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burmese days | Peter Kutin<\/a><\/strong> <\/p>\n Over the past several years, Vienna-based composer \/ producer peter kutin has been working intensely at the little-explored junction between sound art and journalism \/ documentation. Focusing on sonic experiences in extreme or exceptional conditions. Kutin explores both the physical and psychological impacts of such extremes on how we hear. Later translating or orchestrating these experiences into sound. Despite his age, Kutin has already seen (and heard) many lost corners of the world, having realised field-projects that led him through deserts, jungles, mountain ranges, glacier gaps, war zones, volcanoes, protest marches and even into prison. <\/p>\n Peter Kutin : <\/p>\n My recordings were first used for the production of a feature on Austrian national radio. I was a bit disappointed, feeling that the sounds had been used the ‚wrong‘ way due to all the information within the spoken texts… In order I sat down and reflected on my recordings from an aesthetic point of view, thinking about how I could translate my personal experiences (heat, sickness, fear, jungle, rain, radical Buddhism, rebels fighting for freedom or more rights, the sound of mantras, gongs, bells and the language itself \u2026). I also found out that the percussionist of Vienna’s Radio-symphonic-Orchestra has been collecting instruments from Myanmar since more than 10 years. So the use of some of these original Burmese metallophones (and their electronic transformations & manipulations) is now the constant element throughout the record, guiding the listener through different sonic stages. It is a piece about the vague state of the people\u2019s identity – a life lived between hope, anger and fear, between the prospect of freedom and doubt of being betrayed. <\/p>\n For best result, it should be listened to at a high volume with good bass response.<\/p>\n <\/p>\n ‚Burmese days‘ is originally written for <\/p>\n \u2018Burmese days\u2019 was premiered at Vienna’s Church of St. Ruprecht in June 2013 . <\/p>\n <\/p>\n Tracklist:<\/p>\n <\/p>\n burmese days _part1 <\/p>\n burmese days _part2 <\/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 8 Tracks (37\u203233\u2033)<\/p>\n Vinyl (300 copies)<\/p>\n <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n <\/p>\n arranged and composed by peter kutin, 2013 field-recordings & electronics by peter kutin<\/p>\n artwork by bb kindly supported by ske fonds<\/p>\n www.kutin.klingt.org<\/a><\/p>\n <\/p>\n Soundscape Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n I say eleven tracks, but you might be hard pressed to point out clear divisions: \u2018Burmese Days\u2019 is a collage of a record. Aided by Berndt Thurner (\u2018original burmese metallophones\u2019) and dieb 13 (\u2018additional electronics\/turntables\u2019), Kutin constructs a dream-like narrative using field recordings – some of which might be processed, its not completely clear. A case in point, is the very start of the record; simply called \u2018The Sound Of Insects\u2019, the first track features rattling noises which certainly sound processed, but – given the terrifying array of wildlife sounds on this planet – most probably aren\u2019t. The record\u2019s grooves then take us through a forest and into the gong-like tones of metallophones; blending with droning insect chirrups. These shifts are effortless and feel non-forced – indeed, the whole record passes through the ears very smoothly: its a very listenable album. The first side comes to a close with monsoon rains and wind, eerie drones and buried voices.<\/p>\n <\/p>\n The second side continues in a similar vein, even breaking down into a very quiet drone at one point – only to explode effectively into a hubbub of voices and train sounds. Around this section some synthy \u2018pad\u2019-type tones appear, and whilst they work well, combined with the field recordings they do raise the spectre of old-school ambient records – The KLF\u2019s \u2018Chill Out\u2019, for example. The entire second side feels oddly more \u2018conventional\u2019 in terms of field-recording and its content, but at the same time has two long droning sections – the aforementioned quiet drone and the possibly metallophone-powered drone that closes the record. The overall effect is a more laid back, muted side of vinyl; but just as digestible as its counterpart.