This is a good one. Intriguing and engaging combination of environmental, narrative sound and pitched 'musical' sounds. Very precise focus of material in 5 very different pieces. The last and longest 'walking tune' is an homage to and uses material from Australian maverick composer Percy Grainger to fine effect - featuring also much documentary sound en route. A beautifully conceived and balanced piece of work. (Interesting to hear alongside Jon Rose's (ReR) 'Perks' by the by). Highly Recommended.
For an electric orchestra of 42 sound producing modules... violin scrape and pizzicato type sounds mostly, piling up like the sounds of amplified rain on a resonant roof. Then another piece, similar but with tunnel reverb, motorcycles and other sounds added. A second version of this with different, longer sounds added and for only one string player with gated reverb. A seventies classic by one of the unfileable composers who changed the rules. With notes and diagrams by the author written in 1999.
A sonic snapshot of Havana, consisting mostly of excellent field recordings (markets, police, Mardi Gras, street cleaning, Castro and bad dubbing on TV, streets at night, water pumps, bars, parks, museums, flamenco - with music everywhere... as well as one electroacoustic work (which Cuba has been producing for many years, though it is seldom heard outside). Eccentric metallic booklet. Altogether a fascinating release in the still narrow field of soundscape.
64pp A5 flatbound booklet with CD. The book consists of interviews made in small villages in Burkino Faso. Bosetti plays noise/music (Derek Bailey, Hugh Davis, Berio, Parch, Messaien, Yoshihide, Lucier, Chion, Parmegiani &c.) individually (via headphones) to people of all ages - who have never heard anything remotely like this before - and asks them first what they hear - eliciting the most extraordinary, elaborate, graphic and mystifying responses - and then what they make of it: whether it's music and what music is, &c. This is deep matter and the answers are sometimes luminous and always fascinating. It's rare to escape so completely from our own cultural frames of reference, and instructive how possible it is, notwithstanding, to approach and share experiences and concepts on the apparently fragile ground of language (even when that ground is compromised through interpretation). What is common as well as what is alien is made manifest and, above all, a kind of mental hospitality that seems hardwired is revealed. Bosetti is very sharp and accurate in his accompanying footnotes and doesn't mythologize or idealise. He is perfectly aware of his inescapable role as outsider and of the quasi parasitical relationship between white strangers like himself - neither tourists nor administrators -and indigents who know and will supply - for complex sets of motives - what they think is wanted of them. Many levels of information and of misunderstanding are at play here and they shift and elide as you read. Each short interview is accompanied by photographs of the people or the locality and a list of the specific music played. The CD is gripping - it's worth buying the book for alone. Made of the voices and vocal sounds of the questionees, imitations and musical sounds (Western and local) and the proximate soundscape - variously raw and processed - and brilliantly organised into a form that is like nothing I have heard before. I can't recommend it too strongly. But that's me. PLUS POSTAGE.
Small edition recordings of the earth's interior, taken from digital seismographs located around the planet. Since the true frequencies are extremely low, they have to be sped up considerably to bring them into the range of human audibility. There are 3 tracks, the first, at 2450x acceleration, captures an unbroken month, the second, at 10,000 x , about 4.5 months and the last, at 245x, three days around the December 2004 tsunami. You mostly hear earthquakes - and there are a lot of them at varying amplitudes - as pops, cracks and roars set in a constant sussurus that is the ocean's waters moving. It's stereophonic because the earth is round and the seismographs are far apart. The booklet notes are excellent, full and highly informative, and include the 'scores', showing the extraordinary frequency of events. Triple gatefold digi-pack. For total immersion or ambiance. An essential soundscape document.
This essential piece of history at last reissued, redesigned and repackaged. Keystone works from the various streams of musique concrete, electronic music, soundscape, electroacoustics and plunderphonics - including two masterworks from Eastern Europe, a territory traditionally overlooked in collections of this medium. It comprises: John Oswald's 'Parade', a complex work drawn and extended from Satie's celebrated ballet composition of 1917; Georg Katzer's monumental 'Aide Memoire' ('7 nightmares from the 1000 year night'), a terrifying document of collage, electronic manipulation, original composition and sound documents from 1933-45; Lutz Glandien's exquisitely economical, sonically powerful and surprising 'Es Lebe' for Tape and Tuba; Steve Moore's groundbreaking 'A Quiet Gathering' (chamber music for environmental sounds) - a multi-layered 22 minute work made only from captured non-musical materials; Jaroslav Kr_ek's miniature electronic gem based on nightingale songs and the proto-plunder legend 'Ommagio a Jerry Lee Lewis' by Richard Trythall. An indispensable collection in my view.
Originally made for the legendary but short-lived Resonance FM, this is a collection of the sounds that Londoners chose when asked for their favourite London Sound. It's a soundscape of the City that has the benefit of hundreds of ears. One should be made for every Capital. Personally I would say this is a document not to miss, bringing out so much not only about London, but also about the way that memory works and how sound can mean. Beautifully compiled and intelligently presented. This is a template for further work. With notes and pictures.
In 2004 Peter took a field trip out to lake Baikal to record the ice breaking up (it's a dramatic annual event) and to make an aural document of the environs (port, jettys, generators, the trans-siberian express, settlements &c.). These are beautifully recorded sound-in-time snapshots, with excellent visual co-documentation. Such works belong nowhere and begin to constitute a new genre; this is one of the pioneering works in that genre.
Welcome release from this subtle but complex composer-performer-instrument designer. More than musical, these are dramatic constructions with environmental sound, birdsong, conversation, narrative... the guitar shop section of "two small boys go shopping" is a masterpiece.. A record hard to describe since it deftly side-steps all the usual categories.
An experiment in listening. These compositions are an offshoot of the daily soundscape programme I ran for Resonance FM radio between July 2001-2002, which consisted of commissioned real-time recordings made all around the world between 23.30 and midnight GMT (the time of the broadcast). This CD begins with material from these broadcasts confecting, as it were, two composites of the Earth and a few of its inhabitants, somewhat analogous to what an impossible satellite ear with pinpoint acuity might hear in transit - plus one ear-cleaning stretch between them, taken from a single hear-point. I have tried to make these pieces both open and to work on parallel levels: not only do they have their own narrative and aesthetic qualities, but I hope they also offer a meditation on listening and not listening, interpretation and structure, chance and microphonics. The list of ears around the world who supplied basic material is too long to print here, but it includes many names familiar from these catalogues, and many from the still young soundscape and phonograpic community. Full details of people and places are given in the booklet, along with artwork and thorough notes. You have to trust me on this, it's a really engaging record. Sometimes unbelieveable. I don't think you'll regret giving it a chance.
A companion to 'Twice around the Earth, 'There and Back Again' uses 44 environmental recordings to explore - amongst other things - the way memory works, and how the experience of passing time is constructed. Mainly it's just meant to be good to listen to: surprising, serendipitous, mundane - but alien, the commonplace transfigured - an agglomeration of inadvertent sounds made haphazardly by the world and some of its inhabitants that were never meant to survive, and certainly not to be listened to repeatedly. And yet - they seem to add up. I listened to this many times and it keeps changing, though it can't. I don't understand it, but I like it. As a whole it's very different from 'Twice', though both share some locations (taken at different points) making reading across the two CDs another dimension of listening.
Someone had to do it. Subtitled recordings of architectural acoustics, this is a series of earth hum, pulse, soft roaring sounds, white noise, subsonics, low frequency whistlings &c. which - probably - capture spaces. Unfortunately there is no documentation at all, so the result is rather like early Berhard Gunther: intriguing sound but nothing beyond the sound. A pity because the idea is interesting - and the sound too: although monotonous, it is so complex that it envelopes the ear and somehow endlessly recreates itself. Documentation, documentation, gentlemen. The current habit of not telling the poor listener anything may seem like art but I find it mildly insulting. We may be consumers, but you could still treat us as human beings. And that means communication. Maybe in this case I am too harsh, here, I suspect the idea was to leave the enigma, the mystery, to do the work. And maybe that's OK. But I still think this was an opportunity missed - or a subtitle misapplied. The main title takes on an interesting meaning in the light of the 'nothing' that is happening sonically. To me, this is a very interesting CD (and only a CD could deliver these sounds); shame about the missing information.
Paradigm continues to uncover important fragments of the historic record. Bob Downes was everywhere on the musical fringes of the '60s, and his own 'Open Music' with Barry Guy and Denis Smith was part of the furniture of the time. Here, he and Wendy Benka with an orchestra of flutes, hammer dulcimer, marimba, gongs, percussion, jew's harp, saxophone, electronics, feedback, public telephones, water pump, zither, wind gong, cello, crystal glass vase, snail shells and tablas, produce an airy semi-electronic music - originally commissioned for dance, and released on Downes' own Openian label in 1974. What makes it especially interesting is the ground it explores between acoustic and electronic musics: all the sounds are processed, using the limited equipment available at the time, but with a great deal of inventiveness - and imagination will trump outboard computing power every time. Re-mastered from the original tapes, adding 7 extra tracks made between 1972 -2005 (one using only New York Public telephones, au naturel).
