Slotmachine by Achim Zepezauer
Vinyl 10″ will release on February 1st, 2019 via Gruenrekorder!

 

The 30-track album documents the website project of musician/artist Achim Zepezauer. It mixes up recordings of 45 seconds length in a slot machine. Online the user can combine three tracks by 13 different artists with different instrumentations, either sorted by hand or completely randomized from the 158 recordings. Every artist provided at least ten tracks to generate from, which leads to the theoretical possibility of almost 4 million different combinations. Even the names of the songs are put together by the single names the artists had chosen for their recordings.

 

Funded by Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen, ecce (European Centre for Creative Economy) und IKF (Individuelle KünstlerInnen Förderung)

 

slotmachine.kuhzunft.com
kuhzunft.bandcamp.com/album/slotmachine


 

Das Frankfurter Label „Gruenrekorder“ – Die Welt als Klang
Hörspielmagazin (8 min – Deutschlandfunk)| von Raphael Smarzoch

 

Wir hören zu bei „Gruenrekorder“, einem Label für Field Recordings, Soundscapes und Sound Art. Als Field Recordings bezeichnet man ganz schlicht Aufnahmen von Natur- und Umgebungsgeräuschen. „Gruenrekorder“ demonstriert, dass Feldaufnahmen nicht nur interessante Sounds dokumentieren, sondern auch philosophische und ökologische Fragestellungen thematisieren können. In einer Auflage zwischen 300 und 1000 Stück veröffentlicht das in Frankfurt beheimatete Label, das Lasse-Marc Riek seit 2003 zusammen mit Roland Etzin betreibt, Sounds aus unterschiedlichen akustischen Kontexten. Field Recordings öffnen für die beiden Labelmacher Portale in fremde Dimensionen. Sie verstehen Feldaufnahmen als akustische Reiseführer, die es ermöglichen, unbekannte Territorien zu erkunden, ohne selbst da gewesen zu sein. Unhörbares hörbar machen – das ist das Motto der auf „Gruenrekorder“ dokumentierten Klangforschung, die immer wieder die Grenzen zwischen Kunst und Wissenschaft überschreitet.

 

Siehe auch:
Neues aus der Welt der akustischen Kunst
Hörspielmagazin 11/18 (50 min – Deutschlandfunk)

 


 

Review | By Stuart Marshall / The Sound Projector
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Dredging detail from inaudible depths are two veterans of the interior realms, Christina Kubisch and Annea Lockwood, who pair up for a double disc document of recordings taken from situations more commonly associated with other sensory experiences: earthquakes, solar flares, electromagnetic waves and other ‘geophysical atmospheric spheres’, as well as more conventional field recording sites like subway stations, thunderstorms. At any other time we’d have a melange of quotidian site recordings on our hands, but the pair’s technological adeptness takes the recording process all the way into ‘the interior of a Scots pine’. []


 

Review | By Ed Pinsent / The Sound Projector
szmt | PARVENU
Dolcis Concordiae Fructus
Parvenu (GRUENREKORDER GRUEN 178) is an interesting sound-construction piece put together by szmt, the new alias for German Tobias Schmitt, an electronic shrieker who may be familiar to fans of the Attenuation Circuit label (we like that label but were not sent any of his 2016 releases). Parvenu isn’t electronic music exactly but is based on field recordings of bees. More specifically he took the recordings from three beehives found in the Senckenberg Institut in Frankfurt, right where the bees are thickest. He’s given the four suites quite lengthy and loaded titles, each one like the chapter of a book, and he intends the package as social commentary – it’s a “work about authoritarian structures”. []


 

Review | By Ed Pinsent / The Sound Projector
Robert Schwarz | DOUBLE NEGATIVE
The Black Island
Superior piece of sound-sculpture scaping whatever from Robert Schwarz on his Double Negative (GRUENREKORDER Gruen 176) LP. We noted him in 2015 with the impressive album The Scale Of Things, and he’s doing much the same here – field recordings, for sure, but also much in the way of analogue modular synthery, and probably a lot of cooking and baking in the studio too. His method is to start with the documentary recordings then assemble his boxes of modular synths around them in some way. It’s not a careless assembly, and there’s some intention that the electronic parts are mirrors of the natural parts. “Complex structures that resemble nature’s contingency as their inner logic” is his aim, according to the assessment of Stefan Militzer. []


 

Review | By Robert Muis / Gonzo (circus)
Willem Sannen | Brussel Noord
Tussen 2012 en 2015 woonde Willem Sannen in het noordelijke gebied tegen het centrum, nabij het station Brussel-Noord. Het gebied wordt gedomineerd door, naast het Noordstation, kantoren, hoteltorens en een overwegend functionele stedelijke uitleg. In die periode maakte hij op verschillende plekken geluidsopnamen, die Sannen heeft verwerkt tot een kort album. Hij biedt ons beslist geen rechttoe rechtaan field recordings; de vaak herleidbare geluiden zijn onderling en met bewerkte opnemen gecombineerd. Openingsnummer ‘Apartment’ begint al met vervormde stemgeluiden (een radio?), gevolgd door vage buitengeluiden, dan sleutels, sloten, deuren, een lift. Het daaropvolgende ‘Commuters’ begint met het geluid van een stromende douche, waar langzaam het geluid van forensenstromen uit naar voren dringt – waarbij de diepte prachtig hoorbaar is. []


 

3 Reviews | By textura
Every six months or so, new items appear on Lasse-Marc Riek and Roland Etzin’s Gruenrekorder imprint that present innovative treatments of field recordings-based work. Three recent projects exemplify the imaginative sensibilities artists bring to the label’s output, in this case releases by Eisuke Yanagisawa, Gregory Büttner, and Michael Lightborne (all three are available in digital form, the first two also as CDs and Lightborne’s in vinyl). As an indication of the breadth of the label’s projects, Yanagisawa’s Path of the Wind focuses on sounds generated by the Aeolian Harp, a string instrument ‘played‘ by nature, whereas Lightborne’s Sounds of the Projection Box has to do with ambient sounds originating from UK-based cinema projection booths. Each of the three releases fascinates in different ways.

 

Path of the Wind | Eisuke Yanagisawa
The forty-one-minute release by Yanagisawa, an ethnographer, field recordist, university professor, and filmmaker based in Kyoto, provides a remarkable illustration of the music-generating capacity of a natural element, in this instance wind. To explore the phenomenon, he first built a small Aeolian Harp using materials from a local store and then brought it outside to test it out; when no sound resulted, he adjusted the string materials and tension until a better outcome was achieved (two microphones were also adjoined to the harp to record the sounds produced). Delicate harmonic textures are generated that modify according to alterations in wind direction, strength, and consistency. []

 

Voll.Halb.Langsam.Halt | Gregory Büttner
Hamburg-based sound artist Gregory Büttner used two contact mics to gather the base material for his long-form, thirty-six-minute composition Voll.Halb.Langsam.Halt. The raw sounds were collected when he took a trip in 2010 on an old icebreaker traveling from Rostock to Rügen over the Baltic Sea. With the ship’s body completely built from metal, it lent itself especially well to the project when different areas on the boat generated sounds different from anywhere else; Büttner even sourced recordings from the coal-fired steam engine. In constructing the soundscape, he used juxtapositions, transitions, and cuts but didn’t apply any additional sound manipulations; the detail’s worth noting as it makes the result all the more striking for the way he shaped the material into a piece that, while heavily percussive in nature, plays more like a musical work than field recording. []

 

Sounds of the Projection Box | Michael Lightborne
A professor in the Department of Film and Television Studies at the University of Warwick who’s currently working on a book about cinema-related environments and location sound recording, Lightborne is certainly qualified to tackle the topic of cinema projection boxes. His release, which documents the transition from 35mm to digital within the projection booth, grew out of sound recordings he began making in early 2016. By the time his fieldwork started, the majority of UK cinemas had become digital only, which made Lightborne’s desire to capture the sounds of analogue projection booths an undertaking of considerable value. Of course, the setting is so carefully enclosed it ensures that most of the sounds occurring within it are unknown to the viewing audience, which makes it easy to forget that it’s the critical center of the cinematic experience. []


 

3 Reviews | By Łukasz Komła / Nowamuzyka.pl
Niemiecka oficyna regularnie prezentuje wyjątkowe wydawnictwa z field recordingiem z przeróżnych rejonów świata i kultur. Poznajcie trzy najnowsze ścieżki.

 

Voll.Halb.Langsam.Halt | Gregory Büttner
Gregory Büttner mieszka i pracuje w Hamburgu. Od 2000 roku koncentruje się głównie na soundartcie i elektroakustyce. W 2004 roku założył wytwórnię 1000füssler, specjalizującą się w muzyce eksperymentalnej. – Moja praca rozpoczyna się od poszukiwania, znalezienia lub wyprodukowania materiału akustycznego – tak pisze o sobie Büttner. Zatem jak to się ma do najnowszego materiału z albumu „Voll.Halb.Langsam.Halt”? Tym razem punktem wyjścia, swoistym dźwiękowym znaleziskiem, okazał się parowiec-lodołamacz z 1930 roku. []

 

Path of the Wind | Eisuke Yanagisawa
Eisuke Yanagisawa to japoński etnograf, scenarzysta i filmowiec z Kioto. Swoją uwagę skupia na słuchaniu i rejestrowaniu brzmień oraz rezonansów z poszczególnych miejsc, a także na odkrywaniu dźwięków z perspektywy kulturowej, ekologicznej, geograficznej, akustycznej i historycznej. Proces ten obejmuje obserwowanie i rejestrowanie małych, ukrytych i niesłyszalnych dźwięków przy użyciu różnych typów mikrofonów. Od wielu lat Yanagisawa interesuje się kulturą gongów mniejszości etnicznych zamieszkujących Centralne Wyżyny Wietnamu. []

 

Sounds of the Projection Box | Michael Lightborne
Brytyjski artysta dźwiękowy i wizualny, Michael Lightborne, od wielu lat tworzy prace zaangażowane w kwestie krajobrazu, kultury popularnej, pamięci i technologii. Interesuje go szczególnie koncepcja psychetecture, jaka pojawiała się w latach 80. w komiksie pt. „Mister X”. Jeszcze inaczej przedstawia się zakres poszukiwań Lightborne’a na „Sounds of the Projection Box”. Nagrania powstały w przeciągu ostatnich dwóch lat i dokumentują zmieniającą się strukturę dźwiękową wnętrza projektora kinowego. []


 

Review | By TJ Norris / Toneshift
Voll.Halb.Langsam.Halt | Gregory Büttner
Hamburg-based field recordist Gregory Büttner delivers his latest, Voll.Halb.Langsam.Halt, a singular work, an electroacoustic composition based on the stereo sound of two contact mics upon a metallic steamboat, runs for about thirty-six minutes. The recording starts with lots of jittering, growing slightly voluminous in short time. It’s as though Büttner is settled in the engine room with loose old mechanics. However, the shimmies are somewhat engaging, like rickety beats. IN-SITU AHOY: He’s managed to capture all sorts of unusual gadgets in action, with a dad that was a longshoreman, this grabs my ears by the drums. So many unusual squeeky, roaring percussive elements, mechanical drone and various rotors in action – it’s quite exciting. []


 

Review | By Hal Harmon / Musique Machine
Voll.Halb.Langsam.Halt | Gregory Büttner
Gruenrekorder, the ever reliable label for all things in the realm of field-recording based sound art, presents Voll.Halb.Langsam.Halt by Gregory Büttner. This release is available in both CD and digital formats. When I was a young chap I used to fantasize about being a stowaway on a large naval vessel at the turn of the century. Perhaps fueled by stories of the Titanic or the explorations of Jacques Cousteau, my day dreams often drifted to adventure on the high seas. Even at middle age now, I’ve never stopped being attracted to maritime sights and sounds. Despite never having the opportunity to realize those childhood fantasies, Voll.Halb.Langsam.Halt provides a welcome vicarious excursion. []


 

Review | By Denis Boyer / FEARDROP
Path of the Wind | Eisuke Yanagisawa
Le label allemand Gruenrekorder a bâti sa réputation sur une sélection exigeante et originale d’enregistrements de terrain – field recordings – répartis en trois séries de CD ou de vinyles : field recordings purs, soundscapes et sound art, marquant la progression de l’implication humaine dans le produit sonore final. La première série, à vocation principalement documentaire, héberge cette fois un disque de l’artiste japonais Eisuke Yanagisawa qui aurait pu aisément se placer dans l’une des deux autres tant les qualités harmoniques qui le parcourent sont manifestes. Pourtant… pourtant, formellement il s’agit de field recordings purs, intouchés, « unprocessed » nous affirme Eisuke Yanagisawa. []


 

3 Reviews | By Brian Olewnick / Just outside
Sounds of the Projection Box | Michael Lightborne
A sonic documentation of the history of the film projector (movie house version), from spool to digital. The recordings seem to be presented as is, with little or no obvious enhancement. The sounds, unsurprisingly, are cyclic near the beginning, less so as time moves on but also include the actions (and noises) made by the projectionist moving about, manipulating parts of the machine, etc., which sounds are perhaps even more intriguing than the mechanical ones. Sometimes you hear what’s being shown in the theater, also fun. The last two tracks (this is a vinyl release, btw) form a small drama: ‚Tower (death rattle)‘ (like the title implies) and ‚Digital Light‘, spinning off into the hums and drones of the new age. Enjoyable work, especially for those interested in localized field recordings.

 

Voll.Halb.Langsam.Halt | Gregory Büttner
Contact mic recordings sourced from a 1930s steamboat that had been used as an ice-breaker, on which Büttner voyaged in 2010. Much of the ship was metal and contained a vast array of sound possibilities and excellent resonance. Büttner has assembled a load of recordings, not altering them in any manner apart from cutting and reconfiguring, presenting a 35-minute sequence of sounds that, while often iterative in an engine/machine sense, strike me as generally remote from water, an interesting isolation and encapsulation of internal noises and environments. Those repetitive sounds, which layer and agglomerate in the work’s end phase, can be quite hypnotic and rhythmically fascinating. As one who has spent time on ferries, ear pressed to engine housings, I enjoyed this quite a bit.

 

Path of the Wind | Eisuke Yanagisawa
Yanagisawa crafted a homemade Aeolian harp, then took it to various locations where it interacted with the environment, natural and manmade. The harp created the eerie, quavering tones that these instruments tend to do and both blends in and offsets the surrounding sound-world very effectively, whether that world is made up of low horns of passing ferries, waves and seagull cries, drilling from a local mine or much subtler contributions. The minute fluctuations in the character of the harp are quite intriguing as are the various environs and the interpenetration of the two. Yanagisawa evinces great sensitivity in his choices. While perhaps more over than, say, Toshiya Tsunoda’s recordings, fans of his work will find much to enjoy here.