<\/p>\n <\/p>\n This is a really great record, a rejoinder to the somewhat stuffy field-recording albums that I\u2019ve crossed paths with of recent. It layers recordings, embellishes them with musicians, even processes them – rather than obsessing over the fallacy of some \u2018transparent\u2019 representation of an environment, it constructs a more impressionist sound-poem to the people, wildlife and places that Kutin has visited: ending up with a record that has nestled quite happily on my turntable. The record does have a dream-like quality, and on a technical level, moves with great ease between passages. Definitely a recommended release on Gruenrekorder! <\/p>\n Pierre C\u00e9cile | Le son du grisli<\/a><\/strong> <\/p>\n Entre les insectes, entre les chants, entre les bruits, dieb13 pose un larsen, d\u2019abstract rythmiques ou un drone-basse agitateur d\u2019aigus. Un cheval (et jamais un ange) passe et bing : re-noirs synth\u00e9tiques sur ces enregistrements de terre, sur ces pri\u00e8res \u00e0 la belle \u00e9toile (ou au beau nuage), sur ces fils sonores t\u00e9nus comme des fronti\u00e8res. C\u2019est un voyage sublim\u00e9 par les retouches d\u2019un gars rest\u00e9 sur place, en 33 tours du monde par minute. <\/p>\n Curt Cuisine | skug \u2013 Journal f\u00fcr Musik<\/a><\/strong> <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong> <\/p>\n Brian Olewnick | Just outside<\/a><\/strong> <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n There\u2019s a good reason we haven\u2019t heard much from Myanmar (formerly Burma), where Western journalism is frowned upon, even forbidden. For six decades, a totalitarian system was in place. When a cyclone hit the region in 2008, the military regime refused Western aid, trotting out a few healthy citizens as \u201cexamples\u201d of its efficacy while tens of thousands were dying off camera. When the military ceded control to the \u201cpeople\u201d, the nation became an ethnic war zone, and over 30,000 Rohingya Muslims were massacred. Despite paper claims of progress, this is not a nice place to visit. (For more, see the film Burma: A Human Tragedy and Emma Larkin\u2019s brilliant two-part travelogue, Finding George Orwell in Burma and Everything Is Broken: A Tale of Catastrophe in Burma.)<\/p>\n <\/p>\n Vienna\u2019s Peter Kutin was one of the first sound artists to visit the nation after certain restrictions had been lifted. He visited rain forests and refugee camps, recorded gongs and bells, and reflected on the gap between expectation and fulfillment, public statement and reality. After presenting the piece on Austrian national radio, he radically altered the project, calling on the aid of percussionist Berndt Thurner and turntablist dieb13. Given the original recordings, Thurner added a unifying layer of traditional Burmese instrumentation, ranging from metallophone to Kye zee (gong). The result is a remarkably fluid sound collage, 37 minutes of music, field recording and local (untranslated) conversation.<\/p>\n <\/p>\n Why is this recording important? Obviously, it\u2019s a glimpse inside an internationally hidden culture. But it\u2019s also a reminder of the beauty of Burma: the children playing, giggling, laughing in the streets; the resonant worship, laden with reverberation; the traditional music, connecting past with present; the rain that brings refreshment, rather than fear. In one sense, this is the lost nation; in another, it the recovered nation, the populace worth saving, the glorious remnant, the story behind the story. Many people report on the tragedy, the oppression, the strife, but in so doing communicate only the vastness of the problem. Confronted with unending sorrow, those who might intervene instead feel overwhelmed. Kutin speaks of tragedy in his liner notes, yet saves the beauty for his recording. Those who hear it may take a deep breath, say a deep prayer, and do what they can to help. <\/p>\n textura<\/strong><\/a> <\/p>\n The thing I like most about Burmese Days is that it plays like a formally composed symphony of sorts, with field recordings used in place of conventional instrument sounds and Kutin sequencing the field recordings so that each side creates the impression of being a multi-part suite. Adding to the material’s appeal are musical sounds contributed by Berndt Thurner and dieb13, whose Burmese metallophones and electronics-and-turntables, respectively, merge with Kutin’s field-recordings and electronics on the two settings. An accompanying press note accurately characterizes Burmese Days as something more akin to an abstract composition than a traditional field-recordings album.