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Gruenrekorder – 2018

Christina Kubisch & Annea Lockwood | The secret life of the inaudible
@ Top 10 Noise LPs Of 2018 | By Raymond Cummings
www.magnetmagazine.com
www.facebook.com/magnetmag

Podsumowanie roku 2018 – Świat | By Łukasz Komła
Michael Lightborne: ‘Sounds of the Projection Box
Robert Schwarz | DOUBLE NEGATIVE

Tak brzmiał u mnie Świat w roku 2018!
Bez zbędny przemówień i proroczych kazań, dzielę się listą płyt – ułożoną w porządku alfabetycznym – które najczęściej gościły w moim odtwarzaczu i zrobiły na mnie szczególne wrażenie, co też starałem się przekazać w recenzjach. Wybrałem 43 LP i 5 EP. Zapraszam!

Path of the Wind | Eisuke Yanagisawa @ PEOPLE’S CHOICE – BEST OF 2018
Toneshift: The Future of Music, Today!
www.toneshift.net

Path of the Wind | Eisuke Yanagisawa @ BBC Radio 3 – Late Junction
16 January 2019 – 1 hour, 30 minutes

To Alaska and the Arctic Tundra, on the wind
Get set for some long-haul musical travel with intrepid itinerant Nick Luscombe tonight.
Join multidisciplinary artist NSDOS on an Alaskan expedition, where he uses ‘bio-feedback’ to turn data into extraordinary textures and rhythms.
And, experience the environmental sounds of the Arctic Tundra through the responsive composition of Derek Charke and the evocative playing of the Kronos Quartet.
What means of transport will we use for our journey? Why, the wind of course! Eisuke Yanagisawa channels the airwaves and the weather for his unprocessed field recordings made outdoors in Japan. | Produced by Jack Howson for Reduced Listening.

Michael Lightborne: ‘Sounds of the Projection Box’
@ Radio show on CITR FM 101.9 in Vancouver, Canada
www.citr.ca/2019/01/02
www.citr.ca/2019/01/06
Links to playlists and podcast versions of broadcasts are viewable here:
www.bepicrespan.blogspot.com

Michael Lightborne: ‘Sounds of the Projection Box’ @ ACL 2018 ~ Top Ten Field Recording & Soundscape
2018 was an amazing year for field recordings and soundscapes, perhaps the best to date. We reviewed over 40 works this year, and had an incredibly difficult time choosing ten for this list since the overall quality was so high. Many of the recordings told stories; some captured specific audiographies, while others warned listeners of impending global catastrophe. […]

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
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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: