The Portuguese netlabel Green Field Recordings joins, for the 11th year, the World Listening Project, through World Listening Day, with another field recording sound compilation, under the theme “The Unquiet Earth”. Thanks to all sound artists that participate in this special edition.
photo by Toni Dimitrov
design by EMERGE
Performance done for the 12th edition of ToBeContinued… 2021, original concert lasting 24 hours (from 00 to 24 of March 24th, Central Europe Time), during which musicians from many countries world-wide are connected to broadcast their live music.
out now the new release on Insectorama.
The Release is free as always, but you can also pay what you want to support the Label!!!!
Radosław Kobus – Symbiosis
Radoslaw Kobus presents his new 10-track album. A journey from dubtechno to ambient and soundscapes to field recordings. An unbelievably dense depth of the sub-basses that mixes with a very special soundscape. The heaviness and depth of each individual track is surrounded by echoes and reverbs that will enchant you and take you on a journey. an absolute masterpiece.
Tracklist:
1.synergy
2.strange day
3.black forest
4.bias
5.geology
6.towards the sun
7.blue planet
8.symbiosis
9.organic frequency
10.true
he musical mater for the album „Symbiosis” was created for several years. This includes field recordings and studio experiments with sound processing. Passing it through various types of tapes and multi-layering different sound samples. The songs were recorded in real time on the A&H Gl 3800 analog mixer and 4 trace Tascam with the addition of a frequency filter and various types of reverberation and delays.
Insectormama102
all tracks by Radoslaw Kobus
Mastering and Design by Markus Masuhr
1 – Robert Cole Rizzi “Wind, Water, Wood”
I went out sound hunting on february 26th 2021. Had an idea about recording the ambient sound as well as a contact mic recording of a tree simultaneously… Went to a nearby place by a stream, where I knew there would be reasonably quiet.
It was kind of windy, so there’s some low rumble in the recording from the tall trees
3 channels 2 from Lewitt LCT 540S’s in NOS and 1 from the Schertler “tree bug” microphone, mixed into stereo
www.facebook.com/robertcole.rizzi
2 – Frédéric Nogray “Hydroboulisme cauchemar d’une sardine en boite”
C’est avec étonnement et fascination que nous sommes invités à partager les tribulations ombrageuses d’une sardine en ivresse parmi quelques unes de ses consoeurs sur la piste de danse d’un recoin reculé du Canal de l’Ourcq à Paris capturées lors d’une chaude journée de printemps 2015 par la membrane attendrie d’un microphone jeté là par dépit par son propriétaire qui recherchait rageusement la roue avant de son vélocipède ayant de toute évidence du se jeter dans les eaux tumultueuses du canal dans le but plus qu’évident de se rafraichir. An extraordinary and historic document of such things that sometimes happened far from the ears of a common nature.
fredericnogray.bandcamp.com/
3 – Acoustic Mirror “Threshold”
“Threshold” is the result of one of many work processes I engaged with while researching the condition of listening under confinement. In this case, I resorted to the sound-activated recording feature of a small handheld recorder. Sound-activated recording needs an indication of what sound level is to be recorded – this is the so-called threshold. I configured it and set it up in my studio, and went around my usual chores.
The resulting recordings ranged from basic room tone, footsteps, housekeeping and other domestic soundscapes, and the occasional street noise, all starting with a particular sound that went, so to speak, over the threshold.
acousticmirror.tumblr.com
This soundwork’s starting point is in the heatwave evenings of June 2018, in the south of France, when the heat made sleep impossible.
It is constructed like a soundtrack for a video movie where a narrative process is directly generated by airport public cameras. Timbres, intensities, pitches and rhythms « drop shadow on airport runway » and offer a perceptual immersion, guided by microphones, open to our habits and our dreams.
This musical piece was originally presented during the JeffersonParkExp 2020. You can see the live performance here: Jefferson Park EXP November 15, 2020. Set 2. Nicolas Tourney.
Please use headphones or a real stereo device.
Cityscape – Brixia is an auditory tale whose subject is the city where I currently live: Brescia (Brixia is the ancient name), in northern Italy.
The recordings have been taken approximately between 2016 and 2018. The fields are different facets of the same city: different seasons, different weather, different environments. Crowded highways with cars and busses opposed to calm meadows with crickets in the night.
