![\"Mosa\u00efque](\"https:\/\/www.gruenrekorder.de\/Photos\/christina_kubisch-ecki_guether-gruen_131.jpg\" "\\"Mosa\u00efque")
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Mosa\u00efque Mosaic\u00a0| Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a><\/strong> <\/p>\n My first visit to Cameroon in summer 2010 occurred thanks to an invitation by the Goethe-Institut Yaound\u00e9 and the independent art organization Doual’Art. <\/p>\n Tracklist: <\/p>\n Excerpts:<\/p>\n <\/p>\n MP3<\/a><\/p>\n <\/p>\n MP3<\/a><\/p>\n <\/p>\n MP3<\/a><\/p>\n <\/p>\n MP3<\/a><\/p>\n <\/p>\n 13 Tracks (58\u203230\u2033) <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n Recorded in Cameroon by Christina Kubisch, Eckehard G\u00fcther and Dieter Scheyhing between July and December 2010.<\/p>\n <\/p>\n Mixed and assembled by Christina Kubisch and Eckehard G\u00fcther in 2013 at Studio Hoppegarten. <\/p>\n Special thanks to Princess Marylin Douala Bell, Didier Schaub, Paulin Tchuenbou, Irene Bark and Daniel Mouelle<\/p>\n Photography: Eckehard G\u00fcther, Christina Kubisch, Karina Piersig and Dieter Scheyhing <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n PROGRESS REPORT<\/a><\/strong> <\/p>\n IDWAL FISHER – an antimacassar for the hearing<\/a><\/strong> <\/p>\n Kubisch and G\u00fcther\u2019s made a deal with the locals in a I\u2019ll show you mine if you show me yours kind of fashion. With Cameroon being a noisy place by nature [car horns, markets, amplified music etc.] they thought that it might be in the locals interest to hear what went on outside these everyday noises. The locals then took them to places they thought might interest them, hence the church, an abandoned hotel, the river, a national park. The results veer from the chaotic [the church service] to the sublime [the end of that rainstorm] with both sides coming out winners. Holding workshops for the locals Kubisch and G\u00fcther soon realised that the locals did indeed take heed of what was going on around them \u2018but so far they had not felt any necessity to store these sounds\u2019.<\/p>\n <\/p>\n On Morne Diablotins [the name of the highest mountain in Dominica] Rodolphe Alexis takes a walk with recording equipment in hand passing Jaco and Sisserou, the endemic species of parrot, but failing to locate any mountain chicken\u2019s or giant frogs. There\u2019s always a next time. Its his mission to record and observe giving us the purity of the rainforest in all its verdant glory.<\/p>\n <\/p>\n And whilst I thought that these recordings weren\u2019t anything out of the ordinary [preferring David Tudor\u2019s electronic take on the rainforest if pushed into a corner for an opinion] they do draw you in. Especially on the longest and most immersive track, the 28 minute \u2018A Night in Grand Bay\u2019 where a tropical rain storm, insect chatter and the agitated calls of parrots all joyously mingle. <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n The tracks cover a broad swathe of local life, starting off with a hysterical preacher casting out a demon (his words, all the while, being shadowed by a translator), moving through the clanging metals of a workshop, visiting an abandoned hotel at night and following a ramadan procession. There\u2019s a great colour and vibrancy to be found here, exemplified best – in its generality – by the track \u201cstreet atmosphere\u201d. Here Kubisch and Guther document the very noisy surroundings they find themselves in, complete with the distorted tones of music buzzing through tinny speakers. This cacophony is also to be found, somewhat ramped up a notch, in \u201cabandoned hotel at night\u201d; which is an incredible barrage of animal howls, under a drone of chirruping insects. This desire of nature to keep up with noisy humans is also found on \u201cnational park waza\u201d, which catalogues a wealth of almost-electronic sounding insects and birdsong. The last piece, \u201cnight and morning atmosphere\u201d, is the longest track by far. It begins with the sound of rain, which gradually lessens to reveal a shimmering drone of insect noises. This night then progresses into day, with a more ethereal insect drone and a chorus of birds: cockerels crowing marking the dawn. This track is one of the few on \u201cMosaique Mosaic\u201d that really engage the ear, but perhaps the best example is \u201ctrainride transcam I\u201d. This pleasantly \u201csound-y\u201d track essentially follows an insistent squeaking through a changing landscape, with the rusted squeak taking on the guise of a crafted electroacoustic line. Strangely beguiling stuff.