An unfolding of soundscapes made around Dartmoor. Beautifully done and great listening. Limited supply it's not a regular shop CD, though it is properly pressed and dressed, with good track data (and horrible grant-speak blurb that you can ignore; you have to talk this way to get money from ignorant and philistine funding bodies today). A fine and exemplary piece of soundwork.
Soundscapes from 3 cities, painstakingly collected and assembled by a pro. How unreal can real be?. Gems in a narrow and still conflicted field; these are models of the form. (Frankfurt binaural). Excellent.
The author of the groundbreaking Chaos and the Emergent Life of the Pond (an '80s soundscape classic) and inventor of many highly specialised microphones, here reveals another unexpected and complex sonic universe, that of the navigable layers between the outer bark and the inner xylem of a single species of American pine. It's a world that bustles with an amazing variety of noisy life as it goes about its (mostly destructive) business. The main players are pinyon engraver beetles (size: about one rice grain), though there are walk-on parts for other species. What is extraordinary - and this is the aesthetic point of the recording - is how varied, intense and mysterious this soundworld is. Superficially similar to some of the more radical 'small sound' sampling experiments released in the last years, this CD offers both a more interesting and a more meaningful experience; it's subtle, but you can hear the purposiveness and the life of these sounds, a dimension wholly lacking in the narrow world of samples, glitches and algorithms. And these are sounds inaudible to the human ear, however close you approach their source. A fascinating work, it comes with a serious and excellent essay by Dunn on the ecology and possible significance of the sounds, and the technical details of their capture and collage.
The CD is an early pure collection of unmediated and beautifully recorded world soundscapes, natural rather than urban. The subtitle says it all: 'A guide to listening in nature'. Released by Acoustic Ecology themselves, this is a statement of a base position. The book, a 98pp paperback A5 is a mixture of practical notes, description and acoustic ecology manifesto. It's important for that. But things have got more complicated since. Still this is the groundwork. And beautifully done.
78pp A5 flat-bound magazine with excellent articles about auscultation (medical listening) and touch; night listening, EVP (Electronic Voice Phenomena - 'spirit voices' found on recordings) as well as essays on sound mapping cities, Dartmoor's bells, sonic shock and the unconscious (1890-1990) and other topics. The first 10 pieces on the accompanying CD accompany the essay on Dartmoor's Bells, the remaining 17 feature 'disappearing soundmarks'. A soundmark is the sonic analogue of a landmark; a sound of significance and importance to a given community in a given locality. Not available commercially.
Fourth in this excellent series of bell soundcapes. Recordings from Sardinia (including some traditional song and many sheep), Venice (St Marco on a wet Sunday), Copenhagen (the carillon through rain and traffic), Lapland (all manner of bells from bellmaker Alvi Ruonala mixed with Arctic soundscapes) and Japan (temple bells). There is also a track for Oud and modified bell recordings, and the tolling of the Peace Bell in Hiroshima on the 60th anniversary of the American devastation of that city in 1945. With a silent crowd of 60,000, and a textile factory of busy cicadas.
A composition made from soundscape recordings of a 'water zither' - an artefact made of ceramic and bamboo, found in Japanese gardens which amplifies and accentuates the tone and pitches of water as it drips from a stone basin. This continuous 60-minute recording, which goes nowhere and sounds perfectly natural, recreates a hyper-real version of a Japanese garden, with ostinato crickets and modulating resonant dripping. Sun and water.
See text about Volume 2 for general notes. This CD opens in a village in Tuscany with a flock of sheep coming down from the hills, lingers in Finland in and out of a small church, continues on to a mountain village in Greece in the middle of a noisy festival and then moves to France where we hear the Angelus in three very different locations, close, far, urban, rural, mountainous, coastal - filled with atmosphere and detail; you can smell it and see it.
