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A Box of 78s\u00a0| DinahBird<\/a><\/strong> <\/p>\n This is the story of a box<\/em> <\/p>\n <\/p>\n TRACKSIDE <\/p>\n LOOPSIDE <\/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 19 Tracks (23\u203214\u2033 – \u221e) <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n <\/p>\n This project was supported by le Bon Accueil contemporary sound art gallery. (www.bon-accueil.org<\/a>). <\/p>\n Recording editing and mix : DinahBird <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n DinahBird | A Box of 78s\u00a0 – Radio relay project by DinahBird<\/strong> <\/p>\n 21st DEc – Kunstradio RadioKunst<\/a>, Vienna. <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Pierre C\u00e9cile | Le son du grisli<\/a><\/strong> <\/p>\n Donc donc\u2026 Quand on pose le diamant sur A, il sautille un peu (parfois beaucoup) et choisit lui-m\u00eame le sillon sur-lequel il va looper (= r\u00e9p\u00e9ter un son en boucle, soit quelques secondes d\u2019un tinetement, un bout d\u2019op\u00e9ra, deux ou trois secondes de violon, un autre bout d\u2019op\u00e9ra, etc. etc.). Oui, lecteur, c\u2019est une boucle. Sans fin (comme ma chronique s\u2019il ne tenait qu\u2019\u00e0 moi, c\u2019est que j\u2019en ai sous le pied). Une boucle qui pourrait tourner pour toujours. Et il y en a plusieurs, des boucles, mais nous n\u2019avons qu\u2019un, nous, \u00ab toujours \u00bb. Il faut donc choisir, se poster red d\u2019\u00e9querre sur une chaise \u00e0 c\u00f4t\u00e9 de la platine, \u00e9couter quelques secondes et choisir un autre sillon (il ne faudrait pas que le diamant nous refasse le coup du \u00ab c\u2019est moi qui choisit \u00bb).<\/p>\n <\/p>\n En face B, la lecture est classique : une rivi\u00e8re coule (merveilleuse rivi\u00e8re et eau \u00e0 jamais reli\u00e9e aux forces de la nature qui chantent\u2026) un homme nous raconte une histoire, et il nous donne les clefs pour comprendre le concept de la chose vinylesque. C\u2019est malgr\u00e9 tout un peu dommage, parce que le disque perd de sa po\u00e9sie, et de sa bizarrerie (toute liquide qu’elle est). La galette a donc quitt\u00e9 le monde de l\u2019art pour celui de la production discographique. La transformation s\u2019est-elle faite dans une valise? <\/p>\n Torsten M\u00f6ller | Neue Zeitschrift f\u00fcr Musik 03\/2015<\/a><\/strong> <\/p>\n \u0141ukasz Kom\u0142a | polyphonia.pl<\/a><\/strong> <\/p>\n Album \u201eA Box of 78s\u201d to pierwsze wydawnictwo DinahBird, jakie ukaza\u0142o si\u0119 w katalogu niemieckiej oficyny Gruenrekorder. Materia\u0142 zosta\u0142 opublikowany na winylu (tylko 300 kopii). DinahBird mieszka w Pary\u017cu, gdzie te\u017c tworzy programy radiowe, instalacje d\u017awi\u0119kowe czy muzyk\u0119 filmow\u0105. Jej prace by\u0142y prezentowane na antenach takich stacji jak BBC 4, BBC 3, France Culture, Echo FM i Kunst Radio.<\/p>\n <\/p>\n Babcia DinahBird urodzi\u0142a si\u0119 w 1910 roku na wyspie Saltspring Island podlegaj\u0105cej m.in. Kolumbii Brytyjskiej. Niestety, ale ju\u017c w 1925 roku musia\u0142a opu\u015bci\u0107 to miejsce. W ci\u0105gu swego \u017cycia mieszka\u0142a w trzech r\u00f3\u017cnych krajach i na dw\u00f3ch r\u00f3\u017cnych kontynentach. Odesz\u0142a z tego \u015bwiata w 2000 roku. Bird odziedziczy\u0142a po niej zbi\u00f3r p\u0142yt winylowych (oko\u0142o 50 pozycji) na 78 obrot\u00f3w, z kr\u0119gu muzyki klasycznej i operowej. Jej babcia otrzyma\u0142a te p\u0142yty jeszcze podczas swego pobytu na Saltspring Island. Po tylu latach DinahBird postanowi\u0142a, \u017ce ocali pami\u0119\u0107 o swoich przodkach, wi\u0119c pojecha\u0142a na wysp\u0119 Saltspring Island i \u2013 zgodnie z zapiskami jakie znalaz\u0142a w pami\u0119tniku babci \u2013 odwiedzi\u0142a wybrane miejsca, rozmawia\u0142 z mieszka\u0144cami tej wyspy czy te\u017c dotar\u0142a do swojej rodziny. Ma\u0142ego tego, zabra\u0142a ze sob\u0105 wspomniane p\u0142yty winylowe i odtwarza\u0142a je na przeno\u015bnym gramofonie, najcz\u0119\u015bciej na \u0142onie natury, oraz nagrywa\u0142a ten ca\u0142y proces.<\/p>\n <\/p>\n Efekty znajdziemy na niespe\u0142na 23-minutowym longplayu \u201eA Box of 78s\u201d, gdzie mamy wyj\u0105tkowy kola\u017c \u0142\u0105cz\u0105cy nagrania terenowe (odg\u0142osy ptak\u00f3w, szum wody, skrzypi\u0105cy statek etc.), fragmenty rozm\u00f3w i trzaski ze starych p\u0142yt, w tym \u015bpiew operowy. Na tym nie koniec, je\u015bli chodzi o wyj\u0105tkowe uj\u0119cie tematu, bo DinahBird za\u0142o\u017cy\u0142a sobie, \u017ce jej album wyruszy z Kunst Radio w podr\u00f3\u017c po r\u00f3\u017cnych stacjach radiowych, a do pi\u0119knie wydanego winyla, artystka do\u0142\u0105czy\u0142a formularz, aby prezenterzy radiowi zrobili w nim swoje notatki w zwi\u0105zku z tym, co us\u0142yszeli i nast\u0119pnie wys\u0142ali ten sam egzemplarz p\u0142yty do innej stacji, z innego kraju. Ka\u017cde ryski, kt\u00f3re powstan\u0105 w trakcie odtwarzania maj\u0105 by\u0107 kolejn\u0105 warstw\u0105 d\u017awi\u0119kow\u0105. Na razie p\u0142yta odwiedzi\u0142a 22 stacje. Finalnie, album ma trafi\u0107 z powrotem w r\u0119ce DinahBird, a ta z kolei chce zebra\u0107 w ca\u0142o\u015b\u0107 wszystkie powsta\u0142e refleksje, jakie pojawi\u0142y si\u0119 w trakcie s\u0142uchania \u201eA Box of 78s\u201d. Mo\u017ce tym materia\u0142em zainteresuje si\u0119 kt\u00f3ra\u015b z polskich stacji radiowych, warto, bo to nie jest zwyk\u0142y soundartowy longplay czy d\u017awi\u0119kowa efemeryda, lecz \u201eb\u0142yskotliwa\u201d opowie\u015b\u0107 o pami\u0119ci i odkrywaniu to\u017csamo\u015bci. <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong> <\/p>\n Bird decided to take the box of records back to Salt Spring and using her great grandfathers diary and daily weather notes as a guide she played them on a portable gramophone player in the places where her grandmother and her family would have picnics or played tennis or danced. Bird recorded the results, mixing in conversations with a whispering distant relative, old friends of the family and people she came across. Extracts from the diary are read out, wind chimes and crunchy footsteps are heard as are the scratchy impossibly high wavering falsetto of long forgotten opera singers.<\/p>\n <\/p>\n The results are a gentle account of a life now passed, an island, its people, the outdoors, the sea and a pile of old 78\u2019s but the projects raison d\u2019etre reveals itself when a stranger, upon finding Bird playing her records and hearing her story, tells her that she\u2019s gone to all this trouble to hear these records as her grandmother would.<\/p>\n <\/p>\n The flip contains 12 locked grooves that are short loops of some of the sounds heard on the \u2018Trackside\u2019, these being pieces of wood being knocked together, a ships horn, water being poured, a musical box and various other hard to define oddities together with samples of some of those 78\u2019s. The last loop recounts Bird talking about the man she met who added an \u2018s\u2019 to the word \u2018always\u2019 and thus ends the record with the word \u2018always\u2019s\u2019 looping into infinity.<\/p>\n <\/p>\n Bird takes the concept a step further by sending an LP of radio sounds [pressed by Gruenrekorder] on what she calls a \u2018Radio Relay\u2019, in which radio station A [this being KunstRadio in Vienna] plays the record and then passes it on to radio station B until after 22 radio stations down the line Bird gets back a presumably dog eared, worn and hopefully scratched record [and seeing as how there are two radio stations in England on the list I\u2019m sure the Royal Mail will do its bit in helping the process along]. You are encouraged to do the same thing with your own copy should you wish and a \u2018Listening Log\u2019 is provided for those wishing to participate, though how many people will be willing to part with such a delightful record is hard to tell.<\/p>\n <\/p>\n What we need now is for the the project to continue with A Box of 78\u2019s being played on Salt Spring by further generations of the Bird family, thus ensuring that Bird\u2019s grandmother and her favourite records are never to be forgotten. <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n Essentially, we have a twenty-minute-plus piece, divided into seven \u2018tracks\u2019, which collages field recordings, conversations, interviews, diary readings, and the 78s themselves. The overwhelming aesthetic at play here, is that of a radio broadcast. So the piece often zips along at a fair speed, climbing over itself, so to speak. Recordings are layered and mish-mashed together, but not to any great sonic effect or resonance; if anything they often conflict – but again, nothing meaningful results from this. DinahBird\u2019s work seems to aim at that \u2018dream-like\u2019 construction, often used in radio documentaries; where elements are pressed up against each other, piled up in the hope that somehow this will create \u2018impressions\u2019 and thus meaning in the listener\u2019s mind. But, for the majority of its duration, \u2018A Box Of 78s\u2019 simply passes by, flitting thru wildlife sounds, voices in conversation, the drone of distant aeroplanes\u2026 – none of it particularly grabs, on any level. There are a few sections when it rests a while on mechanical or environmental sounds, and these are more engaging; but its not enough. The flipside of the record is infinitely more pleasing: thirteen lockgrooves with sounds taken from DinahBird\u2019s recordings. These obviously have quite the opposite effect to the first side, with the loops trapping the listener in a static sound environment; encouraging a deeper and more concentrated listening: frankly, a lot more enjoyable than the radio-piece.