 

Gruenrekorder @ The Global Composition 2018
Sound, Ecology, and Media Culture
Only at the 6th of October 2018!
TGC will be hosted at the Media Campus in Dieburg. It is organized by Hochschule Darmstadt’s Research Center for Digital Communication and Media Innovation (DKMI).
link


 

Gruenrekorder @ WahlFach
Wir eröffnen am 3. Oktober 2018 zum „Tag der offenen Hoftore“ in Niederursel.
Alt Niederursel 21 | 60439 Frankfurt am Main
link


 

Gruenrekorder @ Der Schein trügt – Kunstfestival
5. Okt um 16:00 – 7. Okt um 22:00
Ost-Stern | Hanauer Ldstr 121, 60314 Frankfurt am Main
link


 

Gruenrekorder @ A – MUSIK
Spätkauf mit Gruenrekorder | Donnerstag 04.10.2018
ab 19 Uhr | Der Laden ist bis 22 Uhr geöffnet.
Roland Etzin und Lasse-Marc Riek vom Label Gruenrekorder stellen intuitiv Arbeiten und Veröffentlichungen aus dem Sammelbecken für Hörkunst vor. Aus über 180 Katalognummer werden vielleicht sogar ein paar aus der Zahlenbox von den beiden gezogen. Der Zufall spielt also nicht nur beim Aufnehmen im Wald eine Rolle auch heute Abend in den Räumen vom A-Musik zum Spätkauf.
link


 

Review | By Lutz Vössing / skug
Path of the Wind | Eisuke Yanagisawa
Der japanische Filmemacher und Feldrekorder Eisuke Yanagisawa trat in der Vergangenheit bereits mit Aufnahmen in Erscheinung, welche einen Teil des Ortes, an dem er seine Technik installiert hatte, einfangen sollten. In einer dieser Aufnahme, »Ultrasonic Scapes« (2011), wurden den Menschen umgebende, aber mit freiem menschlichem Gehör oft nicht wahrnehmbare Klänge, wie das Surren von Zikaden, das Rufen von Fledermäusen oder auch das Brummen von Ampeln, mit Hilfe eines Ultraschallmikrofons zum Teil verstärkt, dokumentiert. Auf »Path of the Wind« bedient er sich selbstgebauter Äolsharfen, das sind Saitenkonstrukte, die, vom Wind angetrieben werden und von selbst – je nach Windstärke und -richtung – ein hohes Leiern oder Dröhnen fabrizieren. Das Mikrofon wandelt dann den Wind in die Töne des Instruments um. []


 

Review | By Richard Allen / a closer listen
Sounds of the Projection Box | Michael Lightborne
What a great record. And thank God it’s vinyl, because this is the only way to hear Sounds of the Projection Box, which is at once an homage to antiquated technology, a requiem for days gone by and a reflection of supposed progress. We’ve gained something in the switch to the digital format ~ clarity, seamlessness, an ability to show a film without any humans being present. But we’ve lost something as well ~ a tactile nature, a feeling of community, the contract between projectionist and audience. Earlier this year, I was at a film that “broke.” The older attendees kept turning back, looking up and yelling, “fix the screen!” But there was no one there; they were screaming into a void. []


 

3 Reviews | By Rigobert Dittmann / Bad Alchemy Magazin (100)
Sounds of the Projection Box | Michael Lightborne
Die Vorführkabine des Planet war so primitiv, daß Edison sie abgeschrieben hätte: zwei Ross-Projektionsmaschinen und ein Diaprojektor nahmen den größeren Teil des vorhandenen Raumes ein… Neben der Kabine war ein klaustrophober Umspulraum, der so eng war, daß man da drin vom Filmkleber high werden konnte. In so einer Kabine (was davon museal an der University of Warwick oder sonst noch erhalten ist), wo Jeff Torringtons Swing Hammer Swing!-Held Tam Clay Saufkumpane trifft, stellte MICHAEL LIGHTBORNE seine Mikrofone auf. Um für Sounds of the Projection Box (Gruen 177, LP) das ganze Drumherum einzufangen, das dazu gehört, einen 35 mm-Film (zufällig John Carpenters „The Thing“) vorzuführen. Die B-Seite erweitert die cineastische Zeitreise mit Sounds aus dem Electric Kino in Birmingham, dem Rio in Dalston und dem Hyde Park Picture House in Leeds, endend mit dem Eindringen ins Innere eines Digital-Projektors, wobei ein dynamisches Mikrofon selbst dort ein summendes und atmendes Innenleben offenbart. Als ‚Tonfilm‘, der den Apparat und das Handwerk hinter den Kulissen des auf die Leinwand Geworfenen würdigt und hörbar macht, fast ein wenig als Trauerarbeit für eine obsolete Technik und einen ausgestorbenen Beruf. Da surren und sirren dann die Spulen und einmal woosht sogar die Tonspur zu unerwartet musikalischen Drones, Beats und Vibrationen, die mich vermuten lassen, dass Lightborne die auch kontaktmikrofonierten Klänge nicht nur ‚unter die Lupe‘ nimmt, er kann auch ihre der Rotation geschuldete klackende und tickende Grooviness hervorkehren oder ein erstaunlich reiches digitales Innenleben.

 

Voll.Halb.Langsam.Halt | Gregory Büttner
Was habe ich als Innenleben und Getriebe eines Dampfbootes aus den 30ern vor Augen? Nichts, außer den Lektionen des Maschinisten Jake Holman (Steve McQueen) auf dem „Kanonenboot am Yangtse-Kiang“, oder den Überlebenskampf im Maschinenraum der antriebslosen SS ‚Phemius‘ im 1932er Monsterhurrikan vor Kuba, wie ihn Richard Hughes plastisch geschildert hat („In Bedrängnis“). Und das ist beides ziemlich weit hergeholt. Voll.Halb.Langsam.Halt (Gruen 181), GREGORY BÜTTNERs Beitrag zur Field Recording Series, erweitert nun meinen Horizont mit Aufnahmen, die er 2010 bei einem Steamboat-Trip von Rostock nach Rügen machte. Mit zwei Kontaktmikrofonen belauschte er Herz und Haut des noch mit Kohle geheizten Dampf-Eisbrechers „Stettin“. Der Sound erklingt unmanipuliert, aber in einer Montage oder Collage, die die Fahrt als wackelige eiserne Angelegenheit widerhallen lässt. Als rhythmischen Groove mit pulsenden Loops und klackenden Akzenten. Ohne Motor läuft da nichts und der treibt hier mit stampfendem Dreh quasi als ‚Schlagzeug‘ oder klackendes Uhrwerk auch die Klangbilder voran, in dumpfer Distanz oder zum Greifen nahe und in Stereo. Neben der großen Maschine fand Büttner auch surrende Oszillatoren oder Vibratoren, dazu ein hinkendes Kurbeln und anschwellendes Brausen mit Dampflocomotion zu mächtig tickenden Sekunden, die tauchen, tauchen, tauchen sagen. Uptempotrommeln klopfen, lässigere Beats federn und shuffeln und rütteln. Noch kleinere Frequenzen kollern, und so verschwindet der Dampfer und mit ihm diese 2000 PS starke Minimal Music im Nebel.

 

Path of the Wind | Eisuke Yanagisawa
EISUKE YANIGASAWA ist in Kyoto ein Fieldrecorder, der wie mit der Wünschelrute zwar nicht Wasser, aber doch dessen Klänge gesucht hat („Scenery of Water“). Bei „Ultrasonic Scapes“ hat er Fledermäuse, Zikaden, automatische Türöffner und Straßenlichter belauscht oder Furin Bells. Der Wind spielt nicht nur diese feinen Glockenspiele, die Kühle suggerieren, er harft nun bei Path of the Wind (Gruen 182) auch auf Yanigasawas Aeolian Harps. Dabei nimmt der Japaner bei seinen Fieldtrips und Windscapes Beifang mit auf: das Fauchen des Windes, das Brummen von Fähren vor Narugashima, das Krah-krah-krah einer Möve am Strand von Kehi no Matsubara, die rauschende Krone einer Camellia japonica, die vage Atmosphäre von Parks, die noch vagere Aura eines Schreins, die ferne Klangkulisse des Kinshozan-Kalksteinbruchs bei Ogaki. Der Wind erzeugt summende Schwellklänge, tönend changierendes Vibrato wie von einem sanften Donnerblech, Flötentöne, die leicht an eine Shō erinnern, an ein Theremin oder an den dröhnenden Nachhall einer Steelpan oder Hang. Im Grunde ist der Klang aber schlicht einzigartig.


 

Review | By TJ Norris / Toneshift
Path of the Wind | Eisuke Yanagisawa
The unprocessed field recordings of Eisuke Yanagisawa were made all around Japan (2014-17) using Aeolian Harps (a stringed wind harp). On his fourth solo record since 2009, Path of the Wind includes seven tracks with a run time of over forty minutes, each named after their location or single subject as titled. Kyoto-based Yanagisawa is an ethnographer and filmmaker as well. The recording begins with Ferry Passing. It’s amazing to think that he is basically placing the instrument, in-situ, and it is able to channel the air and natural environment in this way, with only the sounds of the un-manned instrument and the nearby surroundings. []


 

Review | By Aurelio Cianciotta / Neural
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Christina Kubisch and Annea Lockwood met each other in a different age. It was around 1975 and the New York experimental music scene wasn’t as internationally recognized, but both artists already had solid backgrounds. Christina Kubisch had attended the Milan Conservatory and was developing some fundamental multimedia research with the Italian artist Fabrizio Plessi. Annea Lockwood was a teacher at the Hunter College in Manhattan and was already working with field recordings, focusing especially on the environment, often in partnership with different choreographers, sound poets and visual artists. []


 

3 Reviews | By Frans de Waard / VITAL WEEKLY
Path of the Wind | Eisuke Yanagisawa
This new trio of releases by Germany’s Gruenrekorder all deal with field recordings, yet none in a very traditional way; not your usual ‚let’s tape some bird calls‘ type of thing. First there is ‚Path Of The Wind‘ by Eisuke Yanagisawa, who set up an Aeolian Harp of his own making and recorded the instrument in a bunch of locations. The Aeolian Harp is also known as wind harp and it’s were wind plays the strings attached to it. Yanagisawa learned how to work it, with string s being attached, tension and angles to capture the right amount of wind, which causes the strings to vibrate and thus a rich pattern of harmonic overtones emerge. []

 

Voll.Halb.Langsam.Halt | Gregory Büttner
The other two releases by Gruenrekorder deal with field recordings of a less organic nature. Gregory Büttner’s work in installations, composition and improvisation should be known by now, and here he has a thirty-five minute piece of music entirely build from contact microphone recordings he made on old steamboat, an icebreaker from the 19830s. In 2010 he went over the Ostsee from Rostock to Rügen and spend his time in the bowels of the ship to tape all the rattling of the metal in what was effectively a big resonant room. I am not sure but I would think contact microphones may not capture the actual space, just the vibrating surfaces but no doubt Büttner has better mics than me. He also recorded the steam engine, fired by coal. This piece comes without any processing or manipulation; everything is layered, edited and cut together and has four distinct parts. []

 

Sounds of the Projection Box | Michael Lightborne
More mechanics of some kind can be found on the LP by Michael Lightborne. I don’t think I heard of him before and he describes himself thusly: „Michael Lightborne is an artist based in Birmingham and Cork. He works with video, sound and print, and has exhibited around the UK and internationally, in exhibitions and film festivals. His work engages with questions of landscape, popular culture, memory, and technology. He is currently exploring the viability of ‘psychetecture’, a concept used in the 1980s comic Mister X to describe the psychological effects of architecture and urban forms.“ In 2016 and 2017 he did recordings in a cinema projection box, documenting the changing from 35mm to digital projection. Very few cinemas still use 35mm, and Lightborne found one, which is what he calls „a workshop, an engine room, and an artist’s studio“, with a great picture on the cover. []


 

3 Reviews | By Beach Sloth
Path of the Wind | Eisuke Yanagisawa
Eisuke Yanagisawa shows love for their surroundings with the surreal drones of “Path of the Wind”. Infinitely delicate the way that the pieces evolve seems to go for a meditative, fully immersive sort of scenario. By making sure that these field recordings float further and further away from their origins, Eisuke Yanagisawa makes sure that the whole of the scope works wonders in gradually weaving itself into the mind. Hard to precisely pin down, besides the obvious drone influences and environmental elements Eisuke Yanagisawa utilizes elements of classical into the mix ensuring that everything comes together in a grand stream of consciousness style. []

 

Voll.Halb.Langsam.Halt | Gregory Büttner
“Voll.Halb.Langsam.Halt” shows off Gregory Büttner’s uncanny ability to create aural universes that teem with unease. Throughout the album Gregory Büttner delves into noise, industrial, and drone. Much of the piece has an assaultive, take no prisoners approach where everything seemingly comes together in unexpected, bizarre ways. Great details punctuate the whole of the album while everything collides into a unified whole. Every single suite within the grand scope proves to be part of a larger symphony, one that feels quite vital. []

 

Sounds of the Projection Box | Michael Lightborne
Great dollops of noise create tense, anxious track with Michael Lightborne’s “Sounds of the Projection Box”. For this work, Michael Lightborne relies heavily upon the natural rhythms that the machine creates. Layer upon layer of sound comes into the fray with such majesty and grace. Even within these noises Michael Lightborne occasionally lets something more come in, the way that little melodies flicker about in mere moments. By letting these pieces gain a level of prominence within the album the whole of the work feels so visceral. []


 

Deutschlandfunk | Christina Kubisch – Sounds mit narrativen Qualitäten

 

Christina Kubisch – Sounds mit narrativen Qualitäten [AUDIO]

 

Ein Porträt der Klangkünstlerin von Raphael Smarzoch
Christina Kubisch @ Gruenrekorder


 

New Releases:

 

 

Eisuke Yanagisawa: ‘Path of the Wind
Gruen 182/18 – CD + Digital
7 Tracks (41:14)
run: 300 copies

 

 

Gregory Büttner: ‘Voll.Halb.Langsam.Halt
Gruen 181/18 – CD + Digital
1 Track (35:35)
run: 300 copies

 

 

Michael Lightborne: ‘Sounds of the Projection Box
Gruen 177/18 – Vinyl + Digital
10 Tracks (43:30)
run: 500 copies


 

Review | By Aurelio Cianciotta / Neural
Marc Namblard | F.Guyana
Marc Namblard is no stranger to audio-naturalistic approaches – we could remember his previous release on labels like Nashvert, Ouïe-Dire e Kalerne – and in fact even to the exploration of open-air spaces in French Guiana, which have already been the subject of long recordings. The sound collage of those first auditory captures – field recordings made between the dry season and the “little rainy season” – clearly leave a strong impression on the Parisian investigator who, for this release on the prestigious Gruenrekorder, has this time chosen, always at the same time of year, the coastal regions, surely no less charmless than other, in the forest and in the savannah, still rich in different and well detailed vibrating frequencies, of resonant fragments and enveloping iterations. []


 

Deutschlandfunk Kultur | Kurzstrecke 76
Hard Bit Rock – Roland Etzin
Radio: 08.08.2018 – 00:05 Uhr
Listen:
www.deutschlandfunkkultur.de


 

Review | By Łukasz Komła / Nowamuzyka.pl
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Dwie wielkie artystki dźwiękowe, przekazały sobie odmienny materiał źródłowy, który połączyły na jednym wydawnictwie. „The secret life of the inaudible” to wspólny album dwóch niezwykłych artystek. Na początku chciałbym przybliżyć w paru zdaniach bogate życiorysy obu pań. Annea Lockwood urodziła się w Nowej Zelandii w 1939 roku. W 1961 roku przeniosła się do Anglii, gdzie studiowała kompozycję w londyńskim Royal College of Music, uczęszczała na letnie kursy w Darmstadt i ukończyła studia w Kolonii i Holandii, biorąc udział w kursach muzyki elektronicznej u Gottfrieda Michaela Koeniga. W latach siedemdziesiątych zdecydowała się zamieszkać w Stanach Zjednoczonych podejmując pracę w Hunter College w Nowym Jorku. []


 

Gruenrekorder @ FUTURE SOUND/FUTURE VISION
GROUP EXHIBITION – 07.13.2018 – 07.23.2018
5-186-8 ISHIKAWACHO, YOKOHAMA 045-641-0511
www.launchpad-gallery.com


 

Merzouga @ The Wire Tapper 47
„Palimpsest Of Beginnings And Ends“
From De Rerum Natura – Dance Of The Elements
(Soon @ Gruenrekorder)


 

Klangkomposition über die dunkle Seite des Netzes
Darknet Poetry
Von Lasse-Marc Riek und Tobias Schmitt
www.deutschlandfunkkultur.de


 

Review | By TJ Norris / Toneshift
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Recorded between 2016-17 here we find two longtime experimental composers at work, and both women have pioneered new sonics at every turn over five decades. Released via the Soundscape Series (Gruenrekorder; 2xCD) New Zealander Annea Lockwood and German Christina Kubisch deliver The Secret Life Of The Inaudible. The record consists of four tracks, two from each artist, separated on the two included disks. Starting off with Wild Energy (with Bob Bielecki) Lockwood darkens the room with a earthly rumbling, maybe she’s a storm-chaser? The atmosphere is cavernous with sudden broad bass. As she conducts this muffled noise symphony tiny starry electronic blips emerge and disappear quickly. At 70-something she is still sculpting soundscapes with intuition and a greater understanding of minimalism. As the storm moves out a tiny watery ‘thwack’ grows into what sounds like distortions derived by nature. []


 

Review | By Duncan Simpson / Musique Machine
Christina Kubisch & Annea Lockwood | The secret life of the inaudible

Something of an event release this for Gruenrekorder; The Secret Life of the Inaudible is a double CD collaboration between the New Zealand born American composer Annea Lockwood (She of A Sound Map of the Hudson River and numerous brutalised pianos in the 1970s) and Christina Kubisch who’s most recent release on Gruenrekorder was Unter Grund a record which made use of material collected appropriately enough beneath the earth’s surface at various locations in the area of the Ruhr in Germany. For this joint endeavour the artists exchanged a wealth of material derived from the inaudible sounds that are usually out of the frequency range for humans. Kubisch contributes electromagnetic recordings made while travelling through cities such as Montreal, Paris, Dortmund and Bangkok. Lockwood contributes a range of sources for her recordings which go from the earthly ultrasound of a Scots pine to massively sped up solar oscillations recorded from space! Just the list of sound sources puts this release into something of a class of its own. []