What is says on the label. These are beautifully recorded bells set in open soundscapes. Not only bells, though they are always at the centre. One of the most ubiquitous soundmarks, dominating the European landscape for over 1000 years, bells regulated rural life. Nothing else of human making was so powerful, symbolic and universal. And somehow they still retain something of their extraordinary authority. The have true voices and more resemble the natural sounds of thunder, rain, the sea, animals and birds than today's more dominating traffic, machinery, helicopters, sirens and leaking tinned tones. On this CD we hear church and cathedral bells - from Olso and Turku, a Mayday carillon, street bells from a carnival in rural Italy, and the massed bells worn by participants in the goat dance in Skyros, Greece (where each member of a large procession carries 60 pounds of them). Along with the bells come, variously, birds, some traffic, church choirs, handbells, pedestrians, hot air balloons, the Mayday street parade with bands, protestors and celebrants and strolling musicians. With all the richness and engulfing quality that the best location recording can capture. Pretty glorious. Nice packaging.
The third in the series moves into the more musical use of bells, specifically in Accra, Ghana, in the por por music invented by timber truck drivers and played still by members of the Accra minibus drivers union -hence the frequent appearance of (bulb) car horns. Many of the pieces here also include mbira, zither, one-string lute, saxophone, double reed instruments and all manner of other percussion. This is more of an ethno-musicological than a soundscape collection, but we include it since it is part of a series.
Ferrari is a past master, and was one of the very first to make whole works with environmental sounds. The compositions here are all built from field recordings (inc. Spanish museum, Bullring, Theatre and Concert rehearsals, grape harvest, rural village, container port, cement factory and so on), unused electronic materials from Ferrari's library and fragments of interviews with young women (also from his archive). It works.
Nicely assembled CD of storms, environments, bassoon in a forest of noises, telephone exchanges, weather, mysterious presences, machinery, foregrounded backgrounds and strange mini-dramas. Original, organic and Intelligent.
Luckily you can now buy the CDs that accompany the wildly expensive MIT Leonardo journal separately. This CD came with Vol 16, it's a soundscape compilation by Peter Cusack's that sweeps across the field, taking in an empty concert hall in Chenobyl, a super-close-up recording of fire ants walking, data sonification, real-time street recordings (Delaurenti's impressive and brilliant republican convention documentation), the electromagnetic environment (Kubisch, Stankieviech), some sonic postcards, underwater recordings and other field work. An excellent and useful release, with some real gems - and a useful a snapshot-overview of the field as it stood in 2006.
Fourth in this unusual series of place recordings capturing sounds from the region of Savoie, this one centred on the bell foundry at Paccard. Machines, the forge, the tuning room organised both in raw soundscapes and in transformed listening pieces. Interesting and fresh.
The real Elevator Music.16 exemplary tracks of (mostly Parisian) lifts in La Defense, Radio France, La Villette and the Metro, plus a pedestrian tunnel in Anvers and the Unilodge building in Melbourne. A great example of where less is definitely more. A classic.
A further chapter in the series that explores ubiquitous and ignored aspects of the (mostly public) architectural soundscape; this time it's ventilation units in France. Eric has recorded some 30 different units, in hospitals, at Radio France, the Pasteur Institute, the Centre Pompidou, in a library, a restaurant, an apartment and at the Cite de la Musique. These sites span 50 years of construction and very different acoustics. Each extract is two minutes long and runs directly into the next (though they are separately track-marked). At the beginning and end, calibration tracks collapse all 30 recordings into one minute. Eric has consciously sequenced the 30 recordings with aesthetic intent, but he also says that 'this CD is intended to be an object without distinctive function'. It is certainly a recording that fulfils many different functions, documentary, architectural and aesthetic. It also changes radically according to what level it is played at, and what aural - or philosophical - work it is asked to do.
The first CD presents a re-mastered version of the original Folkways release Travelon Gamelon - music for amplified bicycles. The street and concert hall versions (1979-82) presented there are augmented here with a previously unissued concert version from New Zealand, recorded in 1986. This collection is interesting as much for the juxtaposition of street (environmental) and concert hall recordings as for its documentation of an idea that may well otherwise have been lost. Though many people used bicycles as musical instruments - playing the spokes, mostly - not least Frank Zappa, no one else to my knowledge took the idea so far. The second CD presents a number of other works from a prolific but low profile career, all of them built around electronically modified performances, and includes a very early proto-plunderphonic piece (1963/4: the source sounds are records by Stan Kenton and Mahler, respectively). There is also a modified soundscape work (1980) that uses live feeds from the street processed in real time through a double tape-machine 8 track loop. Other works use processes or homebuilt contraptions to evolve musical form. The accompanying booklet is substantial, useful and well annotated - and includes a small gallery of pictures (colour and b/w) with descriptions of various other installations and performance structures by Lerman not represented on the CDs. A useful release, because it documents an already forgotten artist and adds to the picture of the inspirations and DIY lo-tech approaches to sound - and the organic approach to structure - that was important, especially in America, in the 1960s.