<\/p>\n <\/p>\n I\u2019m not sure who to \u201csell\u201d this album to. Its a pleasant listen, but not something that has any danger of dominating my stereo. It is, what it is, really: a colourful snapshot of an environment abundant with life and colour. Its also an environment noticeably marked by noise, both human and non-human. This is all well-documented by \u201cMosaique Mosaic\u201d, but my picky ears want more and its only really \u201ctrainride transcam I\u201d that satisfies in that regard. <\/p>\n Holger Adam | testcard #24: Bug Report. Digital war besser<\/a><\/strong> <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> <\/p>\n Stephen Fruitman | Avant Music News<\/a><\/strong> <\/p>\n Sound artist and professor of sculpture and audio\/visual arts Christina Kubisch found in Cameroon a society connected by speaker wire. \u201cIn the cities people are surrounded by distorted sound systems\u201d playing lo-fi, bootlegged pop, where \u201cchurch services, instruments and voices are all amplified as well \u2013 the louder the better\u201d. She also discovered a local population that had developed a sensitivity to the most subtle of sounds, too. During an artistic residence in Douala, its largest city, Kubisch and countrymen Eckehard G\u00fcther (who mixed and assembled the album with Kubisch) and Dieter Scheyhing attempted to capture this listening.<\/p>\n <\/p>\n Together they\u00b4ve captured the march of a brilliant parade. From the bilingual fire and brimstone sermon (the English translator seeming far more firey than the French preacher), down the street past market stall touts, traffic jams and festival processions, they enter soft nights where the clamour carried by the air comes not from men but beasts and insects. By the sea, they witness the bell ringing, horn tooting festival in which the Sawa of the coast implore Jengu water spirits for prophecy. Epiloguing with rainfall spattering on a tin roof before subsiding as all the wildlife it refreshed raises its voice, Mosa\u00efque Mosaic assembles the tesserae of a journey ranging widely east and west, and south from a metal shop in the capital to the Waza National Park and its elephant reserve in the far north, finely balancing the sacred and the profane, in vivid, living colour. <\/p>\n Dietrich Hei\u00dfenb\u00fcttel | Neue Zeitschrift f\u00fcr Musik 03\/2014<\/a><\/strong> \u00abYes \u2013 oui \u2013 yes \u2013 oui \u2013 yes \u2013 oui\u00bb: Die Stimme des Predigers \u00fcberschl\u00e4gt sich beinahe, dicht gefolgt von einer n\u00fcchtern vorgetragenen franz\u00f6sischen \u00dcbersetzung. Bei \u00abI set them on fire\u00bb antwortet das Publikum, dann setzt der Chor ein, begleitet von Keyboard und Schlagzeug. Ein Gottesdienst im englischsprachigen K\u00fcstenst\u00e4dtchen Limba im S\u00fcdwesten Kameruns bildet den Auftakt zu einer Rundreise durch die Soundscapes des Landes. <\/p>\n Stephan Roiss | freiStil \u2013 Magazin f\u00fcr Musik und Umgebung #54<\/a><\/strong> <\/p>\n \u0141ukasz Kom\u0142a | polyphonia.pl<\/a><\/strong> <\/p>\n Za\u015b Eckehard G\u00fcther (ur.1978) to du\u017co m\u0142odszy kolega Kubisch, z kt\u00f3rym wsp\u00f3\u0142pracuje od 2006 roku. Razem przygotowuj\u0105 liczne instalacje d\u017awi\u0119kowe oraz interesuj\u0105 si\u0119 nagraniami terenowymi. \u2013 Moja pierwsza wizyta w Kamerunie, mia\u0142a miejsce latem 2010 roku, kiedy to zosta\u0142am zaproszona przez Goethe-Institut w Jaunde i niezale\u017cn\u0105 organizacj\u0119 sztuki Doual\u2019Art \u2013 pisze Kubisch. Kilka miesi\u0119cy p\u00f3\u017aniej Kubisch wybra\u0142a si\u0119 ponownie do Kamerunu, lecz tym razem ju\u017c w towarzystwie G\u00fcthera, gdzie razem prowadzili warsztaty dotycz\u0105ce sztuki field recordingu, zapraszaj\u0105c do wsp\u00f3lnej zabawy miejscowych muzyk\u00f3w i artyst\u00f3w.<\/p>\n <\/p>\n Na p\u0142ycie \u201eMosa\u00efque Mosaic\u201d us\u0142yszymy bardzo r\u00f3\u017cne d\u017awi\u0119ki, pocz\u0105wszy od liturgicznego \u015bpiewu, brzmie\u0144 lokalnych instrument\u00f3w, rozm\u00f3w, odg\u0142os\u00f3w podczas nocnej jazdy poci\u0105giem, d\u017awi\u0119k\u00f3w natury, a ko\u0144cz\u0105c na kameru\u0144skiej i \u015bwiatowej muzyce pop, kt\u00f3r\u0105 mo\u017cna us\u0142ysze\u0144 na ulicach i jest najcz\u0119\u015bciej odtwarzana z nielegalnych kaset.<\/p>\n <\/p>\n Kubisch i G\u00fcther wci\u0105gn\u0119li w sw\u00f3j projekt tak\u017ce zwyk\u0142ych mieszka\u0144c\u00f3w Kamerunu, kt\u00f3rzy zaprowadzili artyst\u00f3w w przer\u00f3\u017cne miejsca. I jak niemieccy tw\u00f3rcy przyznaj\u0105, pewnie nigdy by nie odkryli tak wielu istotnych miejsc. Album \u201eMosa\u00efque Mosaic\u201d przedstawia nam Kamarenu jako g\u0142o\u015bne, gwarne i zat\u0142oczone pa\u0144stwo, a z drugiej strony odnajdziemy mnogo\u015b\u0107 subtelnych d\u017awi\u0119k\u00f3w. Najbardziej zaskoczy\u0142o mnie ostatnie nagranie \u201eNight and Morning Atmosphere_kribi\u201d ilustruj\u0105ce moment na styku nocy i \u015bwitu, gdzie nieregularne oraz intensywne spadanie kropel deszczu na metalow\u0105 blach\u0119 przypomina gr\u0119 improwizuj\u0105cego perkusisty. Po chwili deszcz przestaje pada\u0107 i s\u0142ycha\u0107, je\u015bli jest to mo\u017cliwe, jak faluje gor\u0105ce poranne powietrze, a w tle \u201eha\u0142asuj\u0105\u201d ca\u0142e zast\u0119py owad\u00f3w i ptak\u00f3w.