<\/p>\n <\/p>\n There is an underlying political dimension to the project in that Kutin was only able to gather the field recordings half a year after the military dictatorship announced its withdrawal from the area, a development that in turn allowed journalists to officially enter and explore the locale. But despite the promise of peace and democracy (when Obama visited at the end of 2012, for example, he became the first American president to have visited Myanmar in fifty years), violence has persisted in the form of ethnic clashes in the western Akran state and deaths in violent altercations between Muslims and radical Buddhists. In fashioning his material, Kutin aimed to translate a diverse set of personal experiences into satisfying aesthetic form, and the result shows that he accomplished that goal. Both sides weave different kinds of sounds into evolving soundscapes: the first offsets the agitated thrum of insects and babble of crowds with the meditative stillness engendered by a struck metallophone; the second follows tinkling bells and singing voices with train clatter and inner city commotion.<\/p>\n <\/p>\n Kutin brings years of experience to the project: a producer of live performances, film scores, theater productions, and radio plays, he’s collected field recordings at mountain ranges, jungles, deserts, prisons, protest marches, and war zones. That experience shows in the ease with which Burmese Days‘ various strands come together. Helping to unify the work are the non-field recordings elements, which effectively act as connecting agents for its multiple stages. […<\/a>]<\/p>\n link<\/a><\/p>\n <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n
\nGruen 132 | Digital > [order<\/a>]
\nVinyl (+ Digital) > [Sold Out<\/span>]
\nReviews<\/a>
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\n‚burmese days‘ is not the traditional puristic field-recording album but more an abstract composition, which opens up a wide dynamic range of sonic perception, where electronic manipulations and timbres of selected traditional burmese instruments are interwoven with field recordings to form a captivating sonic essay \u2013 probably one of the most abstract and unexpected releases on Gruenrekorder .<\/p>\n
\n‚The following piece is mainly based on original field recordings from Myanmar taken between April & May 2012, half a year after the military dictatorship announced its withdrawal and indicated plans for a change towards a democratic – or a ‚hybrid military-civilian\u2019 \u2013 system in Myanmar after more than sixty years of a military state and its repression. Suddenly it was legal for journalists to enter officially. When I found a timeslot and got the money and some contacts together, I set up a field trip following a journalistic and documentary approach. One of my main interests was to investigate whether the situation of people of ethnic minorities had already changed since the regime\u2019s withdrawal. There were peace talks, but in fact most of the rebel groups were still at war with the military regime at that time. My route started at the border area between Myanmar and Thailand: topographically, this was a zone covered by a beautiful rainforest and all its richness of sounds; politically, it was a buffer zone : ethnic minorities, rebel groups, expelled people, opium and other drug smugglers and refugee camps.
\nAt the end of 2012, US president Obama became the first American president to visit Myanmar in fifty years. He walked barefoot over the sacred marble ground of the golden Shwedagon Pagoda in the former capital, Rangoon, and warmly welcomed the newborn democracy. While I was there, ethnic clashes (some media referred to the terminology of an ‚ethnic cleansing‘)\u00a0 started in the western Akran state. More than 30,000 people from the Rohingya (a Muslim minority) were chased from their homes. Many were killed in the violent clashes between Muslims and radical Buddhists. Not a single journalist was allowed to enter or get even close to the area. Freedom and Democracy are more elusive concepts or cachets than the media would like us to believe.<\/p>\n
\n\u2018Burmese days\u2019 may be described as an acoustic diary, focusing entirely on sound and using almost no linguistic information. No interviews were used. The piece’s subtitles refer directly to some experiences.<\/p>\n
\n* traditional Burmese metallophones :
\nthree Kye zees (high-range scaleed,\u00a0 rotating gong), three gongs of mid-range scale, one low-range gong; played by Berndt Thurner
\n* turntables :
\nI asked the Viennese turntablist dieb13 to cut a vinyl using only my Burmese field-recordings; he could choose from a selection
\n* live electronics (for treating the sound of the gongs) ; 4 channel spatialisation ; played by myself<\/p>\n
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\nhttp:\/\/kutin.klingt.org\/burmese_days.html<\/a><\/p>\n
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\nthe sound of insects – through the forests of shan state – kyee zees awake – rebels in a fake democracy – monsoon inside mantras<\/p>\n
\nanalog horseman – out of electricity – on a train to rangoon – five a.m. – can you ear me – a drone of bronze<\/p>\n
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\nberndt thurner : original burmese metallophones.