Here are five pieces centred around environmental recordings by five authors: Hans Ulrich Werner, Carlos Alberto Augusto, Christoph Korn, Michael Rusenberg and Carlos Zingaro. Werner's piece, with sound by Michael Rusenberg, is a video montage of street scenes, art shots and urban sounds, Augusto's an audio work (in stereo and 5.1 surround) with some additional guitar, Korn adds violin (by Carlos Zingaro) to an ambient working around a street musician, with visuals in the form of carefully crafted, related, text, Rusenberg's is a long, excellent, soundwork taken at a river jetty by a giant bridge (with added percussion orchestra, choir and occasional narration), Zingaro works with abstract facades and distressed walls, aurally and visually represented. 80+ minutes, half in a choice of 4.00, 5.00 and 5.1 audio.
A 2 hour, 47 minute aural journey along the length of the Donau, Europe's second longest river that runs from Germany through Austria, Slovakia, Hungary, Croatia, Serbia, Bulgaria and Romania, finally winding out into the Black Sea, collaged from recordings made during 5 trips in 3 years by Annea Lockwood, one of the early sound pioneers (soon to be 70). It's a work that has the pace and wisdom one would like to hope age will confer. As water seen day by day, water heard too constantly mutates, bound into the sounds around it: fields, settlements, insects, birds, boats and bells; it takes its own time, navigating endless bends and the occasional lock or weir. These are intimate recordings made from the banks, sometimes dipping beneath the surface of the water. Thirteen short interviews appear en route (translated in the accompanying documentation), but mostly the river just rolls on, endlessly changing. It's a joy. These are sounds graven into our genes and speak to ancient human instincts; they collapse a fleeting sense of linear time into an ageless, endless present. Men may come and men may go, but I go on forever, as we all learned in school (at least we did when poetry was thought of as something of value). There's also a foldout map, and useful notes. It's not art, but then art isn't everything. Or perhaps, if art is the transfiguration of time, this is art; just a new kind of art. PS. What this work is not is a sound map of The Danube - a river that runs through several capital cities and many large and small conurbations. So far as possible Lockwood avoids anything indicating urban life or anything that would let you know it was not still the C18. What is human is mostly represented in the ubiquitous sound of near or distant bells. This CD is deeper and more primal than a mere collation of documentary sounds.
What it says on the package. This is a sustained, apparently untreated and unmixed recording (the notes are ambiguous) of the ever-present wind that agitates the vast emptinesses of Patagonia in winter. Gusts, flurries, squalls, zephyrs, darts and screamers ebb and flow, like a sea under changing weather; indeed the ear cannot always tell to which element it is listening. Wind is the bane of recordists, they try as a rule to avoid it at all costs, so a whole CD of wind is itself a polyvalent signifier - oh dear, yes, here comes a contradiction: for a man who has made a career of 'blind' listening there is a surprisingly exhaustive superstructure of supporting theory and guidance here in the paratextual appurtenances (sorry the language is catching); in a dense little essay we are told how to listen and how intellectually to interpret not only the sounds captured - but the overarching work itself, as an art enterprise. Even the sublime rears its hoary head. I have nothing against information, even - in some contexts - interpretation, but here it seems to detract from the elemental fact of the sound itself. Piling up the heady language that hangs like a cloud around contemporary art - functioning, it appears, as a kind of legitimation-by-contagion - does seem rather to undermine the project, since it renders hollow Lopez's own protestations about 'pure... listening... freed... of procedural, contextual or intentional levels of reference'. I don't complain about the essay or its opinions, only about the seeming bad faith of its inclusion, given Lopez's oft repeated desire to strip away all but the act of hearing. And Lopez's own notes - in the context of this whole package - seem incomprehensibly perverse if you really try to take them seriously. However. Enough. We talk about the CD and the sound it embodies is what it is and creates its own space in its own recognisance. It's an important document - and its completely blank label is its best explicator.