<\/p>\n <\/p>\n Niew\u0105tpliwe materia\u0142 z kr\u0105\u017cka \u201eMosa\u00efque Mosaic\u201d zosta\u0142 dobrze zr\u00f3wnowa\u017cony przez Kubisch i G\u00fcthera. Nie po\u015bwi\u0119cili swojej pracy jedynie industrialnym efektom, lecz zachowali znakomit\u0105 r\u00f3wnowag\u0119 pomi\u0119dzy odg\u0142osami miasta a \u015bwiatem przyrody. My\u015bl\u0119, \u017ce dzi\u0119ki tej p\u0142ycie uda wam si\u0119 poczu\u0107 tempo ulicznego \u017cycia w Kamerunie, jak te\u017c wyobrazi\u0107 sobie niezwyk\u0142y \u015bwiat tamtejszej przyrody. Miejscami jest to fascynuj\u0105ca podr\u00f3\u017c do \u015brodka lasu. Po wys\u0142uchaniu albumu \u201eMosa\u00efque Mosaic\u201d przekonacie si\u0119, \u017ce Afryka jest na wyci\u0105gni\u0119cie ucha. <\/p>\n Tina Manske | Musikmag<\/a><\/strong> <\/p>\n In einem Land, in dem hunderte verschiedener Sprachen gesprochen werden, ist Musik ein sehr wichtiges, wenn nicht das wichtigste Kommunikationsmittel. Die Aufnahmen f\u00fchren den H\u00f6rer zu wunderbaren Chorproben, in die Werkst\u00e4tten der Schmiede, in leidenschaftliche Gottesdienste, manchmal h\u00f6rt man auch nur das Quietschen der Verstrebungen bei der Zugfahrt \u00fcbers Land oder das Gewusel und Gequatsche der Leute auf der Stra\u00dfe. Sehr unmittelbar. <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n For the sound artists involved in this recording, it took a pair of visits to Cameroon.\u00a0 The seeming abrasion of amplified speech and music from outdoor speakers (not exclusive to Cameroon) masked a deep appreciation of musical tradition among the residents.\u00a0 The West manipulates music as well; the amplified bass and distortion in dance music and the removal of \u201cnon-essential\u201d sounds in digital compaction demonstrate the universal appeal of the \u201cunnatural.\u201d\u00a0 Kubisch and G\u00fcther had to reassess their initial reactions in order to find the \u201creal\u201d Cameroon, and enlisted the aid of local citizens to do so.\u00a0 This led to a give-and-take, a mutual appreciation of the legitimacy of sound as viable document.\u00a0 The artists led workshops in which they said, \u201cThis is what you sound like\u201d.\u00a0 Then the participants shared knowledge of \u201chidden\u201d sound areas around the area, in effect saying, \u201cThis is what we sound like.\u201d<\/p>\n <\/p>\n Most of the field recordings arrive here unadorned: an abandoned hotel, a street market, a national park.\u00a0 Together they form a mosaic of the nation, or as the artists amusingly put it, a mosa\u00efque mosaic, which may seem like it means \u201cmusic mosaic\u201d, but is literally \u201cmosaic mosaic\u201d, a clever challenge to those who speak only one language.\u00a0 Even more clever is the inclusion of the fourth track \u2013 I\u2019ll get to the title in a moment \u2013 which seems like a performance from the world\u2019s worst drummers.\u00a0 While listening, Western guilt kicks in; who are we to judge such musicians?\u00a0 Perhaps they are considered brilliant in their own land.\u00a0 But the joke is on us: the track is called \u201csmall metal workshop\u201d.<\/p>\n <\/p>\n Supposition after supposition is disproven along the way.\u00a0 Cameroon may be a \u201cloud nation\u201d, but the residents also enjoy quiet noises.\u00a0 They lead the field recording artists to somber spaces in which the sounds of crickets, sheep and dogs may be captured.\u00a0 In a manner similar to that of Cathy Lane\u2019s The Hebrides Suite, the human sounds begin to dissipate midway through the tapestry; the closing piece, \u201cnight and morning atmosphere\u201d, presents a peaceful landscape, as far from the initial piece as one can travel in timbre.\u00a0 Or perhaps the two are closer than we think; such is the nature of the project that it challenges listeners to reevaluate their initial impressions.\u00a0 As Kubisch writes, \u201cin Cameroon, music is a link which binds together hundreds of different languages and ethnic groups\u201d.\u00a0 The wonder of this recording is that the home listener becomes part of that mosaic. <\/p>\n Brian Olewnick | Just outside<\/a><\/strong><\/p>\n My ongoing self-examination re: field recordings, to wit: why I enjoy some significantly more than others, continues apace. This, for reasons that are hard to pin down, falls squarely into my comfort zone. Compiled from a 2010 sojourn in Cameroon, Kubisch (who does fascinating electronic work on her own) and G\u00fcther fashion a wonderful, well, mosaic, of life there, however small a portion they represent. In this case, it’s partly due to the in and out nature of the musical elements presented. The disc open with a standout track, a church service where a strident female voice declaims in English, each phrase quickly translated by a male voice into French, including a great string of „Yes!“ „Oui!“ „Yes!“ „Oui!“, etc., before merging into a heartfelt hymn. We walk through metalwork shops, take trams, eavesdrop on a choir practice, listen to announcements from a mosque PA, wander the streets and countryside. Their choices happily de-emphsize the overtly (to Western ears) exotic, giving as fine a sense of place, though different, as they might have done on the streets of Berlin. Beautiful, lengthy conclusion with rain in the distance, irregular drops on nearby metal surfaces, even mixtures of faraway traffic, insects, birds, roosters.<\/p>\n <\/p>\n Excellent job, one of the best works in this area I’ve heard in a while. Still so hard to quantify.