 

Review | By Louise Gray / The Wire Magazine – Issue 412
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
While Christina Kubisch and Annea Lockwood have been significant points on each other’s radars since their first meeting in the mid-1970s, it’s only now, on this double CD release, that the two have collaborated. They do this via a sharing of sound files that effectively points towards a process of co-composition allowing each musician to enter and manipulate the other’s soundworlds. As the album title suggests, the pair were brought together by a shared interest in making audible sounds that are, by reason of their frequency and materiality, inaccessible to the unaided human ear. The results are exhilarating, both compositionally and in the breadth of new approaches to sound sourcing. Each composer takes one CD apiece, each of them containing two works. []


 

Review | By a-Musik / News: April 2018
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Der Titel der neuen Veröffentlichung auf Gruenrekorder, dem auf Fieldrecordings spezialisierten Label aus Frankfurt am Main, ist Programm: „The secret life of the inaudible“. Mit dem, was uns zwar soundtechnisch ständig umgibt aber gleichzeitig in der Regel ungehört bleibt, beschäftigen sich auf dieser großartigen 2CD zwei legendäre Klangkünstlerinnen. Christina Kubisch und Annea Lockwood, die längst nicht mehr aus der Geschichte der Soundart wegzudenken sind, sind nicht nur seit den 1970er Jahren aktiv, sondern kennen und – wie aus den ausführlichen Begleittexten erkenntlich wird – schätzen sich bereits ebenso lange. Umso erstaunlicher, dass es sich bei „The secret life of the inaudible“ um ihre erste gemeinsame Veröffentlichung handelt. []


 

Review | By Peter van Cooten / ambientblog.net
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Gruenrekorder is a German label “promoting soundworks and phonography. Phonography considers nature/the environment as an acoustic experience, loaden with musical sounds”.
I don’t think a more fitting label could be found for the release of The Secret Life Of The Inaudible, the double CD set by Annea Lockwood and Christina Kubisch. The recordings can be categorized as ‘field recordings’ but it’s not as easy as going ‘into the field’ and ‘press record’ (most good field recordings aren’t, by the way). And both these artists have been around since the beginning of these kind of sonic explorations (Annea Lockwood was born in 1939, Christina Kubisch in 1948). Both are legends in their own fields, the true first generation of sound artists. []


 

Review | By Duncan Simpson / Musique Machine
szmt | PARVENU
The organicist metaphor of society as like that of bees has a long history in Western thought, predating the better known bodily metaphor – which is the foundation of modern corporational doctrine – by several centuries. Originating in Antiquity, the notion that human society should imitate nature as best it can slowly came into question during the later European middle ages, under pressure from developing mercantile economy and advances in legal and political organisation. In the modern era the hive metaphor was increasing viewed as anti-democratic, suppressive of the individual and hive-like societies almost inevitably malevolent; think of the Borg in Star Trek or caricatures of Communism (particularly Chinese) during the Cold War. Nevertheless the beehive society metaphor never entirely vanished and in the Modern period was most often invoked as an embellishment to holistic economic thought. George Cruikshank’s remarkable British Beehive image is paradigmatic in this respect, not least in its overall schematic similarity to medieval overviews of the hierarchical world such as those of Honorius of Autun. []


 

Reviews | By Zipo / aufabwegen
Hafdís Bjarnadóttir | Sounds of Iceland
Um field recordings ranken sich etliche Diskurse, es wird gestritten um Fragen der Repräsentanz, der Aneignung, der Authentizität, der Ästhetik und weitere mehr. Fest steht, dass man scheinbar unbearbeiteten Geräuschen aus der Außenwelt mit viel Genuß lauschen kann. Wenn es sich um unbearbeitete Feldgeräusche, wie im Falle von Hafdís Bjarnadóttir CD, handelt, bekommen die Entscheidungen des Field Recordists besonderes Gewicht: Was wurde wann und warum ausgewählt, was wurde weggelassen, welche Themensetzungen liegen den ausgewählten Aufnahmen zugrunde, was soll erzählt werden? Sounds Of Iceland versucht nämlich tatsächlich, eine Geschichte zu erzählen – der Lauf des Jahres wird mit den verschiedenen Regionen der Insel in Aufnahmen verknüpft. Allein diese Setzung verdeutlicht, dass es nicht um eine komplette akustische Darstellung gehen kann, sondern der Versuch unternommen wird, punktuell besonders eindrückliche Klangereignisse in eine dramaturgische Abfolge zu birngen. []


 

Review | By textura
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Though this double-CD collaboration between sound artists Christina Kubisch and Annea Lockwood comes with the kind of pulpy title one might expect from a ‘60s TV sci-fi episode, it actually represents the project content in literal terms. One of the more fascinating things about the recording (and something of which I constantly remind myself as I attend to its seventy-four minutes) is that the sounds presented didn’t originate as audible material but rather as non-audible phenomena and energy fields the artists translated into audible form. Even to characterize the originating materials as being below the threshold of human audibility is a misrepresentation when Kubisch and Lockwood, despite using different techniques, function as sound mediums, channels through which sonic waves sourced from natural and cosmic sources turn into listenable material. Issued in a 500-copy edition as part of Gruenrekorder’s Soundscape Series, the release presents four pieces, two of them credited to Kubisch and Lockwood individually and the other two collaborations. []


 

Review | By Lutz Vössing / skug – MUSIKKULTUR
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Musik hat unter anderem die Fähigkeit, zu unterhalten, zu beruhigen, zum Kauf von Dingen anzuregen, zu foltern, zu empowern. In dem vorliegenden Werk der beiden Klangkünstlerinnen geht es um ihre Fähigkeit, vorher Unsichtbares sichtbar zu machen. Um die Vertonung von Unhörbarem. Töne, die für das menschliche Ohr nicht wahrnehmbar sind, werden von den beiden so manipuliert, dass am Ende etwas herauskommt, das gehört werden kann, vielleicht wie Musik. In der Ästhetik-Theorie gibt es die Vorstellung von Kunst als »das Sich-ins-Werk-Setzen der Wahrheit des Seienden«. Das, was die beiden Musikerinnen zu einem Kunstwerk machen, ist schon immer da gewesen, und doch wurde es erst jetzt durch ihr Zutun wahrnehmbar gemacht und kann aus sich strahlen. []


 

Review | By Robert Muis / Gonzo (circus)
Robert Schwarz | DOUBLE NEGATIVE
De Oostenrijker Robert Schwarz heeft, naast heel wat ander werk, een aantal jaren geleden het album The Scale of Things bij Gruenrekorder uitgebracht. Het album ging uit van natuuropnamen, die Schwarz mengde met (modulaire) synthesizerklanken, zonder herkenbaarheid of structuur na te streven. Op Double Negative dat het onvolprezen Gruenrekorder nu uitbrengt, zet Schwarz zijn werkwijze voort, al is dit album iets abstracter te noemen. Field recordings, gemaakt op locaties als Wonder Valley, Yangshuo, Fiskars, Palawan en Sandouping, zijn soms duidelijk herkenbaar (wind, water, vogels). Net zoals de synthesizerklanken regelmatig duidelijk zijn aan te wijzen. Maar met grote regelmaat kan er verwarring optreden: ‘gevonden’ geluiden en elektronisch gecreëerde geluiden komen dicht bij elkaar. []


 

BE PART: THIS SUNDAY – A PROJECT BY SLAVEK KWI
Sunday 29th April 2018 from 11 pm to 1am (timezone: Ireland)
INFO PDF


 

Review | By Beach Sloth
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
Aptly named, Christina Kubisch & Annea Lockwood discover the unlovable tiny textures and tones that surround us with the beautiful symphonies of “The Secret Life of the Inaudible”. Over the course of these extended pieces the two delve deep into the innermost workings of these miniature aural universes. Rhythms appear throughout but they are merely coincidence. By far the true draw comes from the way the textures shift and evolve. Despite their small stature, the pieces can grow to become quite loud, almost noisy at times. Difficult to fully imagine their miniature status, by allowing the intense amplification the sounds become transmissions from an otherworldly source, one that continues whether or not we notice it. []


 

framework radio | #634
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Christina Kubisch & Annea Lockwood | The secret life of the inaudible


 

SONIC MMABOLELA 2018
6th Annual Workshop/Residency for sound artists & composers
at Mmabolela Reserve, Limpopo, South Africa

 

Conceived and directed by Francisco López (www.franciscolopez.net)
Coordination and logistics by Barbara Ellison (www.barbaraellison.com)

 

‘Sonic Mmabolela’ is a 2-week workshop/residency for professional and semiprofessional sound artists and composers with previous experience in the area of sound experimentation and sound recordings. It takes place at Mmabolela Reserve, in the Limpopo province of South Africa, right at the border with Botswana. It involves field work, studio work and theoretical/discussion presentations. The workshop/residency has a special focus on creative approaches to the work with environmental sound recordings, as well as the role of listening, through an extensive exploration of natural sound environments. It does not have a technical character but is instead conceived and directed towards (i) the questioning of canonical conceptions of so-called ‘field recordings’, and (ii) the development and realization of projects of sonic creation by the participant artists/composers with the recordings gathered and through the experience of dedicated listening in natural environments.

 

Dates Workshop/Residency: 16-29 November 2018
Deadline for registration: 1 July 2018
[but open only until filling the limited maximum capacity of 10 participants]
Detailed information here: www.franciscolopez.net/field.html


 

Reviews | By Ed Pinsent / The Sound Projector
Beyond The Fringe
Two recent field recording releases from Gruenrekorder, the German label that offers unparalleled high quality releases and packages in this genre. Both albums are presented in soft digipaks with booklets of full colour photographs, complementing the sounds. Both from 12th June 2017.

 

Marc Namblard | F.Guyana
Marc Namblard recorded F. Guyana (GRUEN 175) in French Guiana, on the coast of South America. Three years of effort were spent in capturing 11 distinct episodes, featuring the forest and coastal wildlife – birds, monkeys, frogs, insects. Parisian-born Namblard was drawn into the field of nature recording from a background in fine art, and has been doing it since 2000. He’s found employment applying his skills as an “environmental educator for popular education organisations”. He often finds himself pulled in two directions with each project, sometimes following logic and sometimes just trusting his instincts. This particular release is educational to the extent that the recordings are annotated with brief paragraphs noting the location, the wildlife, and explanations of what’s going on. I would characterise it as a work of great beauty and subtlety, realised with sensitivity and intelligence by the unobtrusive techniques of Marc Namblard. A serene and relaxing listen is guaranteed. []

 

Katharina Klement | peripheries
Katharina Klement may be more well-known to many as a contemporary classical pianist, and indeed many of her solo albums of piano music can be found on her own KalK label since 1996, although she’s also represented on the Austrian label Extraplatte. On Peripheries: Sound Portrait Belgrade (Gruen 173) she’s demonstrating her very able skills in the genre of documentary / field recording, and unlike Namblard she’s concentrating on an urban area for inspiration and sounds. Indeed she has explicitly set herself a challenge to convey the truth of this city with her microphones, or to use her own words: “what does this city sound like? Is it possible to portray it using sounds?” Her own response was comprehensive, to say the least. She not only recorded sounds of Belgrade, but interviewed the locals, building up what she calls an “acoustic archive” over a period of nine weeks. But it wasn’t just about sound; through her peregrinations, she found Belgrade to be a place of “numerous peripheries”, by which she means you can turn a corner at any moment and enter a “fringe area”, as it were a pocket of space outside the bustling city centre, moving from loud and noisy places into quiet zones in a matter of seconds. Further: the motif of the circle imprinted itself on her creative brain, and I suppose once she’d spotted it she started seeing it everywhere – on buildings, on decorations, road signs. []


 

Review | By Soundohm
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
‚The secret life of the inaudible’ is the first collaborative work of two of the 20th century’s most revered and important female sound artist/electro-acoustic composers Christina Kubisch and Annea Lockwood. Using purely natural sounds, such as Volcanic gas vents, earthquakes, solar oscillations and ultrasonic tree sounds – as well as electromagnetic recordings from light systems and seismic research centers,transmitter systems and others, they build an ultra-vivid, immersive psychoacoustic mass of rare beauty. []


 

Review | By MASSIMO RICCI / TOUCHING EXTREMES
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
A cause of extreme disgruntlement for this writer is the passive awareness that the bulk of a lifetime was splurged on issues and people not belonging to a sphere of intuitions and considerations even marginally correlatable with his own. If one inaugurates the process of growth by being predominantly attracted by non-vocal emissions, it is foreseeable that – quite soon – attention will not be given anymore to individuals imparting sagacity via mere words, typically instilling some kind of dismay in the potential victim. In that sense, imagine the (adult) quotidian disheartenment for not having a chance to remain within essential acoustic domains when the calls comes; silence is mandatory to do that, and silence is by now a rare commodity. Finally, try to explain all of the above to someone blathering non-stop because convinced – possibly via previous trauma – or out-and-out pretending of living outside his/her body, then get back to me for a good laugh together. []


 

Review | By Łukasz Komła / Nowamuzyka.pl
Robert Schwarz | DOUBLE NEGATIVE
Poprzedni album austriackiego kompozytora Roberta Schwarza opisywany przeze mnie na Nowej Muzyce nosi tytuł „The Scale Of Things” (2015 r.). Tegoroczny „Double Negative” jest swoistym przedłużeniem koncepcji i myśli zawartych na „The Scale Of Things”, ale tylko do pewnego stopnia. Generalnie Schwarz tworzy swoje konstrukcje dźwiękowe w oparciu o field recording, który następnie modyfikuje przy pomocy syntezatora modularnego. Słuchając najnowszej płyty artysty (z czarnego krążka), mocno się zastanawiałem nad poziomem natężenia abstrakcji. Wyszło mi po równo w stosunku do obu wydawnictw. Rolę kontrapunktu do tzw. dronowych rzeźb dźwiękowych, jakie Austriak skomponował na „Double Negative”, przybrały ponownie nagrania terenowe, choć tym razem z USA, Chin czy Filipin (głównie są to odgłosy ptaków, wiatru i szumu morza/oceanu). []


 

Review | By Łukasz Komła / Nowamuzyka.pl
szmt | PARVENU
Tobias Schmitt kieruje projektami szmt oraz Suspicion Breeds Confidence. Jest również współzałożycielem inicjatywy pod nazwą Xerox Exotique – wydarzenia w ramach tego przedsięwzięcia odbywają się cyklicznie we Frankfurcie, ale zawsze w innym miejscu. Pozwólcie, że przytoczę opis działania XE w języku angielskim: „A group of slightly deranged individuals with an interest in arson, arts & apple wine”. „PARVENU” to przykład soundscape’u rozbudzającego wyobraźnię. Schmitt miesza ze sobą zarówno improwizację, jak i kompozycję. Jego abstrakcyjny konceptualizm „kazał” mu włożyć rejestrator do środka trzech różnych uli. []


 

Review | By Duncan Simpson / Musique Machine
Robert Schwarz | DOUBLE NEGATIVE
Robert Schwarz‘ previous effort on Gruenrekorder, The Scale of Things, was a superlative amalgam of dense musique concrete, treated field recordings and modular synthesizer that conjured worlds of amplified natural processes and disquieting soundscapes. The beauty of that record was how it showcased a variety of techniques in such a way to produce a unified, highly composed, not-to-mention dramatic vision of avant-garde electronic composition. Like its predecessor, Double Negative features a cover that hints at what lies within the grooves of the record. The strange almost claustrophobic collage which adorned The Scale of Things gives way here to a seascape, on the horizon of which drifts the unmistakable geometric form of an iceberg, or could be a shark fin or even the prow of a sinking ship? The picture is almost abstract in its composition and finds kin among the similarly abstract and musically dissociated music on the record. []


 

Review | By Frans de Waard / VITAL WEEKLY
Christina Kubisch & Annea Lockwood | The secret life of the inaudible
These two ladies, grande dame each of them in the world of field recordings and sound installation first met in 1975 when Kubisch interviewed Lockwood for an Italian magazine, and since then off and on meet, but this is the first time they actually work together. They both like underwater sounds and Annea is interested in the force of nature influencing us, and Christina does the same with electromagnetic fields in our daily lives. They exchanged sound material together and worked on each other’s sounds. However if I am not mistaken on each CD there is a solo piece. Annea Lockwood makes the inaudible audible, with ultra and infra sound frequencies, and it begins with “solar oscillations recorded by the SOHO spacecraft, 40 days of solar oscillations sped up 42,000 times, and ends with ultrasound recorded from the interior of a Scots pine tree”, and is a truly fascinating aural journey in space; or at least that’s how I perceived it, like a free floating spaceship in a vast, endless, black surrounding, with sometimes intercepting transmissions from other life forms. []