CDR release. Here eight people around the world record for 30 minutes at the same world time, in the UK, USA, India, Japan, New Zealand and Brasil. The time runs continuously, and never more than 2 of the recordings are heard together. Birds, buses, crowds, interiors, water, Indian television and the human body. An interesting project with an engaging, rather hectic, but mysterious result. Lets the sounds be.
Very nice work consisting of environmental/musical recordings. Some will remember his work from our Quarterlies. Here he records in a cave in the Pyrenees, a flooded and frozen field in Somerset, a stone vault at Cluny Abbey and features his own slate and bass slate marimbas, fired earth percussion, leather soles, ersatozophone and clapping inside large pots. Very nice work indeed. CDR edition.
Four nicely recorded and very substantial soundscapes: forest dripping, oceanic, night birds and frogs but that of course omits the grain and essence of these engrossing and finely chosen selections. In a paper cover and tiny edition, it comes with no useful notes (a modern vice that is supposed to mean something, but which I find rather pointless, especially since it's worth saying something about these excellently judged pieces. Limited Supply.
It may be simply packed in a folding cardboard cover, but this is a remarkable piece of work using a massive amount of exquisitely recorded environmental sound (more or less exclusively taken in the Chabrieres forest) to construct 10 very different pieces, based variously on minerals, plants, animals, gestures, the sky, fire, twilight, night and water. Slipping from unprocessed to processed natural sound, this is as much a sound composition as a document - actually much more: there is musical intelligence constantly at work. And some of the sounds of the world are beyond anything electronic (the low rumble of an underground explosion, for example). This moves me for one. An exemplary piece of work.
Now in his mid forties Petr Vasa, formerly of banned group Z Kopce, and later Osklid (both formerly on our Points East distribution lists) has, since 1990, been elaborating his idea of Physical poetry - its roots in Futurism, Dada and, more precisely, the recording/vocal experiments of the '60s French New Realism - in a way both original and persuasive. These are situational, abstract performances or events using vocal sounds made in unpredictable environments - a busy street, a lift, an aquarium, a sewer, a railway crossing, pub, aviary, train station; by the sea, accompanying a chair and linoleum, with coffee pot and telephone, &c. Plus a handful of unaccompanied pieces. Altogether an important - and unusually recent - addition to the catalogue of extended concrete/poetry experiments that takes in noise, music and soundscape and manages to sound both stranger and more engaging than a great deal of more complex, electronically mediated work. An exemplary record; highly recommended. The CD also contains 3 strange movie documentations of Petr at work with traffic, helicopters, doors and some heavy road building equipment.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Waterlands.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them.. Salse di Nirano
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Sassi di Roccamalatina.
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Appenines
Beautifully made environmental recordings from the natural sanctuaries and settlements around Modena, Italy. Wildlife, environmental ambiances, animals, some human sounds. Unexpected material. Exquisite. Start with any of them. Sassoguidano.
77 and a half minutes in and around Modena with Tiziano - in the streets, restaurants, hospital, school, market, railway station, cemetery, cinema, park, supermarket, swimming pool and many of the piazzas that dot the city. Those who have the other 7 of Tiziano's regional phonograph albums will want this - and those who don't could start here. Nice cover too.
Aaron Zim, Chris Watson, Costa Grohn, Dallas Simpson, Daniel Knef, Derek Holzer, Gabi Schaffner, Jen Morris, Lassse-Marc Riek, Maksim Shentelev, Markus Obst, Marek Brandt, Robert Curgenven, Roland Etzin, Yannic Dauby present a collection of field recordings, urban and industrial.
Highly limited edition from Norsk Kulturad of exactly what the label says: field recordings on the mountains - with a lot of weather - of environments with Vibraphone near, far, inaudible - colouring the air. Highly unusual, and very successful.
Did you sing this for a Grieg? subtitled 'a landscape portrait of the artist 86 years on'. A highly interesting environ/plunder project contrasting minute 'empty' listening (to snow, mountain walks, ancient voices) with simultanious 'tidal' auditions of Grieg's lyric, orchestra, vocal and piano musics. One of a kind.
A fine collection of early Japanese electronic and concrete works made between 1965-1979, mostly at the Utrecht Institute of Sonology and the legendary Princeton Music Centre. The (excellent) earliest piece, like Stockhausen's first studies, is made entirely from sine waves, while the rest feature the increasing inclusion of environmental recordings. The last composition, City Visit, made in 1979 - which occupies 40 minutes of the whole CD - consists entirely of New York urban soundscape recordings without additional treatments or processing - a fascinating portrait of the city, and an important contribution to the history of soundscape phonography. A valuable release.