<\/p>\n link<\/a><\/p>\n <\/p>\n Le Son du Grisli<\/strong><\/a> link<\/a><\/p>\n <\/p>\n Sebastian-Thies Hinrichsen | FieldRecording.de<\/a><\/strong> <\/p>\n \u00dcber<\/em> <\/p>\n H\u00f6reindruck<\/em> <\/p>\n Fazit<\/em> <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong><\/p>\n Three releases of field recordings, from three different parts of the world, with a varying degree of documentation to go along. Our journey starts in Africa, Cameroon to be precise, which is, according to Christina Kubisch a noisy country ‚with unexpected and subtle soundscapes‘. In 2010 she visited the country for the first time and did an installation and a workshop on field recordings. I’ve never been to Cameroon, (nor, spoiler, any of the other places on these three new Gruenrekorder) releases, but I can imagine the sounds of a busy city, with lots of music, old and rusty cars, people talking, call for prayer service, but also quiet recordings from the country side, in the ‚National Park Waza‘. The titles of the pieces explain what we are hearing and it makes up a great audio journey to Cameroon, and a fine balance between nature sounds and human interference. […] <\/p>\n Mosa\u00efque Mosaic | Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a> Mosa\u00efque Mosaic\u00a0| Christina Kubisch & Eckehard G\u00fcther Gruen 131\u00a0| Audio CD\u00a0| Digital > [order] Reviews My first visit to Cameroon in summer 2010 occurred thanks to an invitation by the Goethe-Institut Yaound\u00e9 and the independent art organization Doual’Art. During my residency I prepared a sound installation for a festival in Douala in December. 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\nGruen 131\u00a0| Audio CD\u00a0| Digital > [order<\/a>]
\nReviews<\/a>
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\nDuring my residency I prepared a sound installation for a festival in Douala in December. I also conducted a workshop, together with Eckehard G\u00fcther, for young local musicians and artists on the theme of field recordings. Field recordings?
\nIn the cities people are surrounded by distorted sound systems playing lo-fi illegal copies of Cameroonian as well as international pop music. The sounds from church services, instruments and voices are all amplified as well – the louder the better. A lot of what you hear comes from speakers.
\nThe workshop held surprises for everybody, most of all for us: the participants led us to many hidden places with sounds they thought would be of interest to us. And we noticed that we were mistaken in our prejudice of sounds which might be unheeded: these people did listen, they had the most musical ears, they knew a lot about their „field“. But so far they had not felt any necessity to store these sounds. So we started our exchange: they got the recording facilities and we got a little bit of their ears.
\nCameroon is a noisy country with unexpected and subtle soundscapes. We were brought to places we never would have discovered ourselves. This was the basis for a „sound diary“ which was continued during a long trip into the North of the country and as well during our second visit in and around Douala in the winter time.
\nMusic is one of the most important forms of communication in Cameroon, a country with hundreds of different languages and ethnic groups, it is a link which binds them all together. I am glad that we could participate in this sonic experience with the help of many local people. The places we recorded were not arranged in advance, we just happened to be there and sometimes the recordings were made with quite simple equipment. Listening was the most important experience and hopefully some of this personal experience will shine through in this release.
\nAll the field recordings are unprocessed, but parts of them are assembled and mixed together. Christina Kubisch<\/p>\n
\n01. sunday church service_limbe
\n02. street market_ngaoundere
\n03. trainride transcam I_yaound\u00e9 to ngaoundere
\n04. small metal workshop_yound\u00e9
\n05. abandoned hotel at night_buea
\n06. choir rehearsal_douala
\n07. nogondo festival of the sawa_wouri river near douala
\n08. trainride transcam II_ngaoundere to yaound\u00e9
\n09. amplified speech from mosque_ngaoundere
\n10. street atmosphere_yaound\u00e9
\n11. national park waza_northern cameroon
\n12. procession at the beginning of the ramadan_ngaoundere
\n13. night and morning atmosphere_kribi<\/p>\n
\nCD (500 copies)<\/p>\n
\nThe two trips to Cameroon were made possible through an invitation from the Doul’Art Center, Douala and the support from the Goethe-Institut Yaound\u00e9.<\/p>\n
\nMastering: Douglas Henderson, Berlin
\nArtwork: FLATLAB, Berlin \/ Halle<\/p>\n
\nGermany \/ 2013 \/\u00a0Gruen 131 \/ LC 09488 \/\u00a0GEMA \/ EAN: 4050486103029<\/p>\n
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\nI 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\u2019s inhabitants might not do yet were surprised to discover just how much sound does impact on people\u2019s lives. The recordings themselves are taken from the duo\u2019s 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\u2019s lives, no matter where they live or how much they might not even concede to it. RJ.