\ndieb13 : additional electronics \/ turntables.<\/p>\n
\npictures taken from the work ‚how far is 12cm?‘
\nby brigitta b\u00f6denauer & peter kutin<\/p>\n
\nGermany \/ 2014 \/ Gruen 132 \/ LC 09488 \/ AKM \/ EAN: 4050486904640<\/p>\n
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\nAvid readers of my reviews (its ok – I\u2019m being facetious), will have noticed that the last few Gruenrekorder releases I\u2019ve written on, have received fairly short shrift from me. I\u2019m pleased to announce an end to this run, with Peter Kutin\u2019s wonderful album, \u201cBurmese Days\u2019. It comes in a very low-key package, with minimal artwork and information – most notably, a distinct lack of \u2018field-recording text\u2019: praise the Lord. The album has eleven tracks across two sides of vinyl.<\/p>\n
\nlink<\/a><\/p>\n
\nC\u2019est \u00e0 dieb13 qu\u2019il revient de fleurir les field recordings birmans de Peter Kutin (arrang\u00e9 et compos\u00e9 par lui) et Berndt Thurner (original burmese metallophones). Aux electronics et platine, notre homme taille des sons de nature plus vrais que\u2026 des grouillements d\u2019insectes, ou des chants humains, ou des bruits de train\u2026<\/p>\n
\nlink<\/a><\/p>\n
\n[…] Irgendwo dazwischen befindet sich \u00bbBurmese Days\u00ab von Peter Kutin, basierend auf Tonaufnahmen aus Myanmar im Jahr 2012. Mit Hilfe von dieb13 (electronics & turntables) und Berndt Thurner (burmese metallophones) wandelt Kutin sein originales Soundtagebuch in ein Soundessay um, das f\u00fcr Gruenrekorder-Verh\u00e4ltnisse fast schon ungew\u00f6hnlich eing\u00e4ngig und soundmalerisch ist. Eine bemerkenswerte Ver\u00f6ffentlichung, die auf jeden Fall n\u00e4her an der Elektroakustik denn an der Phonographie bzw. Tonaufzeichnungskunst ist. Was vermutlich auch daran liegt, dass Kutins Aufnahmen urspr\u00fcnglich f\u00fcr ein Radiofeature verwendet wurden, was den Wiener aber wenig zufrieden stellte. So kam es zun\u00e4chst zur akustischen Erg\u00e4nzung durch die burmesischen Metallofone (die Teil der Musiksammlung des Wiener Radiosymphonieorchesters sind), die von Kutin als Leitelement zur Strukturierung der Aufnahmen eingesetzt wurden. F\u00fcr die Einspielung auf LP kam dann Dieter Kova\u010di\u010d aka dieb13 ins Spiel. So uneinheitlich dieser Entstehungsprozess auch wirkt, das Resultat wirkt \u00e4u\u00dferst stringent und konzise. Aber vielleicht eben auch darum, weil der Schritt von Ger\u00e4usch zu Musik im Prinzip nur ein minimaler ist. Es gen\u00fcgt, Ger\u00e4usche zu arrangieren, schon sind wir mitten drinnen in der Musik. […]
\nlink<\/a><\/p>\n
\nPeter Kutin\u2019s excellent Burmese Days does a far better job than Vowinckel\u2019s by keeping things simpler. Here, a collection of eleven field recordings are segued into two wholes [unusually for Gruenrekorder this comes as a vinyl release] with the voices of the Burmese, where ever they appear along this wonderful release, given a clarity they deserve.