84pp A5 flatbound book of documentation, photographs and reflective texts accompanies a CD of environmental recordings made over a long period in one place and edited together. Very thorough documentation of sounds, which put what sounds often like nothing very remarkable into a different perspective when read. There are dramatic moments too and the recording quality is high.
Produced by the touring exhibition of sound environments, this presents one CD of environmental recordings of sounds typical to the island (favourite sounds of Harris and Lewes), a CD of further, more idiosyncratic event recordings and a lot of poetry read by children (an acquired taste but essential to get the funding I'm sure) and a CD that consists of a guided walk across Ness and Northon machair and includes (as the booklet proudly proclaims) the call of the Corncrake. The full colour book gives plenty of useful background as well as documenting the landscape, the sites and the local flora and birdlife.
Pieces based on a 'procedural score' for composition with environmental sounds. The title track, made in 1967 is a very early environmental composition and is fascinating, as well as being of historical significance. All the other works are later orchestrations evolved out of different readings or electronic analyses of this one recording, three electronic and one for acoustic instruments, all of them mostly drone-centred. For me, the acoustic piece is far and away the best. In fact this 1980 work and the original 1967 recording, are reason enough to buy this CD.
15 new slices of the world from the unique and independent phonography.org - a dedicated meeting-point and showcase for field recordings - sound photography, as it were. From various places in the world come sounds of sports crowds, traffic, radiators, Chinese trains, ferries, tourism, security systems, malfunctioning domestic appliances, &c. 'They laughed at Christopher Columbus when he said the earth was round, they laughed when Edison recorded sound'.(Ira Gershwin) - and now look. This is serious work, but then I'm a fan.
Another 19 sound photographs of places, weather, animals, insects, urban and exotic locations. These are not snapshots but high grain, perfectly lit, carefully framed art pieces; their effect is seldom literal, often abstract, but they nonetheless carry the authority of the real which they embody. Seventh in this luminous enterprise.
Sound artist Lauren Weinger documents and reworks one of her large scale installation events in giant grain silos in America. The massive sounds of gargantuan hoppers pouring grain, documentary moments of dialogue, local, archive and composed musics, mysterious traces of a country, a culture, an event - where 2 Americas meet. Beautiful packing. Plus extra Video track (& software, if required, to play it). A unique document and powerful listening. For a very limited time (last orders September 25-2002) both are available in advance and will come with a small folio of extra subscription only materials. ReR Record club will receive this edition automatically.For a very limited time (last orders September 25, 2002) both are available in advance and will come with a small folio of extra subscription only materials. ReR Record club will receive this edition automatically.
An interesting electroacoustic collection by soundscape specialist HW, using excellent field recordings, realtime performance and electronic manipulations. Especially successful are 'A walk through the city', Fantasie for Horns (exquisite) and 'Beneath the Forest Floor'. Unusual and tightly focused works.
Three full length pieces by one of the early researchers for Murray Schaffer's 1970s World Soundscape project. She went on to become a founder member of the World Forum for Acoustic Ecology, and editor of its magazine Soundscape. This is only her second full CD. Assembled from field recordings made on numerous trips to India, it is filled with sounds both sacred and profane: street-vendors, insects, stone-cutters, film music, traffic, street musicians, snake-charmers, railways, individual instruments, chanting, temple bells, water, and voices.
Another landmark release from paradigm. Assembled between 1969-1971 this visionary work uses multiple recorded power station, factory and machine sounds (as well as air raids, radio noise, the Apollo landing, a Saturn rocket launch, the sea, body-sounds, exotic musics, a Palestrina mass and voices) to construct a dense, grounded, complex, organic and powerful unfolding of the clash - or infatuation - between humanity and technology as it was manifested in the white heat of technology/nuclear terror/Frankenstein years of the late '60s ands '70s. Aesthetically informed by the dreams of futurism and early modernism, and by the revolutions of electronic and musique concrete, this makes the industrial musics of the mid '70s through the laptop era seem rather one-dimensional. Get there early
A substantial and excellent piece of work by Charles, in 9 parts, built on distinctive and varied urban and rural soundscape recordings, with occasional perfectly judged live additions by Charles himself (heÕs a clarinettist, not that youÕd realise it. Packed in a large postcard size folio with a sheaf of fine photographs. Made for a sound art exhibition in collaboration with the Georgia State school of Art and Design. A classic. Limited supply