\nlink<\/a><\/p>\n
\n[…<\/a>] These last two releases are pure field recording. Rodolphe Alexis with a walk through the forests of the Lesser Antilles, Gaudaloupe and Dominica and Kubisch and G\u00fcther in the Cameroon. Both come to life with a tropical rainstorm where the heavens open and the locals get a taste of God moving his furniture about. In the Cameroon the rain peters out on a tin roof until the cicadas, birds and other insects can be heard once more with Alexis the results are even more Biblical.<\/p>\n
\nBird and insects sounds dominate on all of Morne Diablotins. As they should.
\nAnother solid set of releases from the ever reliable Gruenrekorder.
\nlink<\/a><\/p>\n
\nThis cd, from Gruenrekorder, is presented to their usual smart standards; with a full colour digipak and booklet. The album contains thirteen tracks, recorded in Cameroon by Kubisch and Guther; all of which are field recordings, unprocessed but sometimes collaged. I must admit, that of recent I\u2019ve been non-plussed by the field recording albums I\u2019ve heard. They\u2019ve either been transparently documentarian, or they\u2019ve been cached in highly conceptual terms; often they\u2019ve offered very little to the ear, as such. \u201cMosaique Mosaic\u201d is a reasonable compromise of the above. There\u2019s no clever theory propping up the recordings, though; instead, the recordings depict slices of Cameroonian life, with a few distinct treats for the ear along the way.<\/p>\n
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\n[…<\/a>] \u00dcberhaupt nicht ruhig scheint es in Kamerun zuzugehen, wohin CHRISTINA KUBISCH UND ECKEHARD G\u00dcTHER reisten, um mit vielstimmigen Aufnahmen von Kirchench\u00f6ren, Stra\u00dfenszenen und anderen musikalischen Gelegenheiten, zur\u00fcckzukehren. Nat\u00fcrlich (also w\u00e4re die Frage bereits beantwortet, inwiefern der akustische Eindruck schon bestehende Vorstellungen best\u00e4tigt?) hupen auf Mosa\u00efque Mosaic hektisch immer wieder Fahrzeuge in die verschiedenen Klangbilder hinein. Ich frage mich also sogleich, inwiefern meine wei\u00dfen Ohren, schwarzen Klischees auf den Leim gehen: Auto fahren sie wie die Henker, in Kamerun \u2013 aber sie haben gute Laune! Um jetzt einem Missverst\u00e4ndnis vorzubeugen: Ich sage nicht, dass die Audio-Collage von Kubisch\/G\u00fcther mit derart kolonialistischen Ohren zusammengestellt ist \u2013 es ist eher die Geschichte und die Pr\u00e4gung der eigenen Ohren und H\u00f6rgewohnheiten, die solche Aufnahmen auch thematisieren k\u00f6nnen \u2013 und nicht eindeutig beantworten. Denn wie anfangs erw\u00e4hnt, ich wei\u00df ja schon was ich anh\u00f6ren werde, bevor ich es h\u00f6re, denn ich habe schon vorher die CD-Verpackung angeschaut und ein wenig in den beiliegenden Booklets gebl\u00e4ttert. Ein Blind-Date mit all den vorgestellten Ger\u00e4uschquellen f\u00fchrte eventuell zu \u00fcberraschenden Ergebnissen, und pl\u00f6tzlich l\u00e4ge Kamerun in Oberbayern. Man sollte seinen Ohren also nicht zu sehr trauen! Aber man kann sehen bzw. h\u00f6ren, wie diese Aufnahmen zu allerlei Auseinandersetzung anregen! Es macht wirklich gro\u00dfen Spa\u00df, diese CDs zu h\u00f6ren und sich mit den aufgeworfenen Fragen zu besch\u00e4ftigen \u2013 wof\u00fcr ich ja gar keine Muse h\u00e4tte, w\u00fcrde ich tats\u00e4chlich den beschwerlichen Weg zu all diesen Orten auf mich nehmen! […<\/a>]
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\nHappiness in the Homeland
\nChristina Kubisch is an internationally renowned and prize-winning German sound artist, currently living in Berlin where she\u2019s a member of the Akademie der K\u00fcnste. Although classically trained, she was a radical experimenter in sound art in the 1980s, working with magnetic induction techniques, and using directed light as a sound source in her installations. The record Mosa\u00efque Mosaic (GRUENREKORDER GRUEN 131) is not a record of her installation work, but is an aural snapshot of her 2010 residency and exchange trip in Cameroon, where she also conducted a workshop with Eckehard G\u00fcther. At the workshop, she lent out her recording equipments and allowed the Cameroonians the chance to capture some of their local sounds. The participants in the workshop surprised her somewhat, because they knew exactly where to go and where to find unusual sounds; it\u2019s just that they\u2019d never thought of capturing them on tape