\nKutin visited Myanmar in 2012 shortly after 60 years of military rule gave way to a democracy of sorts. With journalists now given free reign to wander where they wish Kutin returned with, no doubt, many hours of field recordings which he then used to capture the feelings he experienced whilst there. Having listened to my fair share of field recordings I\u2019d say he\u2019s done a fantastic job. Typing this in a muggy room late at night as the UK reaches its first heatwave of the summer means those insects and forest sound are far nearer Myanmar than Leeds.
\nThis is a \u2018journey\u2019 work capturing many aspects of his trip, insects, forests, bowl rings, the imam\u2019s 5.a.m call, street markets, work places, train journeys, gongs … the lone male singer on \u2018Train to Rangoon\u2019 is a happy one, the sound of the train wheels on the rickety track adding its own rhythm, the insects that open the piece are nearer pure electronics than cicadas, the bowl ring that rides out the last five minutes is spine tingling.
\nKutin is aided by Viennese turntablist dieb13 who had a hand in mixing it and Brendt Thurner who added various gongs and metallophone sounds. Their contributions augment and enhance the work.
\nThis is the only field recording album I\u2019ve heard of that instructs the listener to play it back at high volume with good bass response. At times it does feel like you\u2019re listening to glitch electronica or a Pan Sonic album but this only adds to its mystery and longevity.
\nBurmese Days is a work worthy of many repeated plays. A true gem in the Gruenrekorder catalogue.
\nlink<\/a><\/p>\n
\nI haven’t read the Orwell novel from which this LP takes it’s title though, I’m guessing, it shares that author’s concerns about Western imperialism in Southeast Asia, even if abstracted beyond direct reference points. Kutin (field recordings), here, is assisted by Berndt Thurner on Burmese metallophones and Dieb 13 on electronics and turntables, melding their instrumental compositions with his recordings to form the two side-long works. And they sound pretty great, some of the finer integrations of field and instrumental sounds I’ve heard in a while. I’m guessing this likely due to Kutin’s skills at composing the material but surely at least in part a result of the reticence of Thurner’s and Dieb 13’s contributions which routinely remain at a low level in the mix, often nearly indistinguishable from the found sounds. The whole affair is rather subdued but very alive and subtly colorful, seething with a quiet pulse, from the opening chitters of insects (accompanied, I think, by Dieb 13’s stuttering electronics), through attenuated near silences bearing faint hums, through cloudy, zone-tinged climes with muffled drums, voices, those metallophones. It‘ a heady journey, especially Side One, murkily cinematic, unsettling and all-around excellent. Don’t pass on this one, it’s a really fine realization.
\nlink<\/a><\/p>\n
\nWe\u2019re always looking for good music at A Closer Listen, but once in a while we realize that something is not only good, but important. Peter Kutin\u2019s Burmese Days is one of these releases.<\/p>\n
\nlink<\/a><\/p>\n
\nGruenrekorder releases typically make a strong impression for being unusual and audacious, and, despite being dramatically different in concept, these recent recordings by Vienna-based composer Peter Kutin and Berlin-based sound artist Antje Vowinckel are no exception. Kutin’s is a vinyl release that roots its side-long compositions in 2012 field recordings from Myanmar, whereas Vowinckel’s CD features eight sparsely designed sound compositions oriented around dialects and disappearing languages.<\/p>\n
\nEgzotyczny krajobraz Birmy to nie tylko pi\u0119kno przyrody, lecz niedawno zako\u0144czony stan wojenny, walka miejscowej ludno\u015bci o demokratyczne prawa, uliczne zamieszki i bezwzgl\u0119dna dyktatura w\u0142adz.