 

Review | By textura
Robert Schwarz | DOUBLE NEGATIVE
Robert Schwarz’s Double Negative is as enigmatic a recording as his previous Gruenrekorder outing The Scale of Things, but something tells me the Vienna-based sound artist wouldn’t have it any other way. Field recordings once again played an integral part in the sound design, with in this case Wonder Valley, Yangshuo, Fiskars, Palawan, Sandouping, and Overton providing reference points of audiophonic plunder, and modular synthesizers and electronic treatments of one kind or another also helped shape the album’s seven compositions into final form. But beyond that the material remains open to interpretation, with track titles such as “YSY” and “FSK” doing little to lessen the material’s abstract character. Not that the recording’s opacity is a bad thing; if anything, it makes the pieces on the thirty-eight-minute vinyl release (300 copies) all the more fascinating as well as endearing. To be clear, the material isn’t wholly abstract, as familiar sounds of twittering birds, wind, and water do emerge within the sound design. Yet Schwarz to a large degree counters that normalizing dimension by coupling it with electronic interventions that destabilize the recognizable elements by setting them adrift within the larger constructions. []


 

 

3 Positionen Gruenrekorder

 

26. April 2018
Donnerstag / 20:30 h
Loft, Wissmanstr. 30, Köln

 

reiheM präsentiert
3 Positionen Gruenrekorder

 

Mikel R. Nieto (Baskenland)
DinahBird (Frankreich)
Merzouga/Riek (Deutschland)

 

Das Frankfurter Label Gruenrekorder stellt drei Auseinandersetzungen zum Themenbereich „Field Recordings und Soundscapes“ vor. Ein Konzert, in dem aufgezeichnete Geräusche in Verbindung mit Musik gebracht werden, eine Position zum Thema der Bioakustik und der akustischen Ökologie und eine konzeptionelle Annäherung an den sonischen Landschaftsbezug. Mikel R. Nieto beschäftigt sich mit den Auswirkungen der Ölförderung auf
die dort lebenden Menschen und den Einwirkungen auf die Umwelt. DinahBird: Die Geschichte einer Kiste voller Schallplatten. Es sind alte 78er-Schellackplatten und es ist eine lange Geschichte voller Erinnerungen. Merzouga/Riek: Die Computermusikerin Eva Pöpplein und der E-Bassist Janko Hanushevsky treffen auf den Fieldrecordist Lasse-Marc Riek.

 

Mikel R. Nieto ist ein spanischer Künstler und Forscher aus dem Baskenland.
Als Fieldrecordist beschäftigt er sich seit 10 Jahren mit unserer akustischen Umwelt und setzt sich künstlerisch forschend mit den Inhalten auseinander. Diverse Lehrtätigkeiten an verschiedenen Universitäten. Nieto ist Mitbegründer der baskischen Klangkarte soinumapa.net, Mitherausgeber der Plattform mediateletipos.net und Radioautor.
mikelrnieto.net

 

Dinah Bird ist eine Radio- und Klangkünstlerin, die in Paris lebt und arbeitet. Sie macht Radioprogramme, Audio-Publikationen, Installationen und Soundtracks. Zu den jüngsten Auftritten gehören Dakar Morning Birds, eine Radioinstallation, die den Morgendämmerungschor der senegalesischen Hauptstadt in einen innerstädtischen Garten im Norden von Paris und Ostberlin verwandelte, und Topographies Nocturnes, ein Radiokunstprojekt, für das sie den prestigeträchtigen Prix Luc Ferrari gewann. Werke wurden über BBCR4, das Atelier de Création Radiophonique von France Culture, Resonance FM, Kunst Radio über das Radia-Netzwerk gespielt und auf Radiofestivals und Hörveranstaltungen in Frankreich, England, Deutschland, Spanien, Norwegen, Australien und den USA präsentiert.

 

Merzouga ist Eva Pöpplein und Janko Hanushevsky. Seit 2002 arbeiten sie als Duo miteinander und spielen Konzerte, produzieren kulturelle Features und Hörspiele und komponieren radiophone Klangkunst, sowie Musik für Hörspiel, Theater und Film. Ihre Rundfunkproduktionen wurden von allen ARD-Anstalten, dem Schweizer Rundfunk, dem ORF, RTÉ Ireland, HRT Kroatien und dem finnischen Rundfunk gesendet und mehrfach international ausgezeichnet. Die Hörspiele “Ob die Granatbäume blühen” (DLF 2015) und „In darkness let me dwell – Lieder aus der Finsternis“ (DLF/HR 2016) wurden von der Akademie der Darstellenden Künste zum “Hörspiel des Monats” gekürt. Letzteres wurde zudem mit dem Prix Marulic ausgezeichnet und als Live-Hörspiel beim 1. Kölner Kongress im Kammermusiksaal des DLF live aufgeführt und live übertragen. Kompositionen und Radioproduktionen entstanden u.a. für den finnischen Rundfunk YLEISRADIO, für Deutschlandradio Kultur, den Deutschlandfunk, WDR, HR, RBB, ZDF/arte, Münchner Volkstheater, schauspielfrankfurt, Hebbel am Ufer Berlin und die Akademie Musiktheater heute. Klangrecherchen führten sie u.a. nach Laos, Kambodscha und Vietnam, nach Indien, nach Nordafrika, in die Ukraine, nach Grönland und zuletzt nach Brasilien. Ihre beiden letzten CD-Veröffentlichungen auf dem Label GRUENREKORDER wurden weltweit vertrieben und international rezensiert. Merzouga-Musik wurde auf internationalen Compilations veröffentlicht, u.a. GRUENREKORDER 100, Noise of Cologne und auf dem WIRE TAPPER, der von dem international renommierten Fachmagazin WIRE zusammengestellt wird und aktuelle Positionen zeitgenössischer Musik vorstellt. Die beiden leben und arbeiten in Köln.
Lasse-Marc Riek (geboren 1975) bedient sich in seinem Schaffen als Autodidakt unterschiedlicher Ausdrucksformen. Seit 1997 ist er mit Ausstellungen, Konzerten, Lehraufträgen und Projekten international tätig und hat in Galerien, Künstlerhäusern, Kirchen und Museen gastiert. Zahlreiche Veröffentlichungen auf internationaler Ebene, Radiophone Kompositionen für das Deutschlandradio, den Hessischen Rundfunk, dem Westdeutschen Rundfunk und den Österreichischen Rundfunk. Stipendien, Auszeichnungen und AIR-Programme hat er in Europa und Afrika wahrgenommen.
lasse-marc-riek.de

 

Er ist Mitbegründer des Audioverlages Gruenrekorder, welcher sich seit 2001 auf die Bereiche Soundscapes, Field Recordings und elektro-akustische Kompositionen konzentriert und in diesen Zusammenhängen mit Künstlern und Wissenschaftlern auf internationaler Ebene agiert.

 

reiheM wird veranstaltet von Mark e.V.
reihe-m.de


 

Review | By Guillermo Escudero / Loop
Robert Schwarz | DOUBLE NEGATIVE
This is the second album of architect, composer and sound artist based in Vienna, after „The Scale Of Things“ (Gruenrekorder, 2015). Schwarz has a master’s degree in Architecture and Arts and studied computer music. His sound installations have been exhibited in several festivals and museums in Europe. He works with several pseudonyms with which he has released albums released on Sonic Terrain, Laton, Kinderkreuzzug, Wildstyle, Mudblob, Free Music Archive and more recently on German Gruenrekorder label. ‘Double Negative’ contains field recordings taken from locations such as Wonder Valley (USA), Yangshuo (China), Fiskars (Finland), Palawan (Philippines), Sandouping (China) and Overton (United Kingdom). This album has a disturbing atmosphere and a soundscape based on overlapped field recordings – non processed and processed – along with modular synthesizers. []


 

New Release:

 

 

Christina Kubisch & Annea Lockwood: ‘The secret life of the inaudible
Gruen 180/18 – Double CD
4 Tracks (74:20)
run: 500 copies


 

HÖRSAAL # 11 – Das geheimnisvolle Unhörbare mit Christina Kubisch
Eckhard Kuchenbecker und Lasse-Marc Riek stellen Christina Kubisch und ihre faszinierende Welt der unhör- und unsichtbaren Wellenfelder in Aschaffenburg am 3.3. und 4.3.2018 vor. Die international bekannte Klangforscherin arbeitet seit den 80er Jahren mit elektromagnetischen Wellen. Seit 2003 macht Kubisch diese nicht greifbaren Klangwolken um uns herum mit speziellen Kopfhören hörbar und komponiert daraus Klangstücke und ElectricalWalks.

 

Am Samstag, den 3.3. beginnt der HÖRSAAL mit einem Künstlerportrait von und mit Christina Kubisch im Salon des Casino Kino’s. Am Sonntag um 10.45 ist Einlass zum 11. HÖRSAAL. Christina Kubisch erzählt uns von ihrer Arbeit mit dem Unsichtbaren und Unhörbaren. Wir berichten von den Electrical Walks und hören in die uns sonst verschlossene Klangwelt von Aschaffenburg.

 

In Kooperation mit Gruenrekorder stellen wir die aktuelle CD-Neuerscheinung „The Secret Life Of The inaudible“ ein Projekt zwischen der neuseeländisch-amerikanischen Komponistin Annea Lockwood und Christina Kubisch aus verschiedenen Perspektiven vor.

 

„Nichts sieht so aus, wie es sich anhört. Nichts hört sich so an, wie es aussieht“ (C. Kubisch)

 

Künstlerportrait und Gespräch mit Klangkünstlerin C. Kubisch
Sa 3.3.18, um 11.45 Uhr Salon, Casino Kino, Ohmbachsgasse 1, 63739 Aschaffenburg.
Der Salon umfasst 24 Plätze, Preis 10,00€
(Reservierung empfohlen)

 

HÖRSAAL # 11 :
Das geheimnisvolle Unhörbare zu Gast C. Kubisch
So 4.3.18, um 10.45 Uhr Großer Saal, Casino Kino, Ohmbachsgasse 1, 63739 Aschaffenburg, Preis 8,50€

 

Bitte verbindlich buchen unter: 06021/4510772,
www.casino-aschaffenburg.de/kontakt
www.casino-aschaffenburg.de/das-casino


 

framework radio | #626
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Robert Schwarz | DOUBLE NEGATIVE


 

Robert Schwarz | DOUBLE NEGATIVE

 

Robert Schwarz – Interview
www.musicaustria.at

 

DOUBLE NEGATIVE – Teaser
www.youtube.com


 

Review | By MASSIMO RICCI / TOUCHING EXTREMES
Robert Schwarz | DOUBLE NEGATIVE
The shame born from the inability to prioritize deserving artists and organizations is overwhelming. Case in point, Gruenrekorder: the imprint run by Lasse-Marc Riek and Roland Etzin has been delivering consistently attractive records for many years now, but – strangely enough – these efforts seem to receive a mere fraction of the kudos they should be entitled to. This is the often lamented (and apparently unsolvable) problem of a congested music world where an acquainted ordinariness can overcome authentic transcendence at any given moment, and the poor reviewer’s time is wasted by junky outings submerging the genuinely collectible ones. []


 

Review | By Beach Sloth
Robert Schwarz | DOUBLE NEGATIVE
Robert Schwarz shows love for his surroundings on the spacious field recordings of “Double Negative”. Throughout the album Robert Schwarz embarks on an increasingly disjointed journey. Within the field recording framing device Robert Schwarz incorporates industrial and even dollops of noise into the proceedings. By keeping everything loose Robert Schwarz gives his compositions room to roam. Over the course of the album a narrative of sorts emerges one that feels so visceral and beguiling. Easily the gentlest composition on the entire album, “01_WVW” introduces the album with a pastoral hue. From the metallic hit in the distance to the birds, the whole thing radiates with life. []


 

Review | By Frans de Waard / VITAL WEEKLY
Robert Schwarz | DOUBLE NEGATIVE
Twice before I have reviewed music by Robert Schwarz (Vital Weekly 982 and 1048) and twice I more or less wondered what it is that he does. I am pretty sure that this, the third time, doesn’t make much sense to me, or that I have some more knowledge, even when Gruenrekorder that “Field recordings render the core and compositional starting points around which modular synthesizers are built to complex structures that resemble nature’s contingency as their inner logic”, which is something that I could probably also gather from listening to this record. The field recordings were taped in “Wonder Valley, Yangshuo, Fiskars, Palawan, Sandouping and Overton”, which probably could lead to a fun hour on Google maps to see where these are located. []


 

Review | By textura
szmt | PARVENU
Gruenrekorder recordings are often filled with surprises, and szmt’s Parvenu is no exception: the brainchild of Tobias Schmitt, the forty-eight-minute release was created entirely using sounds derived from three bee hives. Given the szmt description provided, Schmitt, who also issues material under the Suspicion Breeds Confidence alias (e.g., The Fauna and Flora of the Vatican City) and has contributed to a number of releases on the label over the years, would appear to be somewhat of a provocateur. szmt, we’re told, “contextualizes seemingly contradictory material and techniques” such that all input is “formed into a coherent but nevertheless open-to-misinterpretation result by means of improvisation and composition.” []


 

New Release:

 

 

Robert Schwarz: ‘DOUBLE NEGATIVE
Gruen 176/18 – Vinyl
7 Tracks (38:21)
run: 300 copies


 

Nika Son, Robert Schwarz Release-Show »Double Negative«
2018.01.18 @ Rhiz Vienna, 1080 Wien
www.facebook.com/events


 

ACL 2017 ~ Top Ten Field Recording & Soundscape
Katharina Klement ~ peripheries (Gruenrekorder)
“What does Belgrade sound like?” Katharina Klement asks the question not only of herself, but of the local residents she encounters, with colorful results. She travels the streets, picking up memories and realities, visiting the trolley bus, the river, the zoo. In the end, the inhabitants are the greatest draw, the warmth and humor of their responses painting the city with natural ebullience. (Richard Allen)


 

Sculpting Sound: The Life of a Field Recordist
Jack Needham speaks to practitioners of the art of field recording about the history of the craft and their distinct creative philosophies

 

[…] One of the best examples of this is in “Carousel feeding killer whales” taken from the Gruenrekorder release Ocean Sounds, a recording that demonstrates the effects of noise pollution on the feeding and social behaviour of killer whales in the Norwegian Archipelagos. […]


 

Review | By Frans de Waard / VITAL WEEKLY
szmt | PARVENU
Behind szmt (no capitals needed) is Tobias Schmitt, better know, I think, as Suspicion Breeds Confidence, but also an improviser and organiser of concerts. As szmt he “contextualizes seemingly contradictory material and techniques. All input is equal and will be formed into a coherent but nevertheless open to misinterpretation result by means of improvisation and composition” and for ‘Parvenu’ we read that it is a “work about authoritarian structures and developments. The narrative is abstract, all sounds are concrete. Every single sound on this recording is based on recordings from three bee hives”, in which context I guess the whole authoritarian structures becomes funny. []


 

Review | By Pierre Cécile / Le son du grisli #3
Katharina Klement | peripheries
Il faut souvent s’armer de patience avant d’écouter un disque Gruenrekorder – label, rappelons-le, spécialisé dans le eld recor- ding. Je veux dire : lire les textes qui posent le décor de l’enregistrement, relier des coordon- nées géographiques à des points cardinaux, voire suivre à la trace et au fur et à mesure de l’écoute le musicien (ou le capteur) qui a décidé, un beau jour, de livrer son travail sur CD. Avec la pianiste contemporaine Katharina Klement, c’est un peu di érent. J’explique : j’ai fait deux écoutes de Peripheries. Une sans m’intéresser à son projet, et en y laissant traî- ner mon oreille. []


 

Review | By Guillermo Escudero / Loop
szmt | PARVENU
Szmt aka Tobias Schmitt is a german sound artist based in Francfurt Am Main who has released four albums and a couple of singles for Attenuation Circuit, Acrylnimbus and Murmure Intemporel. He has participe a several groups, solo works and collaborations with other artists. „Parvenu“ is a work on structures and all sounds are concrete. Each sound in this release is based on recordings of three beehives. Some of the sounds are inaudible and all of them electronically processed allow to configure an abstraction of those innumerable actions that nature allows in beehives. Repetitive and structured actions that insinuate an established order and hierarchy as in a society like ours. []


