This performance of Prinzip Nemesis in 2016 was part of the 7@7-exhibition by EXTRASALON at Werkstattgalerie Krüggling (Augsburg)
recording/mastering/cover/: brezenstudio.com
Laura Cavan is a french visual artist who also works with sounds, and especially natural ones like in her first album Unsuspicious. This project started in 2016 when Laura Cavan was studying arts in Marseille and created an installation using pieces of wood found in the area of her school (which is located close to a forest). The insertion of contact microphones in these pieces of woods allowed to transmit small vibrations emitted by its inhabitants : termites. The resulting sounds were sent in real time through headphones for the installation’s visitors.
Early 2019, some of these sounds have been selected, edited and mixed by Kecap Tuyul in for the realisation of this album. Different, light treatments (mostly equalization) have been applied to the orginal tracks, without trying to hide the recorder’s hiss nor other unwanted sounds, but rather with the aim of letting appear all aspects of the recordings in an organic way. The results don’t pretend to give an accurate reproduction of termit’s sound but should rather be considered like sound pieces where the recording technology is a part of the material and not a transparent medium. As a sequel of this release, Kecap Tuyul is currently working on tracks mixing electronic sounds with Laura Cavan’s recordings.
The artwork is made of a selection of Laura Cavan’s drawings of these wood pieces which that were created for her installation.
The work we are presenting today is part of a process of research, creation and listening carried out by a team of researchers, collaborators, and auditors, under the direction of the faculty of Psychology at the Universidad Diego Portales. An initiative that involved numerous people, including those who ultimately worked on the final design of the written document, its translation into English, and on the features that extend this process beyond the text.
This represents an interdisciplinary work, published under a Creative Commons license, whose hybrid imprint includes a book, a recording, and a web presence. Three channels of action and circulation mutually nourish one other. A printed book, also in PDF digital version. A CD featuring the musical creation entitled “Lo Inquietante” (The Uncanny) by Federico Schumacher, who also serves as a researcher and editor of the book. And, finally, a playlist of acousmatic musical pieces by the same author, uploaded to the Pueblo Nuevo website, where they can be visited in a manner that is personalized and free. Hence, there are three ways in which the reader, listener and navigator are summoned jointly to read, listen and participate, either by introducing themselves to the theoretical discussions, by listening to the accompanying musical creation, or by immersing themselves freely in the playlist that extends the format of the book to unprecedented reconfigurations yet to come…
Last summer, my former bandmate asked me to process and glue his field shots, which he had taken during the holidays in Croatia. I liked the idea so much that I threw myself into this adventure and did all kinds of field shots with my old Nokia Classic 2300. With the material of Mathias and myself, I ventured into a new universe. This resulted in this over 2 hours long work, which should correspond to a timeless time capsule. This was my first work in this direction and it was a lot of fun, although a lot of time was taken.
>From outward journey to stay to return, this album breaks down a bit of modern history and does not leave much room for distraction. In the first chapter, the listener soon notices that the technician had forgotten to turn off his iPhone after field recording and most likely fell asleep. Sometimes one hears his breath, which fits in calmly on the whole chapter. Chapters 2 and 3 were then deliberately introduced as hearty life sketches and give the album a true consciousness.
Let yourself be abducted into a world full of appreciation.
Chears Davide
Spirit Redux is a set of previously unreleased tracks, 1 and 2 were outakes from Spirit Replica, 3 from Hypnos.
Recorded between 2014-2017.
Track 1 recorded at Bedford Hollow.
Track 2 and 3 recorded at Seamonster Sound by Mike Baker.
Linden Pomeroy is a musician and sound artist based in Worthing, West Sussex UK, applying field recordings, tapes, voice and treated guitars into compositions from expansive drones, to delicate ambient ballads.
Released by Pilot Eleven Netlabel (PE19) on 23 March 2019 under a Creative Commons Attribution-ShareAlike 4.0 International license CC BY-SA 4.0.
‘You need to calm down and listen to
what happened. ‘
~
january 13, 2019 by yung ΔFosB is now available
TERR110: Boreal soundscape collage accompanied by the lull of balmy guitar. Seamless loop recorded over a week-long residency in Inari, Finland.
“I took part in a media workshop group’s travel to Inari, bringing together different artistic visions in order to gather a multimedia report of the Northern seasonal foliage, and ultimately organize a collective art exhibition. The residency was in a cabin beside Nukkumajoki river and my project in the group was to record the journey photographically and acoustically.
I was mesmerized by Inari’s fjelds, lakes and aurora-filled nights, the pristine flora surrounding Nellim near the Russian border and one particularly important place of interest was Siida Museum; a rich crash course on the indigenous Sámi culture, history and the seriously endangered Inari-Sámi language. To this day, Sámi people keep facing systematic discrimination in many aspects.