\nPeter Kutin to austriacki kompozytor, muzyk i producent z niema\u0142ym baga\u017cem do\u015bwiadcze\u0144. Przede wszystkim nale\u017cy Kutina kojarzy\u0107 z licznymi nagraniami z kr\u0119gu field recordingu. Jego fascynacja nagraniami terenowymi zaprowadzi\u0142a go do r\u00f3\u017cnych miejsc, takich jak strome pasma g\u00f3rskie, d\u017cungla, pustynia, lodowiec, wulkan, uliczne protesty, \u015bwiatowe konflikty czy wi\u0119zienie. W swoich pracach stara si\u0119 uchwyci\u0107 fizyczn\u0105 si\u0142\u0119 d\u017awi\u0119ku. Kutin zajmuje si\u0119 tak\u017ce tworzeniem partytur filmowych, produkcji teatralnych, instalacji d\u017awi\u0119kowych i spektakli radiowych.
\nW 2011 roku dramatyczna sytuacja polityczna \u2013 w jakiej Birma znalaz\u0142a si\u0119 od roku 1962 \u2013 uleg\u0142a nieco poprawie. Dyktatura wojskowa przekaza\u0142a formalnie w\u0142adz\u0119 popieranej przez nich administracji cywilnej, a prezydent Thein Sein rozpocz\u0105\u0142 w\u00f3wczas dialog z demokratyczn\u0105 opozycj\u0105. Napi\u0119cie w tym kraju opad\u0142o na tyle, \u017ce zn\u00f3w do Birmy zacz\u0119li przybywa\u0107 dziennikarze z ca\u0142ego \u015bwiata.
\nW po\u0142owie 2012 roku Peter Kutin postanowi\u0142 wybra\u0107 si\u0119 do tego pa\u0144stwa z zamiarem zbadania, czy \u017cycie tamtejszych mniejszo\u015bci etnicznych naprawd\u0119 zmieni\u0142o si\u0119 na lepsze. Okaza\u0142o si\u0119, \u017ce rebelianci nadal walcz\u0105 z oddzia\u0142ami wojsk rz\u0105dowych. Kutin swoj\u0105 podr\u00f3\u017c rozpocz\u0105\u0142 na pograniczu Birmy i Tajlandii, gdzie znajduj\u0105 si\u0119 pi\u0119kne lasy deszczowe, a w nich ca\u0142e d\u017awi\u0119kowe bogactwo przyrody. Obszar po\u0142o\u017cony na styku dw\u00f3ch granic to klasyczny przyk\u0142ad tzw. strefy buforowej, w kt\u00f3rej mo\u017cna znale\u017a\u0107 liczne grupy uchod\u017ac\u00f3w, mniejszo\u015bci etnicznych, rebeliant\u00f3w, a tak\u017ce r\u00f3\u017cnego rodzaju przemytnik\u00f3w i handlarzy opium.
\nW\u00f3wczas w mediach mo\u017cna by\u0142o us\u0142ysze\u0107, \u017ce mieszka\u0144cy Birmy cieszyli si\u0119 z tej pozornej demokracji jak ma\u0142e dzieci, kt\u00f3re dosta\u0142y lizaka. Podkoloryzowane doniesienia prasowe przegra\u0142y w zderzeniu z tym, co Kutin zobaczy\u0142 w Rangunie, mie\u015bcie po\u0142o\u017conym w zachodniej cz\u0119\u015bci stanu Akran. Tam artysta przypatrywa\u0142 si\u0119 starciom pomi\u0119dzy grup\u0105 etniczn\u0105 Rohingya (mniejszo\u015b\u0107 muzu\u0142ma\u0144ska) a radykalnymi buddystami. Mimo niezbyt sprzyjaj\u0105cych warunk\u00f3w Kutni doskonale wiedzia\u0142, po co tam przyjecha\u0142. I tak w kompozycji \u201eburmese days, part 1\u201d zosta\u0142y u\u017cyte m.in. okrzyki rebeliant\u00f3w, odg\u0142osy robak\u00f3w z lasu w Shan, zees kyee (rodzaj tradycyjnego b\u0119bna) i podmuch monsunowego wiatru. Nie jest \u0142atwo rozszyfrowa\u0107 poszczeg\u00f3lne d\u017awi\u0119ki, gdy\u017c po powrocie do Wiednia Kutin zaj\u0105\u0142 si\u0119 opracowywaniem w studiu warstwy elektroakustycznej, jak\u0105 doda\u0142 do tych nagra\u0144 terenowych.
