anybody who has ever had an intense relationship with another person will know that for every positive emotion experienced there is a corresponding negative feeling.

Nesting Stones is based on my feelings about my relationship with my baby daughter.
In this composition I am using and developing anecdotal structures and gestural metaphors harnessing the sense of spatial positioning and movement and the tension between the recognisable and stated and the barely recognisable and unrecognisable to explore and express the contradictions and dualities of that relationship.
The sound material for the piece is all drawn from recordings of myself and my daughter.

Nesting Stones was written in 1996. In 1998 featured on Unknown Public Issue 8: Sensuality Essence And Nonsense and as a result was chosen as one of the Wire magazines "100 Records That Set The World On Fire" along with works such classics as Steve Reich's 'Come Out', Alvin Lucier's 'I Am Sitting In A Room' and Glenn Gould's 'The Solitude Trilogy' as well as works by Louis & Bebe Barron, Youssou N'Dour, William S. Burroughs, Albert Ayler, Sun Ra and Herbie Hancock.

"Stockhausen's Gesang Der Junglinge features the voice of a near-infant boy. Nesting Stones doesn't seem so different: a mix of musique concrete and electronic treatment, featuring the cry of Lane's own child Mia. What's so striking is how insipid and even cowardly Stockhausen's pioneering work suddenly seems, how carefully the young Darmstadt modernist (who had just become a father) distances himself from any of his own feelings about child-as-sound (above all, imposing some irrelevant biblical material on the work). Mia's yowling, by contrast, is looped and treated until its primal empathic pull (she's calling "Mama") folds into maddening repetition, strain and ugliness. Even as the sound mutates into gurgles and chuckles - everything we're programmed to respond positively to - the baby manifests as parasite, as cancerous scrawl, as chaotic insistent thing. A simple idea, on the face of it far from new, and yet - in this age of child abuse panic and false memory syndrome - far more powerful, daring and revelatory than almost any Electronica or concrete I can think of."- Mark Sinker The Wire #175 September 1998

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and loads more electroacoustica and musique concrete feminine from cathy lane here

http://soundcloud.com/playingwithwords