The loan word “Kaamos” doesn’t have a literal translation in English despite its unmissable significance in our culture. It could be split into two contexts: firstly the near literal translation “polar night” implying the geographical lack of sunrise, and secondly an associated mental state as a consequence: winter depression. The bane of northeners.
Post-trip, I recorded guitar to fit the field recording collage for a seamless audio installation loop as part of our touring mixed media art exhibition of the same name. The opening in December was at our workshop Vimma, with Turku Main Library to follow later in spring.”
This is a recording of a soundwalk observed from a first person’s point of listening. As all sound recordings do, this soundwalk recording presents what the specific one person hears when she went on a particuar walk. The unusual feature of this work as a soundwalk recording is that it also provides an insight to the thoughts that occur to her while she is on the walk, rendered as a voice letter to an unidentified acquaintance. This reveals personal stories and memories related to the places she visits as part of the soundwalk.
Sound recordings, Voice, Artworks, Cover Art by Una Lee
These recordings can be considered as documents of this practice. Indeed they are such documents, especially for people who were involved in the sessions. But we think that they also have a fragile and surprising beauty of their own that deserve an independent life for your listening. This unexpected musicality has been discreetly stressed by the editing choices, which we can consider like a delicate work of “a posteriori composition”, a work made with respect for the uniqueness of each sound event and their kind of abstract narrative power. That’s why we hope that you will enjoy these atypical works.
Credits :
Recorded and edited by Magali Albespy.
Pictures by Anne-Catherine Nicoladzé (front cover) and Emmanuelle Huchet (back cover)
Featured performers :
Magali Albespy, Jean Bloch-Laroque, Suzanne Cotto, Antoine Freychet, Chloé Garat, Flora Gaudin, Camilla Gliozzi, Virgine Gouband, Emmanuelle Huchet, Paul Kauffmann, Guillaume Lecamus, Laurence Luminet, Blandine Minot, Stéphanie Moitrel, Martine Muffat-Joly, Anne-Catherine Nicoladzé, Olivier Pelletier, Stéphanie Puechavy, Regina Ramsl, Anne Savelli, Kecap Tuyul, Donata d’Urso, Sig Valax, Mandoline Whittlesey
Magali Albespy is a dancer and performer. She likes to question the borders between formats and artistic disciplines. She explores real-time composition with body, video and sound. As a musician, she also plays in M.A.K.T. Sono and Mesce Basse.
Between the years 1620 and 1636, Peter Paul Rubens created, without the prompting of any commission, his Landscape with Philemon and Baucis. He kept working on this image throughout his life. The painting tells the story of Philemon and Baucis as Ovid presented it in his Metamorphoses. In Ovid’s narrative, an old married couple receives a surprise visit from the gods Jupiter and Mercury, disguised as weary travelers who cannot find a place to spend the night. The old couple does not judge these travelers or question where they are from; they simply offer them kindness and hospitality. The two gods offer the couple a gift expressing their gratitude: they spare their lives when, the next day, a great flood comes crashing over the land.
In the painting, only a small group of figures makes reference to this fable. The main theme of the piece is the unpredictability of nature with its untamed, uncontrolled power: lightning and thunder, rain and storms, a cow screaming as its life ends within a torrent, a mother desperately trying to rescue her baby. This is an apocalyptic catastrophe of unimaginable proportions. And yet, Rubens included a hopeful sign in this image: in the lower left-hand corner of the tableau, you can see a rainbow…
“Somewhere over the rainbow, way up high,” sang Judy Garland in the well-loved film The Wizard of Oz (1939), a song promising hope and a wonderful world far from the darkness and ominous threats of the Second World War.
This image has much to tell us in our contemporary lives, as our current reality includes events such as the refugee crisis, global warming, and the threat of nuclear disaster. It acts as both a warning and a sign of hope.
For the theatre project Ganymed Nature, composer Karlheinz Essl worked extensively with Rubens’ Landscape with Philemon and Baucis, creating an immersive soundscape to reflect this painting. This sound work is based on algorithmically generated soundscapes taken from weather and other natural phenomena: the forest and the wind, a stream that swells and overflows, thunder and lightning. We also hear sounds that refer to human activity: rustling steps through foliage that turn into the ringing of high heels, in which a woman stalks on asphalt. And then there are signaling sounds: a firebell extends into an unending tolling that spins onward into infinity.
The poetry of the rainbow overarches everything; the promise of salvation, a glimmer of hope. To express this, Essl worked with an a-capella-choir to create chord structures which he then recorded and electronically transformed. The highlighted melodic fragments are reminiscent of the famous rainbow song yet appear in a peculiar harmonic disguise which let you sense the atmospheres of other planets.