\nArtysta przeformu\u0142owa\u0142 swoje osobiste do\u015bwiadczenia (ciep\u0142o, choroba, strach, d\u017cungla, deszcz, radykalny buddyzm, widok rebeliant\u00f3w walcz\u0105cy o wolno\u015b\u0107, d\u017awi\u0119k mantr, gong\u00f3w, dzwon\u00f3w, j\u0119zyk birma\u0144ski) i stworzy\u0142 co\u015b na wz\u00f3r d\u017awi\u0119kowego pami\u0119tnika (\u201eburmese days, part 2\u201d). W tym nagraniu s\u0142yszymy r\u00f3\u017cne instrumenty z Birmy (m.in. metalofony). Oczywi\u015bcie brzmienia tych\u017ce instrument\u00f3w jak te\u017c d\u017awi\u0119ki otoczenia zosta\u0142y poddane elektronicznym przekszta\u0142ceniom. Stukot k\u00f3\u0142 poci\u0105gu zmierzaj\u0105cego do Rangunu zamieni\u0142 si\u0119 niezwykle g\u0142\u0119boki dron, a d\u017awi\u0119k skrzypi\u0105cych wagon\u00f3w dobrze po\u0142\u0105czy\u0142 si\u0119 z analogowym t\u0142em. Za\u015b w dalszej cz\u0119\u015bciej \u2013 tej ponad dwudziestominutowej kompozycji \u2013 mamy odg\u0142osy religijnego \u015bpiewu, \u0107wierkania ptak\u00f3w czy ulicznego zgie\u0142ku, kt\u00f3re niepostrze\u017cenie milkn\u0105 i przechodz\u0105 w oniryczny minimalizm.
\n\u201eBurmese days\u201d to elektroakustyczny reporta\u017c o abstrakcyjnej konstrukcji, gdzie elektronika,\u00a0 brzmienia tradycyjnych instrument\u00f3w przeplataj\u0105 si\u0119 z nagraniami terenowymi, tworz\u0105c wci\u0105gaj\u0105cy esej d\u017awi\u0119kowy. Kutin w swoich nagraniach znakomicie uchwyci\u0142 otaczaj\u0105cy go \u015bwiat przyrody oraz napi\u0119cie panuj\u0105ce w\u015br\u00f3d mieszka\u0144c\u00f3w Birmy. To\u017csamo\u015b\u0107 polityczna tego kraju wci\u0105\u017c stoi pod wielkim znakiem zapytania. Arty\u015bcie uda\u0142o si\u0119 przy pomocy elektroakustycznych i cyfrowych manipulacji odczarowa\u0107 birma\u0144sk\u0105 rzeczywisto\u015b\u0107, nasycon\u0105 gniewem, k\u0142amstwem, strachem i brakiem tolerancji. Peter Kutin w \u015bwiadomy spos\u00f3b nawi\u0105zuje do minimalizmu, ambientu i muzyki noise. Pokaza\u0142, \u017ce field recording nie jest tylko \u201etworzywem\u201d, z kt\u00f3rego powstaj\u0105 odr\u0119bne byty w postaci utwor\u00f3w, lecz doskona\u0142ym idiomem wysy\u0142aj\u0105cym pozawerbalny i jak\u017ce wa\u017cny sygna\u0142 w przestrze\u0144 globalnej znieczulicy.
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