The result is an continuously changing sound scape that guides the listener through an auditory tour. The journey starts on a warm, cozy morning and continues through a refreshing rain that suddenly becomes a storm. As the day approaches an end, the traffic noise slowly fades away giving way to a familiar atmosphere. It’s time to relax. In the evening, a quiet place to spend some time. Then comes the night, and a soft blanket of snow covers everything in silence.
Alessio Degani
The first edition of “Chacabuco” (in cassette format) was in 1996. In this the music composed for the choreography and video-dance * homonyms of the La Vitrina dance company (Chile), where the experience was rescued of the bodies that suffered the Chacabuco saltpeter mine works as an economic prison (in times of the nitrate boom) and as a concentration camp (during the Pinochet dictatorship in Chile). This music was not only my first of many collaborations with this artistic collective, but it was also my first composition for contemporary dance, an artistic field to which I have dedicated my musical life ever since. Today, 25 years after its composition and editing, I present this music again, remastered for its virtual disk format, to share this piece of history with new generations.
With this album, we also inaugurated, always with Pueblo Nuevo Netlabel‘s unconditional support, the “Greatest Dance Hits Collection”. This series of publications will attempt to compile the music that I have composed for contemporary dance during the last 25 years.
All work was composed, sequenced, and mixed on the Ensoniq TS-12 workstation. Much of the sounds of “Chacabuco” were recorded directly there and then sampled for use in this workstation.
In the text of the original 1996 cassette, it noted the following:
Being in Chacabuco is not an experience that is easily forgotten: all that strength contained in each of its machines (“cachuchos”), in its streets and houses destroyed by deaf sounds, in its land (crunchy by the saltpeter), and in its evening wind (a great shaker of unclamped roofs) leaves a mark, an invisible (but powerful) mark, in the last emotional corners of those who visit it. I hope that these intangible impressions are somehow reflected in this composition.
The resulting language of “Chacabuco” would not have been possible without my previous “Give me a Loop”, a personal project born in May 1996. “Give me a Loop” reflects my search for intimate corporal rhythms (search for a corporal ritual), and therefore of a musical language according to this search. From another point of view, the loop (the repetitive cycle and in this case, the micro-cycle) is found as an independent life; in its spatial movement, and at the same time trapped in its limitations; releasing itself through repetition, but dying out to make way for new cycles.
Finally, “Las huellas del Pequeño Venado” (“The Little Deer Traces”) (completed in December 1996), is also inserted within this language. The Huichol shamans, in one of their sacred rites, manage to see these footprints of the little deer (magical animal), the one that will lead them to the first peyote. For this reason, it is the beginning of the journey to the unknown.
(*) “Chacabuco – eslabón en la memoria” is the first video-dance in the history of the genre in Chile.
José Miguel Candela
(Santiago, Chile. Marzo / March 2021)
Let’s give NewFreshAir a warm welcome to Virtual Soundsystem with the release of “森の世界” debut LP from this awesome french vaporwave/naturewave/ambient music project!
10 tracks of otherwordly vaporized natural ambient sounds for your listening pleasure. Enjoy the tunes!
released March 5, 2021
Produced by 森の世界.
newfreshair.bandcamp.com
soundcloud.com/newfreshair
soundcloud.com/haaperwave
[VSS_117] Virtual Soundsystem Records 2021
After a few years of absence, Luís Antero returns to MiMi Records with another field recording record. “Sound. Earth. Water.” is the main theme that served as the soundtrack for the film made in 2020.
Quoting Carlos Alberto Augusto: “Life, the sounds of life, mark the soundscape. As long as there is life, there is sound.”
A 15 minutes track where we connect to Earth through field recordings by Luís Antero and the mastery with which he manipulates the sounds of Nature.
This is the sound of the Earth that we step on, that we feel, that we live, that we long for … This is the primordial element of the landscape, the sound. And the sound is life.