 

Review | By Roger Batty / Musique Machine
Marc Namblard | F.Guyana
F.Guyana is a collection of soothing, detailed, often layered, and lush field recordings from forests and the costal regions of French Guiana. The CD appears on the always dependable & quality bound German label Gruenrekorder- either as a CD( which I’m reviewing), or as a digital release that features a bonus batch of tracks. The CD comes in a four panel digipak , and this takes in hazy pictures of the Guiana jungles. We also get a wonderfully inlay booklet, which takes in moody-to- brightly coloured photos of the wildlife & natural landscapes of French Guiana. As well as a small write up for each track, described at what time of day they where recorded, and what wildlife & natural sounds are involved in each tracks make up. []


 

Hodokeru Mimi | 2017.12.09.sat @Ryosokuin temple
PERFORMANCE
minoru sato + ASUNA / Fabio Perletta / Eisuke Yanagisawa / Takamitsu Ohta
ZEN MEDITATION – Toryo Ito
#soundart #soundperformance #kyoto #ryosokuin #両足院 #多聞会 #ほどける耳

 

facebook.com/events
hodokeru-mimi.localinfo.jp


 

framework radio | #620
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Marc Namblard | F.Guyana


 

New Release:

 

 

szmt: ‘PARVENU
Gruen 178/17 – CD
4 Tracks (47:00)
run: 300 copies


 

New Distribution:

 

 

Manfred Waffender: ‘PLACES_IN_TIME | 24seascapes
GrD 30/17
Field Recordings
DVD-R – 24 Tracks (60:00)


 

Mikel R. Nieto | Dark Sound @ Charivaria
centrocentro.org
blog.mikelrnieto.net
_
Inauguración: 5 de Octubre, 20 h.
06 octubre 2017 – 28 enero 2018
_
Centro Centro
Planta 5, Plaza Cibeles 1
28014 Madrid


 

framework radio | #615
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Charlie Fox: Four Wild Places; from: Autumn Leaves Compilation,
Gruenrekorder GrDI 088, Germany 2007



Review | By PROGRESS REPORT

Selected Recordings of Bayaka Music by Louis Sarno
Song from the Forest: The Soundtrack
Having not yet seen Michael Obert’s film the music here is from renders this harder to put into context, but going by what I understand from the accompanying booklet most of the songs originated from the Bayaka Pygmies in southwestern Central Africa. Each entry was recorded by the film’s subject, Louis Sarno, an American who one day, in the mid-1980s, became enchanted with such a song himself on the radio and not only took himself to the place in the Congo it was sourced from but ended up staying there, adapting to the Bayaka way of life, marrying a Bayaka woman, having children and recording over 1500 hours of music. It’s a compellingly unique story, saying much about the changing world as one individual’s quest to escape the west he grew up in in order to apply new meaning to his life a world away from those trust-funded travelers who take a year out to, uh, ‘find’ themselves. Although it equally arrives with a plethora of questions, it is hard to take away what Sarno has done to document his adopted tribe or draw attention to both their situation and that of others amongst their neighbours. []


 

AUSFLUG 4.9.17, 23 Uhr, FSK Hamburg | By jetzmann
Playing tracks by
rhein_strom, Barry Truax, Roland Etzin, Luc Ferrari, n.n. and more.


 

Review | By felix / freiStil – Magazin für Musik und Umgebung / #74
Katharina Klement | peripheries
Neun Wochen verbrachte Katharina Klement vor drei Jahren in Belgrad. Die Frage, die sich ihr stellte, war, ob und, wenn ja, wie ein akustisches Städteporträt funktionieren könne. An verschiedenen Plätzen – vor allem an den Peripherien der Stadt, wie der Titel schon erklärt, aber auch im Zentrum – sammelte sie Klänge und Krach, Stimmen und Stimmungen und führte Gespräche mit Einwohnerinnen unterschiedlichen Alters über ihre individuellen Hörwahrnehmungen. Der Sound der Donaumetropole, multikulturell in jugoslawischen, nicht mehr ganz so in serbischen Zeiten, mit seiner reichen Geschichte an römischen, keltischen und türkischen Einflüssen, ihrer gesellschaftlichen und historischen Nichtlinearität, ihrer Ambivalenz. Das akkumulierte Klangarchiv bzw. das akustische Gedächtnis Belgrads bildete die Basis für eine Komposition. []


 

Reviews | By Holger Adam / testcard #25: Kritik
Draussen vor der Tür: Field-Recordings und Sound-Art von Gruenrekorder
In der letzten Gruenrekorder-Kolumne war ja bereits die Rede davon, dass man ziemlich herum kommt mit den Ohren, wenn man sich mit den CDs des Labels beschäftigt, und das war natürlich ausschließlich positiv gemeint. Die Aufnahmen, die Gruenrekorder veröffentlicht, werden ansprechend präsentiert und sind ein Abenteuer für die Ohren. So auch dieses Mal.

 

RODOLPHE ALEXIS entführt mit The Glittering Thing On The Mountain erneut auf ferne tropische Inseln, wo Vögel wie Synthesizer klingen und mitunter auch bühnentaugliche
Namen wie Ruddy Kingfisher tragen! Es zirpt Tag und Nacht, und noch viele andere Geräusche dringen aus dem Urwald ans Ohr. Wie immer atemberaubend, spannend und entspannend. Noch relaxter geht es bei HAFIS BJARNADÓTTIR zu, deren Sounds Of Iceland überraschend reduziert rüberkommen. Es plätschert, taut, blubbert, rauscht und kocht – je nachdem ob das Mikrophon vor Bäche, Gletscher, heiße Quellen, Wasserfälle oder Lavaströme gehalten wurde. Wasser, Gezeiten, Naturgewalten und gigantische Naturschauspiele, die überraschend intime Sounds generieren. Trotzdem wird es beizeiten recht kalt oder heiß gewesen sein, wobei es sich in angemessener Funktionskleidung sicher neben dem Mikrophon hat aushalten lassen. Die Aufnahmen selbst machen wenig frösteln, im Gegenteil, sie wärmen eher – auch wenn einem der Wind um die Ohren bzw. aus den Kopfhörern pfeift. Großes Kopfkino liefert auch, man mag es nicht meinen, der Rhein. Es muss nicht immer Island sein, Karlsruhe hat es auch in sich. Das Duo RHEIN _ STROM bestehend aus Lasse-Marc Riek (Aufnahmen) und Thomas M. Siefert (Location Scout), dokumentiert den Klang des Rheines und seiner nahen Umgebung Von der Rheinquelle bis Hafen Karlsruhe auf der ebenso benannten CD. Das sind ein paar Hundert Kilometer, festgehalten in 21 Ausschnitten. Und – im Unterschied zur zivilisationsfernen Wildnis einer tropischen Insel oder der relativen Unberührtheit Islands – um den Rhein herum menschelt es, Flugzeuge überfliegen den Fluss und Schiffe befahren ihn, Autos und Züge begleiten ihn. Auch das hört man. Und so stellt das Booklet zur CD die Frage: »Wie können wir als heutige Menschen zu diesem Fluss in Beziehung treten, ohne in der Begegnung mit seiner an manchen Stellen erhaltenen Schönheit wieder einem Romantizismus zu verfallen bzw. im Konfrontiertsein mit den irreparablen Eingriffen sich frustriert und desillusioniert abzuwenden?« Eine Audio-Aufnahme des Flusses und seiner nicht nur natürlichen Geräuschkulisse mag da einen weniger voreingenommenen Zugang gewähren. Der Rhein als Fluss und von Mensch und Maschine geformte und genutzte Ressource klingt hier und da wie eine elektro-akustische Komposition (im Hafen Karlsruhe etwa, wenn sich unter Wasser aufgenommene Schifffahrtsgeräusche in der Aufnahme wiederfinden). Das klingt alles recht spannend und wirft anregende mithin schwerwiegende Fragen auf, die nach Umweltschutz beispielsweise. Eine ökologische Frage, auch für die Ohren. Was muss man nicht alles hören, tagein tagaus! Und was will man nicht hören bzw. was hört man überhaupt, wenn es zirpt und raschelt? So harmlos geht es nicht zu, so unberührt ist die Natur nicht. Wie (drohende) Umweltverschmutzung als Field-Recording klingt, diese Erfahrung kann man sich am Beispiel von MIKEL R. NIETO und seinem Dark Sound eindrücklich vor Augen bzw. Ohren führen. Die Aufnahmen kommen zusammen mit einem pechschwarzen Buch und dokumentieren Naturaufnahmen aus dem Yasuni-Nationalpark in Equador, dessen indigene Bevölkerung und tierischer Artenreichtum durch Bohrungen nach einem Ölvorkommen tief unter dem Naturschutzgebiet nicht mehr nur bedroht ist – die Zerstörung und Vertreibung ist bereits in vollem Gange. So stellt sich beim Zuhören die Frage, ob der Tropenregen schon auf aufgewühlte Erde fällt, die von Rohöl verschmutzt ist, und es knattern auch die Fördermaschinen auf der CD, die dem schwarzen Buch beigelegt ist. Man könnte fragen, ob nicht mit dem schwarzen Buch (schwarzer Druck auf schwarzem Papier) der pädagogische Holzhammer herausgeholt wurde – andererseits entspricht das schwarze, beinahe unlesbare Buch in seinem Aussehen den ölverklebten Vögeln und Meerestieren, deren Bilder in Europa noch am ehesten mit Ölkatastrophen assoziiert werden, und insofern ist die Aufmachung genau passend. Dark Sound zeigt eindrücklich die politische und unbequeme Seite dessen, was Field-Recordings auch sein können. Ähnlich unheimlich auch die Aufnahmen von CHRISTINA KUBISCH / ECKEHARD GÜTHER , die auf Unter Grund Grubenwasser zu Gehör bringen, das sich in stillgelegten Untertagebauschächten sammelt und dort abgepumpt und umgeleitet werden muss, damit es das Trinkwasser in der Region nicht verunreinigt und den Grundwasserspiegel nicht derart anhebt, dass sich das Ruhrgebiet mit der Zeit in »eine riesige Sumpflandschaft« (so ein Zitat aus dem Beiheft zur CD) verwandelt. Langzeitfolgen des Kohlebergbaus, gruselig, hier nachzuhören. Verlassen wir diesen Horror und wenden uns noch kurz der Field-Recording basierten Klangkunst und Musik zu. KG AUGENSTERN sind per Kanalschifffahrt von Berlin bis Maguelone am Mittelmeer gelangt. Das scheint zu gehen und sie haben auf Tentacles ein Klangexperiment festgehalten, das sich wie folgt erklären lässt: Lange Stangen auf dem Kahn kitzelten bei jeder Durchfahrt unter einer Brücke deren Eisenkonstruktion und der dabei entstehende jeweils spezifische Sound wurde festgehalten und im Rahmen von Klanginstallationen in diversen Museen zugänglich gemacht. Das klingt aufwendig und phantasievoll, es scheppert auch ordentlich, aber auf der Reise stelle ich mir das Spektakel interessanter vor, als das konservierte Ergebnis klingt. Das je eigene Klangprofil der Brücken, von dem KG Augenstern im Booklet zur CD schreiben, es kommt nicht so recht rüber. Kommen wir zu DAVID ROTHENBERG / KORHAN EREL. Rothenberg hat ja schon mit Zikaden musiziert, und auf Berlin Bülbül spielt er zu Field-Recordings von Nachtigallen Klarinette. Das ist nach all dem Rauschen und den ökologisch katastrophalen Perspektiven je nach Geschmack läppisch oder erholsam. Es ist beides, lang lebe der Zwiespalt. Ganz unzweideutig Nerven zerfetzend ist das Ergebnis von CLUB BLEU , die auf Dark- Asian- Energy Field-Recordings der Stadt Singapur elektronisch ergänzen, verfremden und bis zur Unkenntlichkeit verzerren. Heraus kommt dabei ein elektro-akustischer Höllenritt. Mir zu stressig, aber möglicherweise hervorragend geeignet, morgens statt mit Kaffee mit dieser Musik in die Gänge zu kommen. Lieber greife ich abschließend zu Sonic Drawings von ROLAND ETZIN , die CD liefert auch nicht gerade Easy-Listening, aber das Soundmaterial ist weniger chaotisch organisiert. Etzin kombiniert Field-Recordings unterschiedlicher Herkunft und verfremdet sie ebenfalls elektronisch. Das geht, um es mal etwas flapsig zu formulieren, bei ihm eher in Richtung Nurse With Wound und nicht – wie bei Club Bleu – in Richtung Atari Teenage Riot. Das mal als lahmer Vergleich zum Abschluss.


 

Review | By Aurelio Cianciotta / Neural
Angus Carlyle | In The Shadow Of The Silent Mountain
While leafing through the essential but elegant booklet of In The Shadow Of The Silent Mountain and starting “Acqua Bianca”, the first of 8 files/compositions present in this digital album by Angus Carlyle for Gruenrekorder, we soon get the feeling of plunging into a point-like sound landscape. This landscape is characterized by natural sounds, at first hardly recognizable, then similar to something dripping, fluid, winter-like: maybe ice sheets breaking and snow under the boots. The various creakings then leave space for stronger sounds. In “Bells of Church” we find some descriptive field recordings (the bells, the flock to pasture, some southern Italian dialects typical of a rural setting). In “Fifty Breaths in the Valley” we find more repetition of sound effects, basically some echoes which are repeated and more shaded and attached to some dialogue fragments, all objects of sound editing. []


 

Review | By textura
It’s fitting that these Gruenrekorder releases by Katharina Klement and Marc Namblard respectively appear as part of the label’s Sound Art Series and Field Recording Series: peripheries is very much a highly personalized sound portrait the artist fashioned of Belgrade, whereas F. Guyana is a relatively undoctored set of field recordings collected at French Guiana. Both releases benefit from Gruenrekorder’s customary dedication to high-quality presentation, with each fold-out package supplementing its CD with a full-colour booklet of photographs and text that thoroughly enhances the project. Each also rewards a headphones-styled listen when its sound field is so rich in detail and panoramic in spatial definition.

