@ ACL 2013: Top Ten Field Recording & Soundscape<\/a><\/strong><\/p>\n An investigation of sound and sub-sound, Terra Subf\u00f3nica offers a vast array of timbres: heartbeats and clocks, coral creatures and children\u2019s toys. This rich, engaging, and fulfilling work is sequenced in such a way as to produce a feeling of ongoing surprise. Blinkhorn takes an obvious delight in his subjects, and his mood is contagious. (Richard Allen)<\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Merzouga<\/a>: \u201c52\u00b046\u2019 North 13\u00b029\u2019 East \u2013 Music for Wax-Cylinders<\/a>\u201d (Gruen 124\/13) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Christoph Korn<\/a> & Lasse-Marc Riek<\/a>: \u201cSeries Invisible \u2013 Collection 2<\/a>\u201d (Gruen 099\/13) <\/p>\n <\/p>\n Review | By Sebastian-Thies Hinrichsen \/ FieldRecording.de<\/a><\/strong><\/p>\n Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a> | Mosa\u00efque Mosaic<\/a><\/p>\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 <\/p>\n Review | By Cheryl Tipp \/ The Field Reporter<\/a><\/strong><\/p>\n Jos\u00e9 Ricardo Delgado Franco<\/a> | Sound atmospheres of the Colombian Orinoquia<\/a><\/p>\n […<\/a>] Field recordist and sound artist Jos\u00e9 Ricardo Delgado Franco is the man responsible for this fine collection. In 2013 he spent two weeks exploring and recording the different ecosystems found within Colombia\u2019s Orinoquia Natural Region \u2013 savannah, gallery forests and wetlands. Focusing on the Meta department, Franco recorded the natural sounds of this vast landscape from dawn to dusk and on into the night. The end result is a compilation of seven soundscapes that allow us to get a sense of the habitats visited and species encountered. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By H\u00e9ctor Cabrero \/ Le son du grisli<\/a><\/strong><\/p>\n Lasse-Marc Riek<\/a> | Helgoland<\/a><\/p>\n L\u2019Angleterre et l\u2019Allemagne se sont longtemps disput\u00e9e Helgoland, et l\u2019\u00eele a beaucoup souffert du conflit. Apr\u00e8s la Seconde Guerre Mondiale, il a fallu par exemple d\u00e9truire les bunkers allemands et lorsque sa population a regagn\u00e9 l\u2019\u00eele en 1952, son environnement n\u2019\u00e9tait plus le m\u00eame. Voil\u00e0 comment Lasse-Marc Riek nous pr\u00e9sente Helgoland, terrain o\u00f9 il est all\u00e9 enregistrer. Son Helgoland \u00e0 lui est raisonn\u00e9e. C\u2019est la mer et sa plage, le ressac, le bruit d\u2019une embarcation, le surgissement d\u2019oiseaux par centaines. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Dmitry Vasilyev \/ The Sound Projector<\/a><\/strong><\/p>\n Budhaditya Chattopadhyay<\/a> | elegy for Bangalore<\/a><\/p>\n Oh yes, the Gruenrekorder label turns 10 this year, and through this decade it gains the deserved reputation as one of the finest European labels dealing with field recordings and electronic music utilising field recordings. Operated by German sound-artists Lasse-Marc Riek and Roland Etzin, Gruenrekorder has released over 130 albums up to this moment, and most of them are highly interesting for all of you phonography lovers. All these releases are on digital format (CD, CDr or downloads), so you can expect outstanding recording quality with each new release, but also very special aesthetics of listening to the world surrounding us, and wonder how musical these ordinary sounds from everyday life can be. One of the most recent outings is the new album by Budhaditya Chattopadhyay \u2013 sound artist, audiovisual media practitioner and researcher from India who currently based in Copenhagen, Denmark. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Hannah Giles \/ The Sound Projector<\/a><\/strong><\/p>\n Daniel Blinkhorn<\/a> | Terra Subf\u00f3nica<\/a><\/p>\n With Terra Subf\u00f3nica, composer and sound artist Daniel Blinkhorn has created a futuristic collection of sub-sounds designed to focus on what we hear in our subconscious. The result is a striking collection of recordings that are combined with Blinkhorn\u2019s instrumental material to create a piece of work that is at once familiar and bizarre. Or, as Blinkhorn himself says, the CD presents a suite of \u201819 dramaturgical, radiophonic miniatures that map a sonic sub terrain\u2019. Phew. The CD is divided into several series and triptychs covering such terrain as seascapes, tones and timescapes, machines and cityscapes. Other pieces focus on such abstract themes as sonic spaces and even children playing. Some of these tracks, including \u2018(sub)urban mantra\u2019, focus on the instrumental; others, such as the seascape triptych, highlight the sounds of nature; and some are just plain weird, like the robotic, machine-inspired, \u2018corpus sanus \u2013 computare\u2019. […<\/a>]<\/p>\n <\/p>\n <\/p>\n New Distribution:<\/strong><\/p>\n <\/p>\n <\/p>\n Lasse-Marc Riek<\/a>: \u201cSaison Concr\u00e8te<\/a>\u201d (GrD 26\/13) <\/p>\n <\/p>\n Sebastiane Hegarty<\/a> | Southerlies<\/a><\/strong><\/p>\n on D\u00e9phasage #33<\/a> | listen<\/a><\/p>\n […] I\u2019ve continued with Sebastiane Hegarty who made a perfect transition with what you have listened to before with those soundscapes under the name \u201cSoutherlies\u201d on the label Gruenrekorder. All of the recordings on this release were made at the south of England, she didn\u2019t hesitate to recompose these sound environments for them to be more articulated and because she wanted to reflect in a better way the place where they were recorded. Sebastiane Hegarty tells us that she likes to wander, saunter and meander to soak up the atmosphere of the places she visits and that she wants to capture with her microphones and recorders. […]<\/p>\n <\/p>\n <\/p>\n Review | By Darby Mullins \/ DARBY\u2019S CHRONICS<\/a><\/strong><\/p>\n Gerald Fiebig<\/a> & Alexander M\u00f6ckl<\/a> | Private Transport<\/a><\/p>\n \u201cPrivate Transport\u201d was firstly the name of the installation. The piece operates between the traffic and a drone sound in an Augsburg tunnel’s. Before \u201cPrivate Transport\u201d and for provide an acoustic enhancement Joannes Chrysostomus Wolfgangus Theophilus Mozart was broadcasted on the multi-speaker sound system designed and built by Wolfgang F. …..So we can easily imagined what was the result…..But, and by a lucky break, the wall used to separate the pedestrian path from the car traffic was torn down. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Jack Chuter \/ ATTN:Magazine<\/a><\/strong><\/p>\n Cathy Lane<\/a> | The Hebrides Suite<\/a><\/p>\n […<\/a>] One of my favourite sounds on the record is an old Hattersley loom that reprises throughout \u201cTweed\u201d \u2013 a beautiful, hand-cranked cascade through which loose chains and metal cogs rattle and shake. Lane uses it as the basis to coax rhythm out of language; words are skipped and delayed into tiny gallops of Gaelic phoneme, mimicking an uneven machinery mechanism, overlapping with other conversational extracts that swirl and grind across eachother; the Hebrides becomes its own machine of circadian process, interlocking into a water-tight weave of rugged landscape and uneroded tradition.<\/p>\n <\/p>\n <\/p>\n Review | By Hal Harmon \/ Musique Machine<\/a><\/strong><\/p>\n Daniel Blinkhorn<\/a> | Terra Subf\u00f3nica<\/a><\/p>\n Gruenrekorder presents Terra Subf\u00f3nica by Australian composer and sound artist Daniel Blinkhorn. As stated in the liner notes, his work lies at the \u201cnexus of radiophonic art, environmental sound and electroacoustic music.\u201d That\u2019s a fairly accurate description of the sounds at hand on this disc. Through 19 tracks, Mr. Blinkhorn offers a panoply of radiophonic miniatures that may be short in stature, however sound much larger than life. I often roll my eyes when any piece of art is described as a \u201cfeast for the senses,\u201d but this time (and this time alone) I will make a rare exception. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By VITAL WEEKLY<\/a><\/strong><\/p>\n Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a> | Mosa\u00efque Mosaic<\/a><\/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‘. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By VITAL WEEKLY<\/a><\/strong><\/p>\n Rodolphe ALEXIS<\/a> | MORNE DIABLOTINS<\/a><\/p>\n […] We cross the Atlantic Ocean and find one Rodolphe Alexis in the National Park of Guadeloupe and in Dominica, ‚one of the most preserved island of the Lesser Antilles, which still retains some of its primary forest on the slopes of its volcanic peaks‘ to answer the question: „what did the Caribbean Island look like before the arrival of Columbus?“, although probably he meant to ask what it sounded like. Here we have no human action and ‚just‘ seventy two minutes of insects, birds and frog sounds. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By VITAL WEEKLY<\/a><\/strong><\/p>\n Cathy Lane<\/a> | The Hebrides Suite<\/a><\/p>\n […] We cross the Atlantic again but go north, to the Outer Hebrides, a remote ‚130 mile long archipelago of islands about 40 miles off the north-west coast of Scotland‘. Gruenrekorder has the previous two as part of their field recordings series, this one is in the ’soundscape series‘, so I assume that the material is not presented ‚as is‘, but is used to compose a piece of music with this, with repeating blocks of sounds, mixes of various bits together, but with the overall idea that we stay in one place and we know more of the place. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Phonophon<\/a> | 30 November 2013 | 8:00 PM | 5 Euro<\/strong><\/strong> <\/p>\n * W\u00e6lder (A) <\/p>\n * Hering und seine sieben Sachen (D)<\/p>\n www.facebook.com\/laichoflove<\/a><\/p>\n www.laichoflove.bandcamp.com<\/a><\/p>\n www.sicsic.de<\/a><\/p>\n <\/p>\n Society for the Advancement of Phonography and Experimental Music (e.V.) <\/p>\n <\/p>\n New Release:<\/strong> <\/p>\n <\/p>\n Gerald Fiebig<\/a> & Alexander M\u00f6ckl<\/a>: \u201cPrivate Transport<\/a>\u201d (GrDl 133\/13) MP3\/FLAC<\/a><\/p>\n <\/p>\n <\/p>\n Interview | By Blanca Rego \/ mediateletipos<\/a><\/strong> <\/p>\n <\/p>\n Review | By Martin P \/ Musique Machine<\/a> Mark Lorenz Kysela<\/a> | Eins +<\/a><\/p>\n Well, this is one of those releases that I could possibly never stop writing about – but instead, I\u2019m going to say very little indeed. Exquisitely packaged in a metal tin, with a glossy booklet full of liner notes and biographies, \u201cEins+\u201d is a collection of compositions performed primarily on clarinet and various saxophones by Kysela. These compositions come from six names, all but one new to me: Christoph Ogiermann, Thomas Stiegler, Martin Schuttler, Michael Maierhof, Alvin Lucier and Uwe Rasch. (No prizes for guessing who was previously known to me\u2026) The booklet explains each composition comprehensively and whilst I really do like releases that come with words, I must admit that in this case they initially hindered my listening. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By W.T.C. Seale \/ IBIS \u2013 international journal of avian science<\/a><\/strong><\/p>\n Lasse-Marc Riek<\/a> | Helgoland<\/a><\/p>\n Helgoland (in English, Heligoland) is a dramatic acoustic portrayal of Germany’s only oceanic island (archipelago). Lasse-Marc Riek has embraced the dynamic sounds of wind and sea, giving many of the recordings a wild, desolate feel. They thus capture the general ambience of the location as much as the sounds of its wildlife. All but one are in stereo and, considering the often challenging conditions under which they were made, they are technically very well executed. Dominant species, often en masse, include Guillemot Uria aalge, Northern Gannet Morus bassanus, Kittiwake Rissa tridactyla, Lesser Black-backed Gull Larus fuscus, Arctic Tern Sterna paradisaea, Grey Seal Halichoerus grypus and Great Green Bush-cricket Tettigonia viridissima. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n Jos\u00e9 Ricardo Delgado Franco<\/a> | Sound atmospheres of the Colombian Orinoquia<\/a><\/p>\n From the prolific Field Recording Series of the German Gruenrekorder label, this time we have the opportunity to know the work of Colombian sound artist Jos\u00e9 Ricardo Delgado Franco graduated in 2010 from Andes University of Bogota. <\/p>\n <\/p>\n Review | By Nathan Thomas \/ Fluid Radio<\/a><\/strong><\/p>\n Sebastiane Hegarty<\/a> | Four walks around a year: autumn<\/a><\/p>\n A little while ago I reviewed the second, summer instalment in Sebastiane Hegarty\u2019s year-long series of seasonal field recordings from Hampshire\u2019s Winnall Moors; now, as the days begin to shorten, Gruenrekorder have released the autumn episode. Although the first thing heard is the familiar chirruping of birds, \u201cAutumn\u201d is dominated by the sounds of human activity: digging, scraping, rumbling, whirring, walking, and chatting amiably. This is not an arbitrary choice by the artist: according to the footnotes, autumn is the time of year when the conservation team from Hampshire Wildlife Trust, Hegarty\u2019s collaborators on the project, can get the most work done without the risk of interfering with the breeding seasons of the Moors\u2019 inhabitants, and before the harsher winter weather puts all plans on hold. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Neural<\/a><\/strong><\/p>\n Daniel Blinkhorn<\/a> | Terra Subf\u00f3nica<\/a><\/p>\n With Terra Subf\u00f3nica Daniel Blinkhorn has created a conceptual radiophonic work that fuses familiar, odd, neglected and unheard sounds. The sound-artist has focused his attention on the potentiality of comprehension and impressions of the medium of radio, manipulating the \u201ctraditional\u201d techniques of audio awareness. Silences are allowed to emerge and poignant field recordings and other sound fragments manifest a sort of mapping process located at the edge of understanding. One of Blinkhorn\u2019s main interests is \u201cthe exploration of the relationships between the people and the sound environments\u201d. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Neural<\/a><\/strong><\/p>\n Lasse-Marc Riek<\/a> | Helgoland<\/a><\/p>\n Helgoland in German literally means \u201choly land\u201d and is an island located south-east of the North Sea, originally owned by Denmark and later by the United Kingdom, before being given to Germany in 1890 as part of a treaty delineating the economic and territorial interests of the two colonial powers. Because of its distance from the mainland \u2013 about 70 kilometers from the German coastline \u2013 Helgoland is often considered a deep sea island. During the Second World War it hosted an important navy base, whose tunnels and bunkers were blown up in 1947 by the Royal Navy, who were aiming to blow the island off the map. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By PROGRESS REPORT<\/a><\/strong><\/p>\n Andreas Bick<\/a> | Fire and Frost Pattern<\/a><\/p>\n Somewhere in the liner notes one can read that the \u2018artistic process is primarily concerned with making audible the \u2018secret\u2019 sounds hidden in nature\u2019 and that very well can be read as the mission of Germany\u2019s Gruenrekorder label in general. Fire, water, earth and air were the 4 elements identified by the ancient Greeks as a first attempt to describe and explain matter surrounding us. As this could not explain everything, alchemists added aether as a fifth element to help their quest for wealth. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Phonophon<\/a> | 16 November 2013 | 8:00 PM | 5 Euro<\/strong><\/strong> <\/p>\n * attenuation circuit (D)<\/p>\n www.attenuationcircuit.de<\/a><\/p>\n <\/p>\n EMERGE <\/p>\n Society for the Advancement of Phonography and Experimental Music (e.V.) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Rodolphe ALEXIS<\/a>: \u201cMorne Diablotins<\/a>\u201d (Gruen 139\/13) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a>: \u201cMosa\u00efque Mosaic<\/a>\u201d (Gruen 131\/13) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Cathy Lane<\/a>: \u201cThe Hebrides Suite<\/a>\u201d (Gruen 127\/13) <\/p>\n <\/p>\n Phonophon<\/a> | 10 November 2013 | 8:00 PM | 5 Euro<\/strong><\/strong> <\/p>\n * Bruzgynai (LT) <\/p>\n * Daina Dieva (LT) <\/p>\n * Oorchach (LT) <\/p>\n Society for the Advancement of Phonography and Experimental Music (e.V.) <\/p>\n <\/p>\n Review | By Ian Holloway \/ Wonderful Wooden Reasons<\/a><\/strong><\/p>\n Budhaditya Chattopadhyay<\/a> | elegy for Bangalore<\/a><\/p>\n One track of 56 minutes entitled ‚Elegy for Bangalore‘ makes up this here album from Gruenrekorder and it’s another, in a very long line of, absolute corker. At it’s core is a piece made for a sound \/ video installation of the same name which has subsequently been expanded from it’s 10 minute runtime into this much longer and more detailed version. The recordings are, at their core, a phonology of the city of Bangalore with particular interest in those areas currently being redeveloped. To this has been added sounds from salvaged reel-to-reel tapes. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Phonophon<\/a> | 01 November 2013 | 8:00 PM | 5 Euro<\/strong><\/strong> <\/p>\n * If, Bwana (US) <\/p>\n * Timon Jansen (D)<\/p>\n <\/p>\n Society for the Advancement of Phonography and Experimental Music (e.V.) <\/p>\n <\/p>\n Review | By Dietrich Hei\u00dfenb\u00fcttel \/ Neue Zeitschrift f\u00fcr Musik<\/a> 05\/2013<\/strong><\/strong> <\/p>\n <\/p>\n Review | By Dietrich Hei\u00dfenb\u00fcttel \/ Neue Zeitschrift f\u00fcr Musik<\/a> 05\/2013<\/strong><\/p>\n Mark Lorenz Kysela<\/a> | Eins +<\/a><\/p>\n In den sechs Werken der CD verbindet Mark Lorenz Kysela (geboren 1971 in Stuttgart) ger\u00e4uschhafte Grenzbereiche des Saxofonklangs mit elektronischen Materialien. Umgebungsger\u00e4usche einzubeziehen impliziert dabei auch eine Kritik der Verh\u00e4ltnisse zwischen Komponist und Gesellschaft, Interpret und Publikum. Allerdings l\u00e4sst sich der \u00abVollkontakt\u00bb zum Publikum, den Christoph Ogiermann einfordert, in der Aufnahme allenfalls simulieren. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Russell Cuzner \/ Musique Machine<\/a><\/strong><\/p>\n
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\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. […<\/a>]<\/p>\n
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\nwww.facebook.com\/waeldersound<\/a><\/p>\n
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\nPhonophon<\/a> is a non profit association from Frankfurt that organizes experimental music and phonography concerts and workshops.
\nWhat is Phonophon? In which year was it founded and what are its main activities? How many people are involved in the organization? […<\/a>]<\/p>\n
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\nThe field recordings were made in different tropical ecosystems of the Colombian Orinoco (this region is a savannah crossed by rivers) at dawn, sunset and the night during two weeks in April 2013 in the department of Meta and is complemented by a 2011 recording in the Tuparro Natural Park. […<\/a>]<\/p>\n
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\nwww.emerge.bandcamp.com<\/a>
\nGerald Fiebig
\nwww.geraldfiebig.net<\/a>
\nNiku Senpuki
\nwww.nikusenpuki.bandcamp.com<\/a>
\nelektrojudas
\nwww.vimeo.com<\/a>
\nMARTYN SCHMIDT
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\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n
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\nwww.arma.lt<\/a><\/p>\n
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\nwww.heathenharvest.org<\/a><\/p>\n
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\nDavid Rothenberg<\/a> | Bug Music<\/a>
\n\u00abDie Grille hatte den ganzen Sommer gesungen\u00bb, so beginnt die moralisierende Fabel von Jean de la Fontaine, der diesem nutzlosem Treiben die arbeitsame Ameise gegen\u00fcberstellt. Als Musik wurde das Zirpen der Grillen bereits in vergangenen Epochen wahrgenommen. Der Gesang der Zikaden in einer Sommernacht bietet bis heute, sofern nicht vom Verkehrsl\u00e4rm \u00fcbert\u00f6nt, die beste Gelegenheit einer r\u00e4umlichen Wahrnehmung durch das Ge\u00adh\u00f6r: Es sind Ger\u00e4usche, die s\u00fcchtig machen k\u00f6nnen und einem wie der Anblick des Sternenhimmels ein Gef\u00fchl der Einheit mit der unermess\u00adlichen Natur geben. […<\/a>]<\/p>\n
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