before. Accordingly, as Professor Kubisch puts it, the planned cultural exchange took place and \u201cwe got a little bit of their ears\u201d. Kubisch, G\u00fcther and Dieter Scheyhing set out on their road trip soon after this, and their sound diary is represented on the field recordings you will hear \u2013 such things as street markets, choir rehearsals, train rides, processions, speeches, music in the streets, and other snippets of local colour. Every recording is pretty much unprocessed, though there is some post-production editing and mixing to frame the work. It\u2019s all highly evocative, but also understated; revealing the beauties of another country without resorting to bludgeoning the listener over the head about how \u201cforeign\u201d it is. The most effective piece in this regard is the 17-minute \u201cNight and morning atmosphere\u201d piece taken at Kribi, a coastal town on the Gulf of Guinea. Just one listen to this serene and calming sound is all the therapy you\u2019ll need to salve your headache-ridden life. […]
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\nThe cornucopia that is Gruenrekorder continues to spill out the most imaginative field and sound art works. It does an absolutely phenomenal job of recording and playing with our world and everything in it. While its back catalogue has long been proof enough, just look at one of its latest batches, including the untreated, spellbinding Morne Diablotins by Rodolphe Alexis, a brightly-feathered, humid hike through Guadaloupe and Dominica, a small island in the Lesser Antilles; or The Hebrides Suite, quite the contrast insofar as its author, Cathy Lane, hopscotching across the isles, treated and arranged her field recordings into a kind of aural equivalent of the classic oral histories of Studs Terkel, I-Chinged into a Celtic circus under the same big top as John Cage\u00b4s Roaratorio<\/a>.<\/p>\n
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\nMusikalische Wertung: 5 – Technische Wertung: 5 – Booklet: 5<\/p>\n
\nAuf Einladung des Kunstvereins Doual\u2019\u00adart \u2013 seit 25 Jahren eines der interessantesten Zentren zeitgen\u00f6ssischer Kunst s\u00fcdlich der Sahara \u2013 wa\u00adren Christina Kubisch und Eckehard G\u00fcther 2010 f\u00fcr einen Workshop zum Thema Field Recording nach Douala, Kameruns gr\u00f6\u00dfter Stadt, gekommen. Anders als im Falle der ethnologischen Feldaufnahmen vergangener Zeiten steckt dahinter allerdings nicht der Versuch einer Klassi\u00adfizierung, sondern es geht um das H\u00f6ren an sich, um musikalische und au\u00dfermusikalische Kl\u00e4nge, die Kubisch und G\u00fcther zu einem sensiblen H\u00f6rst\u00fcck montiert haben.
\nAuch sind die Subjekt-Objekt-Positionen anders verteilt, denn es waren die Workshop-Teilnehmer, die sie an Orte gef\u00fchrt haben, die interessante H\u00f6rerfahrungen bieten: abseits vom allgegenw\u00e4rtigen L\u00e4rm des Verkehrs, der Ghettoblaster und Sound Systems. Marktschreier; das rhythmische Tockern der R\u00e4der auf einer Bahnfahrt von Kameruns Hauptstadt Yaound\u00e9 nach Ngound\u00e9r\u00e9; Hundegebell und kr\u00e4hende Vogelrufe aus der Weite des Raums in einer n\u00e4chtlichen Hotellobby; das j\u00e4hrliche Na\u00adgondo-Festival der Sawa bei Douala; die Stimme des Predigers in einer Moschee und eine Prozession mit Schalmeien und Trommeln zum Beginn des Ramadan; Insekten und Vogelgezwitscher in einem Nationalpark \u2013 solche Kl\u00e4nge sehr unterschiedlicher Herkunft setzen sich zusammen zum H\u00f6rbild eines ganzen Landes, wie es seit Luc Ferraris Promenade symphonique \u00e0 travers un paysage musical, aufgenommen 1976 in Algerien, nicht wieder in vergleichbarer Qualit\u00e4t entworfen wurde.
\nDie gro\u00dfe Kunst Kubischs besteht im unvoreingenommenen Hinh\u00f6ren und in der transparenten Wiedergabe der Kl\u00e4nge, gleich ob es sich um den mehrstimmigen Dur-Gesang einer Chorprobe, das vielstimmige H\u00e4mmern in einer metallverarbeitenden Werkstatt, Highlife-Gitarren oder den Anlasser eines Motors handelt. Es sind immer pr\u00e4gnante Kl\u00e4nge, deren Polyphonie zum Eintauchen einl\u00e4dt: Man f\u00fchlt sich von T\u00f6nen und Ger\u00e4uschen umgeben und beginnt Landschaften zu imaginieren. Umso mehr, als Kubisch und G\u00fcther sich und den H\u00f6rern viel Zeit lassen, sich in die einzelnen Aufnahmen einzuh\u00f6ren \u2013 die umgekehrt des geduldigen Zuh\u00f6rens wert sind.