 

Katharina Klement | peripheries
In 2014, Klement, an Austrian-born and Vienna-based sound artist, spent nine weeks in Belgrade where she collected sound materials from various parts of the city to help answer the questions, “What does this city sound like?” and “Is it possible to portray it using sounds?”; to help flesh out those answers, she also interviewed people of different ages and backgrounds about the city. In conceptualizing the proposed work, she designed a score using her city map with her apartment as the center around which eight concentric circles were drawn; recordings gathered from those demarcated zones were then shaped into eight musical layers to produce a presentation piece featuring eight channels and eight speakers (the fifty-two-minute CD presents a stereo version). []

 

Marc Namblard | F.Guyana
To create F. Guyana, Paris-born Namblard, since 2000 a nature guide, wildlife sound recordist, and sound artist in Lorraine, collected field recordings from the forests and the coastal regions of French Guiana between 2014 and 2016. As mentioned, the seventy-two-minute recording is largely free of artistic intervention apart from the imposition of track durations and the sequencing of its eleven tracks. It’s no less effective, however, for being more straightforward in its presentation than Klement’s, especially when the details of the various French Guiana locations are so vividly captured. Some sounds, such as water burble and insect thrum, are generic as far as field recordings-based material is concerned, but many others give the project a distinctive character. []


 

framework radio | #608
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Artificial Memory Trace & Porya Hatami | REPREMONITIUM


 

Review | By Łukasz Komła / Nowamuzyka.pl
Katharina Klement | peripheries
Austriacka eksperymentatorka wybrała się do Belgradu, żeby odpowiedzieć sobie na kilka pytań związanych z fonosferą tego miejsca. Katharina Klement pochodzi z jakże zasłużonego dla historii muzyki współczesnej miasta Graz, choć obecnie mieszka w Wiedniu. Kompozytorka, pianistka i improwizatorka często w swoich kompozycjach wykorzystuje na różnych poziomach preparowany fortepian oraz elektroakustykę. Wydaje płyty od przeszło dwudziestu lat. Oczywiście nie jest jej obcy także soundart o czym świadczy najnowsze wydawnictwo , pt. „peripheries”. Artystka spędziła w 2014 roku dziewięć miesięcy w Belgradzie, koncentrując się na zadawaniu pytań i szukania na nie odpowiedzi: Co to jest za miasto? []


 

Review | By Łukasz Komła / Nowamuzyka.pl
Marc Namblard | F.Guyana
Jesteście ciekawi jakie odgłosy wydaje świat przyrody Gujany Francuskiej? Odkodowywanie dźwięków natury (przynajmniej w moim rozumieniu) to każdorazowo fascynujący proces, najczęściej będący czymś więcej niż tylko wsłuchiwaniem się w nocne dialogi hord świerszczy, cykad, małp czy ptaków. Niech soundtrackiem do takowych eksploracji będzie niedawno wydana płyta francuskiego artysty dźwiękowego Marca Namblarda, pt. „F.Guyana”. Jego materiał powstał w przeciągu ostatnich trzech lat, dokładnie podczas pory suchej jak i mokrej na terenie lasów tropikalnych Gujany Francuskiej. Dla zainteresowanych dodam, iż Namblarda można spotkać w Lotaryngii (północo-wschodnia część Francji) w roli przewodnika. []


 

Review | By Richard Allen / a closer listen
Katharina Klement | peripheries
What comes to mind when you think of Belgrade? Katharina Klement went on a nine-week mission to discover the sound of the city, and came away with a multitude of answers. peripheries plays like a sonic photo album, the images more important than the flow. While the album begins with a thump, the field recordings soon settle into a sort of rhythm. As the set progresses, a tapestry is revealed. The overture of the city is heard from a balcony: dogs, sirens, traffic, street music, passers-by. A discernible hum emerges. Is this Belgrade? Can a single chord, a melange of sounds, sum up the city? Klement answers with an emphatic no. Her explorations reveal jagged edges and clear demarcations, from Tesla’s gorgeously amplified induction motor to the bells of Saint Sava. []


 

Review | By Aurelio Cianciotta / Neural
Mikel R. Nieto | Dark Sound
In the product page on the label’s website the description of this release ends with this warning: “Partially legible. Sunlight reading recommended”. It’s hard to fail recognising that this warning is absolutely appropriate, until you realise that it’s a black book, with black opaque pages, printed with black lucid ink, housing a black CD. And it doesn’t stop there, as it doesn’t have a fixed sale price, but its price is determined by the crude oil Brent price at the time of purchase, so the author and label warn that if you buy the book you’ll “contribute to the destruction of the planet.” With these creepy premises, a curiosity about the content of the work immediately arises. And after a few attempts, the reader can find the right angle and light to (struggle to) start reading realising that it’s a remarkable collection of essays, pictures and documents on the oil industry’s impact on the Ecuadorian natural environment. []


 

Review | By Beach Sloth
Thomas M. Siefert & Lasse-Marc Riek
rhein_strom | von der rheinquelle bis hafen karlsruhe
Documenting a surrealist walk is the busy atmospherics of Thomas M. Siefert & Lasse-Marc Riek’s “rhein_strom von der rheinquelle bis hafen Karlsruhe”. Nicely merging the natural with the industrial tinged landscape the sound truly has love for its surroundings. The analysis of the sound works wonders as well for the duo utilizes light edits to further emphasize exactly how exactly the world interacts. Within the tapestry of sound there are found conversations, mechanical churns, and birdsong that is woven together. Rather than focus on any one of these the duo incorporates them altogether as a greater whole. []


 

Review | By Beach Sloth
Christina Kubisch & Eckehard Güther | Unter Grund
Finding the mysticism in everyday life, Christina Kubisch & Eckehard Güther sculpt elaborate electro-acoustic field recordings with “Unter Grund”. Quite lush in terms of their sonic detail not a single element goes unnoticed. Much of the sound has a journey-like quality to it while the origin of the sound slowly comes into view. By opting for such a style the pieces resonant on an intellectual as well as an emotional level. Sounds positively teem with life for the duo chooses to amplify the busy moments in a life that so often go completely unnoticed. []


 

Review | By Duncan Simpson / Musique Machine
Roger Döring & Konrad Korabiewski | Komplex
Another release from the sound-art side of Germany’s Gruenrekorder, Komplex is a collaboration between saxophonist Roger Döring and electronic improviser Konrad Korabiewski. Recorded over two years in a variety of locations and different acoustic spaces, Döring, who also improvises on c clarinet, provides the material which Korabiewski manipulates into unfamiliar shapes or adds to with mostly subtle electronics and field recordings. The first piece Kremmenerstraße opens with quiet street noise (perhaps recorded from the Berlin street which gives the piece its title) before Döring’s baritone sax appears playing extended low notes which are overdubbed and lightly processed by Korabiewski. []


 

Review | By Duncan Simpson / Musique Machine
R. Schwarz | The Scale Of Things
Gruenrekorder has been one of my favourite labels of the last few years. Their output traces a line from socio-political academic works like Hein Schoer’s remarkable The Sounding Museum to documentary style field recordings and in this case, complex, composed works of sound-art. The blurb for R.Schwarz’s The Scale of Things notes its distant relationship with classic musique concrete but emphasises the transformational approach taken by Schwarz and his combining audio processing with modular synthesis. The result is a rather dark and engaging suite of pieces that attempt to capture something of the chaos and indeterminacy of the natural environment, amplifying it through studio techniques and electronic sound. The cover art gives some indication to the compositional approach, eschewing the type of formal style associated with music concrete; instead, presenting a confusing collage of monochrome environments and magnified elements that could be insect, plant or otherwise. []


 

Review | By Duncan Simpson / Musique Machine
Angus Carlyle | In The Shadow Of The Silent Mountain
In keeping with Gruenrekorder’s pedigree in curating immersive multi-media experiences centred on field recordings, Angus Carlyle’s In the Shadow of the Mountain does not disappoint. The work consists of fifty 100 word texts and 33 split page photographs (presented in two accompanying booklets) and a composed series of field recordings captured over a three year period in the Picentini mountain area of Southern Italy. Immediately on perusing the booklets one senses aspects of the mystical and spiritual in Carlyle’s project. A quote from René Daumal’s Mount Analogue on the necessary invisibility of the mountain summit draws our attention to Carlyle’s ’silent‘ mountain; a silence which for the sound recordist is comparable to Daumal’s invisibility. []


 

Review | By Beach Sloth
Marc Namblard | F.Guyana
Absolutely soothing in its reinterpretation of the real, Marc Namblard casts a gorgeous spell on “F. Guyana”. Nicely documenting a world that few others get to truly engross themselves in, the way the piece unfolds is quite masterful adhering to Luc Ferrari’s love for his surroundings. Elements filter in and out of the mix, as every song represents yet another step in the journey. Naturalistic in tone, there is something so warm and inviting about the way Marc Namblard lets the sounds speak for themselves with minimal interference. Sleepy in sentiment is the opener “Awala” with gentle waves giving the sound a distinctly summery flair. One of the most fascinating track is “Crique Popote, Cacicus cela” where the unique sound of the bird at times recalls the digital synthesis of Florian Hecker’s work in terms of its almost angular digital sound. A meditative spacious drone is dominant on the blissful atmosphere of “Boeuf Mort, Dark night”. []


 

Review | By ATTN:Magazine
Philip Sulidae | Appropriated field recordings from temporary data sources
This one takes me back. I can remember my early experiences of navigating “open world” computer games back when they first started to emerge. I remember taking those nervous forays into vast, vibrant landscapes via Super Mario 64 and The Legend Of Zelda, unhooked from the rigid tracks of two-dimensional platform games, liberated from the ruthlessly imposed direction of travel and the requirement to roll monotonously from one objective to the next. Instead, I dithered and ambled. I stopped to examine the details and glitches of my digital scenery, or to analyse the repetitive back-and-forth movements of the game’s civilian furniture. Without the urgency of an objective to complete, open world gameplay offered the opportunity to break away and contemplate the meticulous artistry of computer game architecture. []


 

Review | By Hal Harmon / Musique Machine
Artificial Memory Trace & Porya Hatami | REPREMONITIUM
Gruenrekorder presents REPREMONTIUM, the second collaborative venture by Artificial Memory Trace and Porya Hatami. Available digitally in MP3 and FLAC formats, this massive single piece is a follow up to the duo’s 2015 release EVOLVA 5. While I’m not familiar with the aforementioned album, I have spent quite a bit of time absorbing many of Artificial Memory Trace’s sounds. The moniker of Czech-born sound sculptor, Slavek Kwi, AMT crafts some exceptional field recording soundscapes. Porya Hatami is an Iranian-based sound artist that toils in ambient, minimalist sounds. Field recordings, minimalist sounds, Gruenrekorder….does that sound like the perfect synergy? Yeah, pretty much. []


 

framework radio | #601
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Willem Sannen | Brussel Noord


 

Review | By Guillermo Escudero / Loop
Artificial Memory Trace & Porya Hatami | REPREMONITIUM
This is a new collaboration between the Iranian Porya Hatami and the Czechoslovakian Artificial Memory Trace aka Slavek Kwi, who resides in Ireland and the one that precedes his previous album „Evolva“ 5. Since 2014 these sound artists have been exchanging field recordings captured in their local areas that later are processed. “Repremonitium” is one track only of around 70 minutes long which displays sinuous sounds that move in the background while the field recordings emerge almost clearly in the surface alongwith voices, bird songs, insects and found sounds, all of it arrange with subtle sounds generated by a design software, creating soundscapes with a rich variety of shades.


 

Review | By textura
Various Artists | MALI BLUES – SOUNDTRACK
A film and a soundtrack, Mali Blues travels to the heart of West Africa to introduce us to its rich musical culture and four artists in particular, global star-in-the-making Fatoumata Diawara, ngoni player and traditional Griot Bassekou Kouyaté, Malian rapper Master Soumy, and Tuareg musician Ahmed Ag Kaedi. Director Lutz Gregor’s 2016 documentary follows Diawara (known as Fatou) who, having fled Mali as a young woman to escape an arranged marriage, is seen preparing for her first-ever concert performance in the southern Mali city of Ségou at the Festival of the Niger in 2015. In addition to documenting her concert tour, the film shows her meeting with Ahmed Ag Kaedi, who fled his desert home for a different reason: fundamentalists threatening to cut off his fingers. Not only have individuals been threatened but so too has the entire musical heritage of Mali: in 2012, a ban was instituted by radical Islamists that saw radio stations destroyed and musicians forced into exile. []


 

Review | By Łukasz Komła / Nowamuzyka.pl
Various Artists | MALI BLUES – SOUNDTRACK
Właśnie ukazała się ścieżka dźwiękowa do ubiegłorocznego filmu dokumentalnego o malijskich artystach.
Tak się składa, że muzyka z Afryki często pojawia się na łamach Nowej Muzyki, a szczególne miejsce zajmuje Mali. Wystarczy przypomnieć składankę z zeszłego roku „Every Song Has Its End: Sonic Dispatches From Traditional Mali” (Glitterbeat), koncertowy materiał Tamikrest z okazji Record Store Day („Taksera”) oraz ich niedawno wydany album „Kidal”, a także sprzed dwóch lat płytę Bassekou Kouyaté & Ngoni Ba – „Ba Power”. []


 

Review | By Zipo / aufabwegen
Roland Etzin | SONIC DRAWINGS
Roland Etzin ist einer der Begründer und Betreiber des Gruenrekorder Labels, da wundert es kaum, dass sein Release ein Plädoyer für das Hören ist. Sonic Drawings betitelt er seine Sammlung mit aus Feldaufnahmen-Kompositionen, die die Vorstellungskraft und Wahrnehmung der Umwelt stimulieren soll. Oder vielmehr das Nachdenken über usnere Wahrnehmung, die sehr vom Visuellen geprägt ist. Wie viel Potenzial und Schönheit liegt in der Fokussierung der Wahrnehmung des Alltags mit unseren Ohren? Die Antwort liegt in der hier enthaltenen Geräuschkunst selbst: Tracktorschnattern, Vogelgezwitscher, dröhnende synthetsiche Klänge, Wassergeräusche, zartes Knistern und vieles mehr vermengen sich zu einem fast schon blumigen Eindruck unserer Welt. Eine liebevoll ausgewählte Hörentdeckungsroute schlägt uns Roland Etzin hier vor.


 

Reviews | By Frans de Waard / VITAL WEEKLY
Marc Namblard | F.Guyana
[] I am not sure how that Namblard does his editing, be it that each of these pieces is a strict recording of a particular event with nothing else than just cut ’n paste, or if there is layering of sounds, looping or such like. In a piece like ‚Crique Popote, Rhinella Marina‘, we hear the beginning of night with far away chirping of cicadas and close by the Cane toads (also known as Rhinella marina) and the way the piece unfolds sounds very much like a song; one sound coming in on it’s own and later on repeated, altered a bit, and becoming a kind of chorus. As the CD progresses the sounds get more and more minimal, but also they seem to be electronic; here I was thinking about that bird that woke me up this morning. In ‚Forest Drones‘ one could easily mistake the repeating sound to be that of lo-fi cassette loop, and in ‚Kaw Mountain, Post-explosive breeding‘ it sounds like a synthesizer. It is not easy to think of all of this in terms of ‚just‘ natural sounds, but so it is. This is an excellent release of pure field recordings sounding like some great music. []

 

Katharina Klement | peripheries
[] Each of the pieces is described here in the booklet and unlike Namblard Klement layers various sound events together to make a musical composition out of sounds from the city. She uses sounds from market squares, elevators, sounds from the Tesla Museum, concrete mixers, animals in the zoo and even historical speeches by Tito, the first president of Yugoslavia. Klement draws from a wider selection than Namblard does, but also seems to be doing much more when it comes to editing and layering of sounds. Whereas Namblard is mainly about the minimalist approach towards field recordings and create musical piece with these sounds, Klement is more into telling a story with sounds. Maybe one not necessarily gets the story of Belgrade (certainly if one has never been to the city before; it is perhaps not easy to say where this city is, based on hearing these pieces and that includes the Tito talk), but abstract as it is, it is also a fascinating piece (nine of them) of music. Klement is not shy to bend and shape tones, pitch them up or down as she sees fit, as long as it is necessary for the actual composition. []


 

New Release:

 

 

Marc Namblard: ‘F.Guyana
Gruen 175/17
Field Recordings
CD + Digital
11 Tracks (72:22)
run: 500 copies
+ Digital Bonus
11 Tracks (67:10)


 

New Release:

 

 

Katharina Klement: ‘peripheries
Gruen 173/17
Sound Art
CD
9 Tracks (50:20)
run: 500 copies


 

Review | By Beach Sloth
Artificial Memory Trace & Porya Hatami | REPREMONITIUM
Artificial Memory Trace & Porya Hatami hark back to early electronic music pioneers with the soothing bliss of “Repremonitium”. Quiet and contemplative the piece unfolds in discrete ways. Subtle transitions are of the utmost importance for the music shifts with grace and taste. By incorporating lovely tender analog sounds alongside found sounds and manipulated field recordings, the sound feels alive. Layer upon layer of this work results in miniature movements and symphonies, all of which come together in a blissful serene state. Nearly silent, the sparkling introduction begins the piece on a gentle note. With every sound fully realized the way that the piece unfurls feels gorgeous. []


 

Budhaditya Chattopadhyay (DE/IN) – solo
Listening and its discontents
Five Live Cinematic 4 Channel Sound Performances
12. Mai | Fr | 20:30 h
Alte Feuerwache Kino (2.Stock), Melchiorstr 3. – 50670 Köln
www.gerngesehen.de


 

Review | By Klaus Halama / Sound & Image
Various Artists | MALI BLUES – SOUNDTRACK
Der Spielfilm „Timbuktu“ des malischen Filmemachers Abderrahmane Sissoko war nahe dran, in Cannes einen Preis abzustauben. Dass es dann letztendlich doch nicht geklappt hat, lag keinesfalls daran, dass der Inhalt nicht 100%ig gepasst hätte. Viel eher fehlte vielleicht das entscheidende Quentchen Glück, vielleicht aber auch ein insgesamt mangelndes Interesse am schon länger schwelenden Konflikt, der in Mali durch islamische Milizen heraufbeschworen wurde. Das Thema „Bürgerkrieg in Mali“ bleibt aber dennoch auf der Agenda all derjenigen, die das unsägliche Treiben von Al-Qaida verfolgen. Unter ihnen ist auch der Filmemacher Lutz Gregor, der den Dokumentarfilm „Mali Blues“ in die Welt gesetzt hat und der die Geschichte von vier malischen Musikern erzählt, die für einen toleranten Islam kämpfen. Allen voran die Singer-/Songwriterin Fatoumata Diawara, die das Land verließ, um nicht zwangsverheiratet zu werden. Aber auch der Ngoni-Spieler Bassekou Kouyaté ist ein weltoffener und weitgereister Kritiker der augenblicklichen Zustände. []


 

New Release:

 

 

V.A.: ‘MALI BLUES – SOUNDTRACK
Gruen 174/17
Sound Art
CD
13 Tracks (63:14)
run: 1000 copies


 

Review | By textura
CLUBbleu | DARK~asian~ENERGY [singa~core album]
Gruenrekorder has probably never before released anything as weird and playful as DARK~asian~ENERGY [singa~core album], though the move is hardly unwelcome; if anything, it’s refreshing to see the label making room for material of a wilder nature. Issued as part of its Sound Art Series, the forty-five-minute collection is the brainchild of CLUBbleu members Felix Leuschner and Julia Mihály, the former a classically trained drummer with experience composing for music theatre, chamber music, and vocal-electronic pieces and the latter a composer-performer with backgrounds in classical singing and electronic composition. []


 

Gruenrekorder @ taz.mixtape
Wöchentlich | Freitag 17 – 18 Uhr
Das taz.mixtape wird konzipiert von taz-Musik-Redakteur Julian Weber und taz-Redakteurin Doris Akrap. Die Produktion und Moderation übernehmen die ByteFM-Redakteur_innen Diviam Hoffmann, Oliver Stangl und Klaus Walter.
www.byte.fm


 

New Release:

 

 

Artificial Memory Trace & Porya Hatami: ‘REPREMONITIUM
(GrDl 171/17)
Sound Art
Gruen Digital – 1 Track (78:46)


 

Louis Sarno, an American musicologist and author, has died. We are deeply affected and very sad. Our thoughts are with his family and all those who were close to him.