In the fall of 2020 my regular gig playing piano for ballet classes was forced by COVID to go virtual. I still commuted to campus and broadcast my playing from an empty studio. The building was being renovated, so a small group of construction workers walked the student-less hallways. Between classes, I began to experiment with recording my playing from a small portable recorder placed in the hallway outside the studio–partly to capture the strange whistle that one particular corridor often produces. The result is a hiss-heavy album wherein construction workers are heard walking by, an instructor’s voice is faintly heard far away, and the piano also sounds like a distant thing.*
The resulting recordings resonated with me emotionally in a way that felt appropriate for the year. It’s been hard to see and recognize beauty. Truth is relentlessly attacked, obfuscated, and denied. It feels like we’re stuck in a room outside the room where something beautiful may be happening. We know or believe that it exists, but we can’t see it or touch it. We’re being kept out of that space.
Headphones are recommended.
*(There is also one song recorded at home from the hallway outside my office–the recorder set next to a dog who is resting in his bed, nervously smacking his lips. Is it a strange kind of ASMR? Is this whole album? It may be to me.)
credits
released December 18, 2020
All pianos, keyboards, and minimal electronics (tracks 3 and 8) by Kevin
All songs written by The Hathaway Family Plot
AUDIOSMOGG
Home Office Ambience
“When almost every other aspect of human society is suppressed, production must continue. The boundary between private and work life is sometimes non-existent and the dream is fulfilled. Every lockdown consists of moments of despair, hope and obligatory cover songs. It is what it is.”
Recording, mix, most of the sounds and cover photo by Márty.
Track 2 contains various samples from covid-era documents and news and intro from the 1968 WKBW Adaptation of “War of the Worlds” by Orson Welles.
Mastered by Daremes.
Recorded with significant pauses between spring and autumn 2020 at home, office and very few outdoor locations.
Be positive and stay negative.
credits
released November 24, 2020
An investigation – abstract
I’ve always been fascinated by watching and listening to the way we as human beings react to finding ourselves placed into different environments.
Specifically, I am intrigued by the way we manage the challenge of being in a space which is not created to be the stage where we can perform our personality and actively interact with the objects and the people who surround us, as a museum is.
Being in a museum limits our personality exposure, at the same time it engages our senses and sensitivity.
Is such context creating a push towards the outside in a context which makes such expression difficult to be exposed?
A modern art museum visit is able to stress such experience way further, visitors can sometimes be pushed to face languages and contents which run on the very border of comprehension and social acceptability.
As human beings we interact with habitats through different ways of using our physicality; I think that more or less consciously and intentionally our presence affirms itself through the sounds we make.
My first audio recording of my visit through a modern art exposition happened when visiting the Serpentine Galleries in London, a funny feeling of displacement imbued me because of sounds coming from both sides of the exposition internal entrance.
After visiting the Serpentine Galleries I visited the Tate Modern.
I recorded my walk through the different rooms, trying to notice the relation between the space, the exhibited works of art and the way people were managing their presence: imposing it or trying to be as transparent as possible.
While walking through the expositions’ rooms I was caught by another delicate emotional resonance.
A new element was coming into play, directly connected to a more emotional layer.
Temporal suspension and physical floating were somehow represented by the experience of walking through the artworks.
The peak was reached when I entered the room where the video work by Gülsün Karamustafa “Memory of a Square” was playing.
Something had happened.
By entering that room I understood what I would have done with the recordings I was collecting.
Back to my studio I recorded a musical dialogue over the environmental noise of walking through art spaces, art places.
A sort of counterpoint in play between my physicality and the sonic trace of the space.
I’ve been visiting and recording the space of modern art museums and expositions, such as: Guggenheim and MoMA NYC, MoMA SF, MOCA LA, MCA in Chicago, Modern art museum in Philadelphia, Mudam in Luxembourg, Stedelijk in Amdsterdam, Lenbachhaus in Munich, Serpentine and Tate Modern in London and Hangar Bicocca in Milan.
Luca Formentini:
Original recordings of the museums (visited in 2016 and 2017), all instruments, recording, mixing and mastering.
Concept and production.
Mastering consultancy by Stefano Castagna
This audio work is released under Creative Commons (BY-NC-SA) and free digital distribution via Laverna music label www.laverna.net
Cover: original painting by Patrizio Vanessi, 2019
soprano saxophone, voice, meditation bowls, live processing:
produced, mixed and mastered at nexTTime studios:
photography, graphic design:
hervé perez ©2008
release date: July 22, 2020