\nZum Schluss l\u00e4sst eine rund 16-min\u00fctige Passage eine ganze Nacht vor dem inneren Ohr und Auge erstehen: Anfangs trommelt der Regen heftig auf ein Wellblechdach. Mal quietscht eine T\u00fcr, dann f\u00e4hrt ein Fahrzeug vorbei. Als der Regen nachl\u00e4sst, tritt der Gesang der Zikaden her\u00advor. Immer stiller wird es, bis schlie\u00dflich mit Vogelgezwitscher, Hahnenschreien und Weckrufen ein neuer Tag anbricht: nicht anders als anderswo auf der Welt.
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\n[…] Das Gefilde, in dem sich das H\u00f6rst\u00fcck von Christina Kubisch & Eckehard G\u00fcther bewegt, ist ein ganz anderes \u2013 sowohl geografisch als auch in Bezug auf das Ger\u00e4uschmaterial. Die beiden K\u00fcnstlerInnen legen mit mosa\u00efque mosaic, wie sie es selbst in den liner notes nennen, ein „sound diary“ zweier Reisen nach und durch Kamerun vor. Der Stellenwert der Musik im \u00f6ffentlichen Leben dortzulande hat deutlichen Niederschlag in der entstandenen Arbeit gefunden. Ebenso die Vielfalt an Sprachen und Dialekten. Zwischen wiegenden Ch\u00f6ren, rhythmisch-perkussiven Hammerschl\u00e4gen, Hupkonzerten, passionierten Keyboard-Balladen und Simultan\u00fcbersetzungen aus \u00fcberforderten Boxen schleichen sich bald quietschende Zuggarnituren, prasselnder Regen und knatternde Motoren. Die gesammelten Eindr\u00fccke machen fr\u00f6hliche Provisorien plastisch und vermitteln eine mitrei\u00dfende Klugheit, ein anderes Wir, sie klatschen die Zukunft ein, jetzt und jetzt und jetzt. Das Leben schl\u00e4ft nicht. Auch noch das n\u00e4chtliche Zirpen wird von einer Symphonie jaulender und bellender Hunde konterkariert. […]<\/p>\n
\nW prawdzie album \u201eMosa\u00efque Mosaic\u201d ukaza\u0142 si\u0119 w ubieg\u0142ym roku, ale jak wida\u0107 musia\u0142 poczeka\u0107 na specjaln\u0105 okazj\u0119. Christina Kubisch (ur.1948) to jedna z najwa\u017cniejszych niemieckich artystek. Od ko\u0144ca lat siedemdziesi\u0105tych w swojej tw\u00f3rczo\u015bci skupia si\u0119 na instalacjach i rze\u017abach d\u017awi\u0119kowych oraz pracuje ze \u015bwiat\u0142em. Jej poszukiwania oscyluj\u0105 w obr\u0119bie muzyki elektroakustycznej. Na koncie ma niezliczon\u0105 ilo\u015b\u0107 nagr\u00f3d i wyr\u00f3\u017cnie\u0144. Przez wiele lat wyk\u0142ada\u0142a na presti\u017cowych uniwersytetach. Obecnie mieszka w Hoppegarten ko\u0142o Berlina.<\/p>\n
\nMoja ocena: 4,5\/5
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\nUnmittelbar
\nEine wunderbare Reise ist auch die CD \u201eMosaique Mosaic\u201c von Christina Kubisch und Eckehard G\u00fcther, auf der die beiden K\u00fcnstler Feldaufnahmen aus Kamerun pr\u00e4sentieren. Kubisch war dort auf Einladung des Goethe-Instituts, um u. a. zusammen mit G\u00fcther einen Field-Recording-Workshop f\u00fcr junge einheimische Musiker durchzuf\u00fchren. Die Teilnehmer f\u00fchrten die beiden an viele versteckte Orte, die sie f\u00fcr phonisch interessant hielten. Es zeigte sich, dass Kameruns akustisches Umfeld jede Menge Entdeckungen bot.<\/p>\n
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\nEastern sounds are unfamiliar to most Western ears, and vice versa.\u00a0 What seems innocuous in one territory may be misinterpreted in another.\u00a0 Never is this more apparent than on the opening selection of Mosa\u00efque Mosaic, as what seems at first to be a militant speaker turns out to be the voice of a church evangelist at a Sunday service.\u00a0 The difference between expected and apparent timbre would be a wonderful subject for study in international relations.\u00a0 Do we really understand each other?\u00a0 If not, what would it take?<\/p>\n
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\nPour qui voyage (et non pas \u00ab fait \u00bb), chaque pays travers\u00e9 sera de couleurs et de sons changeants. Invit\u00e9s par le Goethe-Institut de Yaound\u00e9, Christina Kubisch et Eckehard G\u00fcther ont, en 2010, tendu leurs micros au Cameroun tout entier. La distance entre le pays d\u2019origine et le pays d’accueil certifiait-elle que la chose enregistr\u00e9e serait d\u2019un quelconque int\u00e9r\u00eat ? Or, \u00e9coutons : les bruits (de march\u00e9s, ateliers, rues, transports, cultes\u2026) d\u00e9filent simplement, que notre duo capte en ravis : musicalement, presque rien ; quant \u00e0 la chose documentaire, presque nulle. (gb)<\/p>\n
\n\u201eMosa\u00efque Mosaic\u201c von Christina Kubisch und Eckehard G\u00fcther ist eine Klangreise durch Kamerun (Zentralafrika) im Jahr 2010. Es wurde im November 2013 vom Label Gruenrekorder ver\u00f6ffentlicht. Wir haben f\u00fcr euch reingeh\u00f6rt.<\/p>\n
\nDie Wahl-Berlinerin und Installationsk\u00fcnstlerin Christina Kubisch zeichnete Kameruns Kl\u00e4nge w\u00e4hrend eines Workshops f\u00fcr hiesige Musiker auf. Dabei f\u00fchrten sie die Teilnehmer an versteckte Orte mit Kl\u00e4gen die f\u00fcr die Aufnahmen interessant sein k\u00f6nnten. Hierbei fiel Kubisch auf, dass Kamerun nicht nur ein sehr lautes Land sein kann, sondern sehr dezente Soundscapes aufweisen kann.