 

Review | By Roger Batty / Musique Machine
Kg Augenstern | Tentacles
Tentacles brings together a selection of bridge based field recordings made on rivers & canals between Berlin and North-East France. The release comes in the form CD, and 44 page colour booklet from respected German field recording/ sound-art label Gruenrekoder. The release charts a series of journeys made between July 2014 & November 2014 on the MS Anuschka traveling from France & Germany. As the crew of sound-recordists went under different bridges, they used special installed metal tentacles to capture the sound profile of each structure they passed under it, as well as its surrounding sound environment. In all the disc takes in eight different recordings of these sonic profiles, and two shorter tracks from the resulting art installation connected to the project- with each track lasting between one minute forty & nearing thirteen minutes. []

 

Review | By Adam Skyes / Musique Machine
Roland Etzin | SONIC DRAWINGS
Sonic Drawings is a four track album of found sounds, analogue and digital machines and self built instruments, and is designed to give the listener the feeling and effects of the world around us. The chasm between silence and noise and what fills that void. The musicality and richness of the machines in our world played out across the albums 50 minute span. Starting with “Wand” just under two minutes of what can only be described as a robotic cow and I’m already to stop listening to the rest of this album. The description is pretentious enough without this as as opener. However continue I do, and I have to say track two “Vinschgau” actually piques my interest a little. []


 

‘SONIC MMABOLELA’ 2017’
5th Annual Workshop/Residency for sound artists & composers at Mmabolela Reserve, Limpopo, South Africa
Dates Workshop/Residency: 16-29 November 2017
Deadline for registration: 15 July 2017
You can find all the detailed information here:
Conceived and directed by Francisco López (www.franciscolopez.net)
Coordination and logistics by Barbara Ellison (www.barbaraellison.com)


 

Review | By Beach Sloth
Philip Sulidae | Appropriated field recordings from temporary data sources
Philip Sulidae opts for a surreal exploration of sound on the otherworldly presence of “Appropriated field recordings from temporary data sources”. Over the course of the album the way that Philip Sulidae lightly edits the world gives it a masterful, rich feeling. The attention to the smallest elements of sound, from meadows to machinery, ensures that he captures a wide swath of human experience. By taking on such an approach the sound teems with life, with some moments growing quite physical at times. Letting the beauty and ugliness of the world combine the album itself feels akin to a journey. []


 

framework radio | #590
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Philip Sulidae | Appropriated field recordings from temporary data sources


 

 

Gruenrekorder @ The Wire Tapper 43
Roland Etzin | SONIC DRAWINGS
www.thewire.co.uk


 

New Release:

 

 

Philip Sulidae: ‘Appropriated field recordings from temporary data sources
(GrDl 169/17)
Field Recordings
Gruen Digital – 5 Tracks (41:33)


 

WDR 3 Open Sounds: Studio Elektronische Musik
Szene [48]: Das Label Gruenrekorder
Roland Etzin und Lasse-Marc Riek sind seit über 20 Jahren begeisterte Fieldrecordists. Diese Passion äußert sich nicht zuletzt im Engagement, mit dem sie ihrer Kunstform ein maßgebliches Forum geschaffen haben: Das Label Gruenrekorder.

 

MP3
Please listen and download here


 

Phonophon

 

Phonophon | March 2017
Institut für neue Medien (INM)
Schmickstraße 18
60314 Frankfurt am Main

 

01.03.2017: KONZERT E42.A8 (BE/FR) – Juan Manuel Castrillo (ES)
02.03.2017: PHONOTALK Sound Activism
04.+05.03.2017: WORKSHOP Initiation to Phonojournalism

 

Society for the Advancement of Phonography and Experimental Music (e.V.)
www.phonographie.org
www.inm.de
www.gruenrekorder.de


 

Review | By Beach Sloth
Angus Carlyle | In The Shadow Of The Silent Mountain
Offering a picture of true serenity, Angus Carlyle’s “In The Shadow of the Silent Mountain” is an immersive experience. Best listened to in a quiet environment this is an album of quiet contemplation. Effortlessly blending together the real and the manipulated, this album takes almost a surreal bent to field recordings. For this intersection of the digital and the real is quite profound, at times recalling a daydream of the day to day reality that encompasses all. A journey begins to take hold over the course of the album, an unspoken narrative that moves the album forward. []


 

Reviews | By IDWAL FISHER – an antimacassar for the hearing
Merzouga – 52 46 North 13 29 East – Music For Wax Cylinders
Cathy Lane – The Hebrides Suite
Christina Kubisch Und Eckehard Günther – Mosaïque Mosaic
Rodolphe Alexis – Morne Diablotins
Series Invisible. Collection II. Booklet


 

Review | By Aurelio Cianciotta / Neural
Kg Augenstern | Tentacles
Christiane Prehn e Wolfgang Meyer – aka KG Augenstern – have transformed a Anuschka ship into a traveling sound laboratory. In July 2014, the ship set sail from Berlin in the direction of France. On the way the ship encountered bridges of different kinds running across rivers and canals. They devised special tentacles consisting of long metal arms installed on board the ship in order to be able to scratch the bridges, revealing sound profiles created by their shapes and contours. The result of this unique sound research – which reflected the shape of the bridges, their practical use and their type of construction – have been presented in audio-visual performances throughout the journey, in specially chosen places along the banks of the river. []


 

Xerox Collabique #002: Mikel R. Nieto – Dark Sound
06.02.2017 – 20:00 Uhr
Der baskischen Fieldrecordist hat für uns die akustische Schönheit im Huaorani-Reservat in der Nähe des Yasuni-Nationalparks im ecuadorianischen Amazonasgebiet mittels verschiedenen Mikrophonen eingefangen. Was dieses Paradies in dunkles Schwarz färbt sind die Geräusche von Ölbohrmaschinen, Fördertechnik und sonstigen in der Erde wütenden Maschinen… Das Konzert beschäftigt sich mit den Auswirkungen der Ölförderung auf die dort lebenden Menschen und den Einwirkungen auf die Umwelt.

 

Dark Sound ist das schwarze Buch der Klanglandschaften.
dark.mikelrnieto.net/files/2016/04/dark_sound_book.gif
Mitte 2016 ist das Buch/CD-Projekt bei Gruenrekorder erschienen. 176 schwarze Seiten, mit schwarzem Text bedruckt und 34 Tonaufnahmen auf einer schwarze CD.
gruenrekorder.de/?page_id=15050

 

Mikel R. Nieto ist ein spanischer Künstler und Forscher aus dem Baskenland.
Als Fieldrecordist beschäftigt er sich seit 10 Jahren mit unserer akustischen Umwelt und setzt sich künstlerisch forschend mit den Inhalten auseinander. Diverse Lehrtätigkeiten an verschiedenen Universitäten. Nieto ist Mitbegründer der baskischen Klangkarte soinumapa.net, Mitherausgeber der Plattform mediateletipos.net und Radioautor.
mikelrnieto.net

 

Xerox Exotique present this event in collaboration with the Gruenrekorder label.
The first five visitors will receive a free Gruenrekorder CD.
06.02.2017, doors open at 20:00, starts at 20:30
Admission 5€
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main
inm.de


 

Xerox Collabique #001: Music from the horse factory
27.01.2017 – 20:00 Uhr

 

* Knüppel/Schmitt
ks.snostein.org

 

* Roland Etzin
gruenrekorder.de

 

Admission free, donations welcome, byob
Alter Reiterhof, Hansenweg, Frankfurt
goo.gl/maps/iWHN3BQ1fdD2
Presented by Gregor Knüppel & Xerox Exotique


 

Review | By Pierre Cécile / Le son du grisli
Mikel R. Nieto | Dark Sound
N’étant pas bibliophile, je ne me suis guère intéressé à ce livre (pourtant très beau) imprimé noir sur noir… Comme Dark Sound (le titre de l’ouvrage) contenait un CD c’est vers ce CD que je suis d’abord allé – Et là… des field recordings, bien sûr : c’est-à-dire qu’une fois encore des oiseaux dont je ne saurais jamais le nom chantent dans mon studio quand tout à coup un orage éclate. Rien que de très normal pour l’habitué du label Gruenrekorder que je suis. Si ce n’est qu’au bout de dix minutes environ, l’enregistrement m’a tout l’air d’une composition d’électronique minimale avant de changer encore d’aspect en virant musique concrète. []


 

Reviews | By Łukasz Komła / Nowamuzyka.pl
Nowości z Gruenrekorder
Niemiecka wytwórnia ubiegły rok zamknęła dwoma sound art’owymi albumami.

 

CLUBbleu | DARK~asian~ENERGY [singa~core album]
To już trzecie wydawnictwo w dyskografii niemieckiego duetu CLUBbleu (Felix Leuschner, Julia Mihály). Oboje są klasycznie wykształconymi muzykami: Leuschner jest perkusistą, kompozytorem a Mihály studiowała śpiew i kompozycję elektroniczną. Ich albumy można określić jako serię portretów miejskich – uwzględniając przy tym architekturę, struktury społeczne i tło kulturowe danego miejsca. Dwa poprzednie krążki duetu ukazały nam Monachium i Augsburg. Na tej najnowszej płycie odwiedzamy Singapur, gdzie artyści zarejestrowali nagrania terenowe poddając je rozmaitym odkształceniom i deformacjom. []

 

murmer | songs for forgetting
Murmer to solowy projekt Patricka McGinley’a (urodził się w Stanach Zjednoczonych, ale od 1996 roku mieszka w Europie). W 2005 roku po raz pierwszy odwiedził południową Estonię, gdzie ostatecznie osiadł na stałe. W swoich pracach McGinley korzysta z przeróżnego field recordingu, znalezionych przedmiotów (choćby stara antena radiowa) i instrumentów (bandura, cytra, kora). Artysta koncentruje się na dźwiękach krążących wokół nas, na które zazwyczaj nie zwracamy większej uwagi, a wyrwane z kontekstu stają się nie do poznania, obce i niezwykłe: m.in. trzeszczące schody, brzęczenie owadów albo własny oddech. Materiał z „Songs for forgetting” powstawał na przestrzeni wielu lat. Pierwsze nagrania terenowe pochodzą z 2007 roku (Kolonia). []


 

Review | By Gunter Heidegger / The Sound Projector
Hein Schoer | The Sounding Museum: Box of Treasures
All Or Nothing
Talk about getting what you wish for. The Sounding Museum: Box of Treasures could have been assembled and (re)issued in direct response to Jennifer Hor’s review of ‘soundscaper’ Hein Schoer’s original in 2012, CD-only edition of The Sounding Museum: Two Weeks in Alert Bay in the Sound Projector in 2012. The CD contained field recordings of the mountainous ‘Namgis region of Western Canada along with documentation of the aboriginal inhabitants’ oral tradition of songs and stories; the two being contextually inseparable. Yet the disc proved unsatisfying and incomplete to some listeners, owing to a lack of background detail, though whether or not this effect was by design is unclear. However, Jennifer’s dissatisfaction with this under-represented subject matter – and potentially extending to other ethnographic documents – was qualified by a recommendation for accompanying DVD and map of the area in question. []


 

Review | By Gunter Heidegger / The Sound Projector
Various Artists | Landscapes of Fear
Dislocation Recordings
One to disrupt the harmony of your CD shelf is this oversized card wallet containing an obliquely labeled, monochrome OS map of the area surrounding Cologne and 2 CDs of discomfiting sound art pertaining to the themes of 1) Landscapes and 2) Fear. A simplistic summary perhaps, but given the density of the accompanying text – which will assuredly sort the men from the boys among us – some distillation is required. We might ponder the dichotomy posed by these two situational extremes: the tangible and idyllic terra firma juxtaposed with the most chaotic and disembodying of emotions; security and exile – two extremes of human existence. []


 

Review | By Frans de Waard / VITAL WEEKLY
murmer | songs for forgetting
Patrick Tubin McGinley works, as Murmer, since many years is not someone who releases a lot of music. In fifteen years, ‚Songs For Forgetting‘ is his eleventh album and deals, as much of his other work, with field recordings, but on this album McGinley explores also musical instruments. Zither like such as in the title piece but he doesn’t always conventional instruments, such as an old radio antenna. The goal of each of the four pieces is to mix up field recordings (although these can also be spaces in which the music is performed) and these instruments and come up with a more musical context than what is usually the case with this kind of music. Four lengthy pieces, of which the title piece is a fine string piece, mildly plucked and ‚Another Song For Forgetting‘ works with overtones and the rattling of objects; maybe the overtones are created with the use of feedback, but it nicely wanders around. []


 

Review | By arsonal
Daniel Blinkhorn | Terra Subfónica
Tras resultar premiado en la octava edición del Concours International d’Art Radiophonique Luc Ferrari (La Muse en Circuit, Centre National de Création Musicale, 2009) por su pieza para clarinete y sonidos fijados ‚In situ bacia‘, el compositor australiano Daniel Blinkhorn disfrutó, en 2010, de una residencia artística concedida por la Australian Broadcasting Corporation (ABC). En el transcurso de la misma realizó „Terra Subfónica“, composición de la cual es objeto este registro publicado recientemente por el sello alemán Gruenrekorder. []


 

Review | By illustrated amateur
Roger Döring & Konrad Korabiewski | Komplex
For as much as my aesthetics may define me, there are some bits that are still pretty mysterious. I can’t always explain what attracts me, even if something exerts a strong pull. The odd pairing of saxophone with electronics seems inexhaustibly interesting to me. My previous attempts at explaining the attraction fail to fully answer for its appeal. Thus, I ended up buying a copy of Roger Döring and Konrad Karabiewski’s Komplex, after listening to only to a scant few samples. []


 

Nowamuzyka’s list of 58 favorite albums of the world – 2016
Among these:
– Mikel R. Nieto – „Dark Sound” (Gruenrekorder)
– Rodolphe Alexis – „The glittering thing on the mountain” (Gruenrekorder)


 

Globale Mittelhessen | 29. Januar 2017
Dunkler Klang – aufgeklärte Ohren? (Diskussion mit Einspielungen)

 

Das Label Gruenrekorder aus Frankfurt am Main beschäftigt sich seit Jahren mit Ökopolitiken und Klang. Vor kurzem wurde „Dark Sound“ von Mikel R. Nieto veröffentlicht – mit Texten, Fotos und Audioaufnahmen, sowie Berichten verschiedener Gruppen und Institutionen, die von den Auswirkungen und den Zusammenhängen des Noise der Ölindustrie in Bezug auf Menschen, Flora und Fauna handeln. Der Preis von Buch und CD bemisst sich süffisanterweise am tagesaktuellen Preis eines Barrel Brent Rohöl. An dieser Stelle, wo sich Ökologie und Ökonomie kreuzen, diskutieren wir, u.a. an Einspielungen von Fieldrecordings, mit Lasse-Marc Riek und Roland Etzin von Gruenrekorder die Hörbarkeit politischer Implikationen, die Beziehung von Umwelt und Kapitalinteressen, aber auch die Release-Policy des Labels.
Moderation: Matze Schmidt (Berlin/Kassel)


 

WDR 3 Open Sounds: Studio Elektronische Musik
Szene [48]: Das Label Gruenrekorder – 21.01.2017
Open Sounds | 21. Januar 2017, 22.04 – 00.00 Uhr | WDR 3

 

Roland Etzin und Lasse-Marc Riek sind seit über 20 Jahren begeisterte Fieldrecordists. Diese Passion äußert sich nicht zuletzt im Engagement, mit dem sie ihrer Kunstform ein maßgebliches Forum geschaffen haben: Das Label Gruenrekorder.


