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. []

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