\nObwohl die Teilnehmer sehr musikalisches Geh\u00f6r aufwiesen und sich der Klangvielfalt ihrer Umgebung bewusst waren, hielten sie es jedoch bisher nie f\u00fcr notwendig diese besonderen Kl\u00e4nge jemals aufzuzeichnen. Unverst\u00e4ndlich, birgt Kamerun doch einige Klangsch\u00e4tze.
\nDie Aufnahmen wurden schlie\u00dflich zu einem Tagebuch ihrer Reise durch das ferne Kamerun.<\/p>\n
\nDas Album beginnt mit einem sonnt\u00e4glichen Kirchenbesuch (Sunday Church Service \u2013 Limbe), bei dem heftigste diskutiert und gebetet wurde. Kubisch und G\u00fcther f\u00fchren uns danach weiter auf einen Stra\u00dfenmarkt in Ngaoundere (Street Market \u2013 Ngaoundere) mit f\u00fcr uns unverst\u00e4ndlichen Gespr\u00e4chsfetzen, wiederholt gerufenen Kaufaufempfehlungen bis man schlie\u00dflich mit beiden im Zug von Yaound\u00e9 nach Ngaoundere \u2013 einer Gro\u00dfstadt im Norden Kameruns sitzt (Trainride Transcam 1 \u2013 Yaound\u00e9 to Ngaoundere).
\nWeiter geht es \u00fcber eine Metall verarbeitende Werkstatt in Yaound\u00e9 (SMall Metal Workshop \u2013 Yaound\u00e9), den n\u00e4chtlichen Kl\u00e4ngen au\u00dferhalb eines abgelegenen Hotels in Buea (Abandoned Hotel at Night \u2013 Buea). Grillenzirpen, Hundegebell und noch nie geh\u00f6rte Vogelkl\u00e4nge f\u00fcllen die n\u00e4chtliche Klangatmosph\u00e4re.
\nEs folgt eine Aufzeichnung eines Chors, sowie Kl\u00e4nge des Nogondo Festivals in Douala. Tr\u00f6ten, glocken\u00e4hnliche Instrumente und letztlich Trommeln und Ges\u00e4nge sind zu vernehmen. Danach geht es weiter im Zug nach Yaound\u00e9, begleitet von fremden Kl\u00e4ngen und Worten. Es ert\u00f6nt eine Rede durch Lautsprecher, gefolgt von einer Stra\u00dfenatmosph\u00e4re in Yaound\u00e9, mit fremd anmutender, verrauschter und verzerrter Musik aus wohl sehr alten Lautsprechern.
\nUrpl\u00f6tzlich verl\u00e4sst man den Stra\u00dfenl\u00e4rm und findet sich im Nationalpark von Waza im Norden Kameruns wieder. Schlussendlich wird der H\u00f6rer Zeuge einer Prozession zum Beginn des Ramadans, bevor er in Kribi vom Regen geweckt wird um die ruhige Morgenstimmung der Stadt im S\u00fcden Kameruns genie\u00dfen zu k\u00f6nnen.
\nAlle Aufzeichnungen erfolgten in Stereo und wurden 2013 im Studio Hoppegarten Berlin bearbeitet und zusammengestellt.<\/p>\n
\nEine dokumentarisch wirkende CD, ohne Sprecher mit reinen Klangeindr\u00fccken der besuchten Orte in Kamerun. Der Stereoklang ist normal weit, teilweise l\u00e4sst er an Raum und klanglichen H\u00f6hen fehlen. Dies ist sicher auf die portable Aufnahmetechnik und die spontane Entstehung der Aufnahmen im Rahmen eines Workshops zur\u00fcckzuf\u00fchren.
\nDas Album ist eine interessante Klangreise durch Kamerun mit bisher unbekannten und ungew\u00f6hnlichen Kl\u00e4ngen. Im CD-Booklet finden sich ein paar Fotos mit Eindr\u00fccken von der Reise, sowie einer Einleitung zur CD von Christina Kubisch.
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\n@ Curt Cuisine | skug \u2013 Journal f\u00fcr Musik<\/a><\/strong>
\nHail to the Sound!
\nEine kurze W\u00fcrdigung des deutschen Gruenrekorder-Labels.<\/p>\n","protected":false},"excerpt":{"rendered":"