 

Deutschlandfunk | Atelier neuer Musik
Invading Pleasures (Nikola Lutz & Mark Lorenz Kysela) | Infinite Jest
www.deutschlandfunk.de/atelier-neuer-musik


 

Review | By Guillermo Escudero / Loop
murmer | songs for forgetting
North American sound, performer and radio artist Patrick McGinley (AKA murmer) in based in Europe since 1996 and since then he has been working with found sounds and found objects. He hold a string of releases and compilation appearances. Murmer’s work consists of micro sounds and field records and on this album McGinley collects sounds in different parts of Europe between 2007 and 2014, like a sand timer recorded in Cologne, Germany in August 2007. Other field recordings were made with rain dripping through cannons of the Soviet era in the small village of Tóravere in Estonia. Then in the same month; daytime fireworks in Valencia, Spain (March 2008); a pebble beach in Étretat, France (June 2008); underwater life on a branch of the Andelle river in Perruel, France (May 2009); and more recently, the rain gutters in my current house in Põlgaste, Estonia (September 2013) and the squeaking and trampling of an ant colony in the island of Kemiö, Finland (July 2014). []


 

Reviews | By Beach Sloth
murmer | songs for forgetting
Quite surreal murmer explores the ignored small sounds that occupy life on “song for forgetting”. Merging elements of ambient and field recordings these are pieces that at times recall the raw industrial edge of early Zoviet*France albums. Within these pieces murmer forgoes melody and rhythm for something much looser. Almost improvisational in their approach the way that the songs evolve has a life-like cryptic element to it. By taking on this tact murmer creates layer upon layer of sound that interact in a plethora of unexpected strange ways. Things open up with the tiny sounds of “Another Song For Forgetting”. Setting the tone for what follows the sounds seem to be living, breathing creatures, small bursts of their breath emerges out of the sonic ether. []

 

Mikel R. Nieto | Dark Sound
Mikel R. Nieto’s “Dark Sound” truly has love for its surroundings. Quite soothing in its exploration of the great unknown this is a field recording from the night when all else remains silent. Throughout the piece the attention to detail feels incredible as literally every last possible detail is amplified in full. Edits are done with the utmost of care and consideration as the many variations of the sound feel alive. Layering is done in an intricate way that emphasizes the importance of the smallest elements to celebrate those elements of an aural environment that so often go completely overlooked. The smallest sounds are given great care. Raindrops find their intrepid way into the mix without overwhelming the rest of the balance. []

 

Roland Etzin | SONIC DRAWINGS
Serene and surreal Roland Etzin’s “Sonic Drawings” offer compelling looks at otherworldly terrains. Over the course of the album Roland Etzin explores the mystical within the mundane. Regular experiences are filtered through a wide variety of distortions, disorientations, and otherwise reconfigured beyond recognition. Featuring such a wide swath of styles Roland Etzin offers a unique take on the art of field recordings allowing them to become something entirely different. Sounds bounce off of each other resulting in entirely different soundscapes in which nothing is quite as it seems. Easily the highlight of the album is the majesty of “Garten”. Within this singular piece Roland Etzin allows for a single drone to embody everything. This drone feels akin to a gigantic symphony. []


 

Review | By Frans de Waard / VITAL WEEKLY
CLUBbleu | DARK~asian~ENERGY [singa~core album]
Right by the looks of this release, one realizes this something different, unusual in the world of Gruenrekorder. The cover and booklet shows us distorted digital images, and also the titles of the pieces make you raise an eyebrow; ‚Bambi Died Of Lung Cancer‘, ‚Singacore Sling‘ or „#fuckyourselfie – ethnology of solitude‘ aren’t ones we see a lot in this label’s catalogue. The back cover has this little text: „while field recording in autumn 2014, CLUBbleu dived into the pulsating multi-cultural metropolis of Singapore, trying to catch the most characteristic urban sound scapes. []


 

framework radio | #578
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Craig Vear | Antarctica


 

Reviews | By PROGRESS REPORT
Pauline Oliveros & David Rothenberg & Timothy Hill | Cicada Dream Band
Already familiar with some of Pauline Oliveros’ work courtesy of a few solo accordion albums I own, only clarinetist David Rothenberg’s name otherwise rings a distant bell here. Alongside Timothy Hill’s addition of voice, used rather more as an instrument itself than to mouth anything even resembling lyrics, and some field recordings, all three artists weave a setting given to something caught between the theatrical, a late night cabaret club and primeval swamplands. It’s not a place that pulls you in completely to begin with, but as each of the eleven pieces unfurl the proceedings steadily become more engaging, especially when the voice is less overstated and used more sparingly. Like so much such music, however, this is not concerned with trifles such as accessibility. Instead, it courses on the deepest of emotions and those generally untapped areas of expression only too often pushed aside in favour of easier outlets. While Cicada Dream Band may sometimes lapse due to its very nature as improvisational music, it’s hard not to respect those using this springboard who succeed in finding a common voice. On that count, this works completely. RJ.

 

Christina Kubisch & Eckehard Güther | Mosaïque Mosaic
I am mostly familiar with Kubisch via her incredible minimal drone-driven modern classical compositions, which she has been making since the 1970s. Here, however, she collaborates with Eckehard Guther on a collection of thirteen pieces recorded throughout Cameroon after their having organised a number of workshops throughout this country dedicated entirely to field recordings. The idea was to work with local musicians and artists on the idea of paying attention to the sounds around them; something both Kubisch and Guther initially felt the country’s inhabitants might not do yet were surprised to discover just how much sound does impact on people’s lives. The recordings themselves are taken from the duo’s travels throughout the country and depict everything from a wide variety of natural sounds to that of traffic, a street procession (replete with musicians playing away) and a choir rehearsal. Nothing has been processed, leaving each piece to serve as a nice and tantalising snapshot of a country which clearly has much to offer in terms of sound and beyond. What is especially interesting, however, is that this work only goes to illustrate just how much sound is heavily integrated into people’s lives, no matter where they live or how much they might not even concede to it. RJ.

 

Daniel Blinkhorn | Terra Subfónica
A large collection of miniatures form what appears to be the debut release by this artist given to moulding fragmented field recordings together with micro-electronics, the occasional melodic thrum, shapeshifted clarinet and gnarled tonal sweeps. Together, they form a radiophonic exploration, although each piece can be taken as self-contained as well as part of the entire narrative. Although far from unique, Terra Subfonica remains interesting enough to accompany a quiet and solitary domestic chore, such as ironing. Would I return to this after having just caught up with a huge pile of shirts, though? I guess you read my mind. RJ.


 

Mikel R. Nieto | Dark Sound @ ACL 2016: The Year’s Best Packaging
A black disc lodged in a black book with black print? This didn’t seem like such a good idea, until we read the text and thought about it for a while. As it turns out, the project is a parabolic reflection of its subject matter, the redacted and silenced voices of the oppressed. This is a perfect example of a label fully committing to a vision, and in this case, amazingly, the risk pays off.

 

& ACL 2016: Top Ten Field Recording & Soundscape
Dark Sound tells a story that few want to hear, but that all need to hear: a story of a culture obliterated by greed and “progress.” The black book contains black prose and even blacker thoughts, while the field recordings provide a soundtrack to desecration. The sounds of nature continue to vibrate beneath the machines, but they do so with progressively weaker sounds. We strain to hear them as we strain to read their stories, and yet we must. In the words of Martin Niemöller, First they came for the Socialists, and I did not speak out …. (Richard Allen)


 

Xerox Exotique #005: Premiere of ExpeRheiniMainental
Sonntag, 15. Januar, 16.00 Uhr

 

von & mit
Weinglas / Trabouliste / Dirk HuelsTrunk / Roland Etzin / Sebastian Scherer & Felix Pausch / LDX#40

 

Filmscreening und Live Set
www.xeroxex.de

 

INM – Institut für Neue Medien
Schmickstraße 18
60314 Frankfurt am Main


 

New Release:

 

 

murmer: ‘songs for forgetting
Vinyl + Digital
Sound Art
Gruen 172/16
4 Tracks (39:07)
run: 300 copies


 

New Release:

 

 

CLUBbleu: ‘DARK~asian~ENERGY [singa~core album]
CD + Digital
Sound Art
Gruen 165/16
10 Tracks (45:32)
run: 500 copies


 

Review | By Annick Rivoire / poptronics
Kg Augenstern | Tentacles
De l’intérêt de gratter des ponts, par Kg Augenstern
Il est des artistes qui reprennent inlassablement le même motif, creusent le même sillon, traquent la même obsession. Christiane Prehn et Wolfgang Meyer sont de ceux-là, qui pratiquent autant qu’ils expérimentent à bord de leur péniche, l’Anuschka, un art sonore de la navigation. Le duo compose Kg Augenstern qu’on a croisé à Paris une fin d’été particulièrement pluvieuse, tandis que « Tentacles », leur performance de « grattage » de pont, s’insérait dans la programmation de Bande Originale, un festival et parcours sonore le long du canal de l’Ourcq (poptronics avait d’ailleurs contribué au projet par ici). []


 

framework radio | #577
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Roland Etzin | SONIC DRAWINGS


 

04.12.2016 – Xerox Exotique #002: Initiation
Vacuum (F) & Autumn Appreciation Society with Image Accumulator (D)
The first Xerox Exotique concert will take place on December 4th at the Waggon in Offenbach featuring Vacuum from France.

 

* Vacuum are Yann Gourdon (hurdy gurdy) and Antez (percussions).
ygourdon.net
antez.org

 

* Autumn Appreciation Society are Roland Etzin (Gruenrekorder) and Tobias Schmitt (Acrylnimbus, Suspicion Breeds Confidence). They produce an IDM-Fieldrecording-Noise-Hybrid.
acrylnimbus.de
gruenrekorder.de/?page_id=28

 

They are supported by Image Accumulator, a live video project featuring QTCT and LDX#40. Their main goal is to process the visually elaborate into the mundane.
kunstscheisse.net/ldx40

 

Waggon am Kulturgleis, Mainufer near Isenburger Schloss, 63065 Offenbach
Doors 19:00, starts 19:30
Free admission, donations welcome
waggon.blogsport.de
xeroxex.de


 

Review | By Adam Skyes / Musique Machine
Willem Sannen | Brussel Noord
Brussel Noord is a field recording album presenting sounds from the North District of Brussels. The area is dominated by a large train station, commuters and office towers. The album captures the soundscape of this place in five movements over 24 minutes. [] The latter 3 pieces of this release seem to explore the distance and disconnection of the city. You are part of it, but not in an intimate way. There’s less space around you, but with that comes a larger feeling of being alone. The sounds of the familiar become the sounds of the unfamiliar and are drawn out over a period to make them almost eerie to hear. Exploring the goings on, movement of people into their industry across 5 pieces, Willem Sannen explores a cityscape in wondrous detail. This album is a beautiful document of urban living. []


 

Review | By Aurelio Cianciotta / Neural
Christina Kubisch & Eckehard Güther | Unter Grund
Unter Grund was presented in 2014 in the context of the NOW/ Parallele Welten festival, in Zollverein, the world heritage site of the German Customs Union. That 26 channel sound installation is now condensed in field recordings captured throughout the Ruhr area, mainly in machine rooms, above or under ground, pumping stations, waterworks, ponds, shaft sumps, cages and spillways – just some of the industrial locations that were the object of Christina Kubisch and Eckehard Güther’s research. The Ruhr area is now one of the largest conurbations in Europe and while this industrial heritage remains intact, it is also one of the places in the world with the highest concentration of museums dedicated to modern art. []


 

In the Shadow of the Silent Mountain | book trailer

 


 

Mitschnitt der Sendung „Fangschalltung“
von Martin Speicher vom 14.11.2016 im Freien Radio Kassel (FRK) mit Matze Schmidt. Über Sonicykle am 17. und 18.11.2016 im Rahmen des 33. Kasseler Dokumentarfilm- und Videofest. Eine Veranstaltung des Ohrenkratzer e.V.
Unter anderen mit Klängen von Ulrich Phillipp, Uli Böttcher, Gruenrekorder (Lasse-Marc Riek und Roland Etzin), Tobias Schmitt (Acrylnimbus), Stefan Riebel, Joshua Weitzel, Martin Speicher und Matze Schmidt.
www.soundcloud.com/sonicykle


 

Pauline Oliveros, an accomplished composer, accordionist, and experimental music pioneer, has died. We are deeply affected and very sad. Our thoughts are with her family and all those who were close to her.


 

Review | By Beach Sloth
Willem Sannen | Brussel Noord
Willem Sannen explores the amplification of the everyday routine on the voyeuristic field recordings of “Brussel Noord”. Over the course of the album a journey begins to emerge. Every single sound relates to something that hundreds of millions of people go through each day. Doubly refreshing is the way that Willem Sannen sequences these many elements together, from the lonely aspect of waking up to simply traveling amongst vast groups of strangers. Respect for the surroundings results in some particularly fine exploration of spacial acoustics. By far what ties the many pieces together is the sense of continuity that comes to define the album. []


 

Review | By Ed Pinsent / The Sound Projector
Invading Pleasures (Nikola Lutz & Mark Lorenz Kysela) | Infinite Jest
Intensive exploration of the possibilities of the saxophone in modern music on Infinite Jest (GRUENREKORDER Gruen 156). The duo Mark Lorenz Kysela and Nikola Lutz, calling themselves Invading Pleasures, are consummate players dedicating to pushing envelopes and expanding the boundaries of what is considered possible to play on the saxophone. To that end, here are six compositions and situations set up to test their mettle, including works by Uwe Rasch, Malte Giesen, Remmy Canedo, Joseph Michaels, and Lutz herself. They treat the sounds of their instruments extensively with live electronics, play multiple instruments at the same time, and draw no lines between composition and improvisation. []


 

Review | By Frans de Waard / VITAL WEEKLY
Angus Carlyle | In The Shadow Of The Silent Mountain
Well, technically this is listed as a book, well actually two books, but there is also music to hear, which you have to download from the label’s website. All of this I would think is some kind of poetry cobbled together through field recordings, words and photography. One book has only words and the other has pictures, and I assume all of this upon a mountain somewhere in Italy. Or not Italy, maybe it’s the name of the website that distracts me? Confusing indeed, I must say. I will repeat what I say above, my mantra, „as much as I would love to do so, reviewing anything else than music is really a hard task. []


 

Review | By Roger Batty / Musique Machine
Rodolphe ALEXIS | The glittering thing on the mountain
[] The tracks offer up a mix of bird, insect, frog, & bat recordings, with sometimes the backdrop of water recordings appearing from the streams that make their way through the islands greenery. These recordings were captured at different times of day, so you also get the nice mix of type of sound activity in the jungle. From the dense yet subdued simmer of the night-time jungle, through to the bright chirp & awaking of the mourning, on to the more vibrate & chatting interplay of the daytime. In summing-up The Glittering Thing On The Mountain is another well presented & conceived collection of field recordings from the Gruenrekorder label. It’s a release that mangers to whisk one off on sonically rich & often unique sound journey- that’s both soothing, beautiful and at times quite alien.


 

Review | By Pierre Cécile / Le son du grisli
Kg Augenstern | Tentacles
Le ciel est triste hélas et j’ai mangé tous mes sous : pas de quoi faire un Bruxelles-Berlin… Heureusement il y a KG Augenstern (projet de Christiane Prehn and Wolfgang Meyer) qui me propose un Berlin-Amarages-de-Maguelone en passant par Charleroi à un prix défiant toute concurrence = celui d’une brochure qui sert d’étui à un CD. Prehn et Meyer ont fait tout ce voyage en bateau (le MS Anuschka) en 2014. Le couple a enregistré une partie de son périple (surtout des passages de ponts) en même temps qu’il prenait les photos reproduites dans la publication d’une quarantaine de pages. A Arles et à Valence (voir / entendre l’extrait ci-dessous), ils ont imaginé avec tout ça de premières installations. []

 


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