<\/p>\n <\/p>\n I haven\u2019t really got much positive to say about this record. The locked grooves are genuinely very pleasant to listen to, and the whispered tones of the artist\u2019s Great Uncle carry a wonderful weight; but I think thats it. There\u2019s never even the remotest sense of the project \u2019rekindling lost, and perhaps forgotten, sounds\u2019. I\u2019ve seen a few releases now, recorded with the aid of grants or sponsorship (and proudly displaying the badges of these arts organisations\/commercial companies on the inlay) and I\u2019ve come to the conclusion that these things must be the kiss of death. <\/p>\n textura<\/a><\/strong> <\/p>\n Issued on twelve-inch vinyl (300 copies) as part of Gruenrekorder’s Sound Art Series, DinahBird’s A Box of 78s is the most curious release of the three. As its liner notes reveal, it’s an extremely personal project for the artist in question, a Paris-based radio and sound artist who creates radio programmes, audio publications, installations, and soundtracks. A Box of 78s concerns a leather box containing over fifty 78 rpm recordings of classical music and opera that was inherited by DinahBird’s grandmother and who took the box with her when she left Salt Spring Island, British Columbia in 1925 (where she was born in 1910) and kept it with her until her death in 2000. Twelve years later, DinahBird retraced the box’s journey back to to the island and, assisted by her great-grandfather’s diary and related notes, played the records outdoors on a portable gramophone where her grandmother and family lived and recorded what happened. With conversations with today’s island residents woven into the material, the release functions as a nostalgic collage, an audio scrap book of sorts, that blends reminiscences, observations, field recordings, and music.<\/p>\n <\/p>\n In keeping with the idiosyncratic nature of the project, the album itself is unusual in the way it’s split into a \u2018trackside‘ featuring seven collage-styled pieces and a \u2018loopside‘ featuring twelve loops. Of the two sides, it’s the first that’s key, given that it’s the one on which the various sound elements are woven together, among them the speaking voices of living persons (British and Canadian voices and those of young and old people, too), the warble of an opera singer on an old 78, and sounds of boat creaks, hiking, seagulls, and birds.<\/p>\n <\/p>\n The past (the 78s, the reading of diary entries) and present (the surprise of a Salt Spring Island resident when informed about DinahBird’s project) fuse together in the \u2018trackside‘ in a way that emphasizes the project’s strong historical dimension. As the artist herself writes, \u201cThis piece is about rekindling lost, and perhaps forgotten, sounds. Are they so very different to those my grandmother heard?\u201d Certainly the nature sounds would be much the same; as far as people are concerned, there’s an implication that though generations change, their story-telling traditions persist as they’re passed along from one to the next.<\/p>\n <\/p>\n Compared to side one, the \u2018loopside‘ is non-linear and bereft of narrative grounding. Yet even so its twelve loops do impart an hypnotic effect and in abstract manner do allude to the project’s cyclical theme in the repetition of each’s loop content. A clear connection to the first side is also established by the selection of the sounds featured within the loops, which include bells, dribbling water, and an opera singer’s sustained note. When presented as a never-ending loop, each of the twelve tracks can’t help but assume a rhythmic character. But as interesting an idea as the \u2018loopside‘ might be, it’s not as involving as the \u2018trackside‘ nor as engrossing. Though A Box of 78s in its presented form still proves fascinating, a more satisfying result might have involved DinahBird extending the first side’s concept across both. <\/p>\n Axel Ganz | Jahrgangsgeraeusche<\/a><\/strong> <\/p>\n Die Kiste enth\u00e4lt \u00fcber f\u00fcnfzig 78er-Platten mit klassischer Musik und Opernarien der Zwischenkriegszeit. Diese Auswahl wurden von Dinah Birds Gro\u00dfmutter zusammengestellt, die auf den Gulf Islands,British Columbia in Kanada 1910 geboren wurde. Sie nahm ihre Sammlung mit sich, als sie die Insel 1925 verlies und behielt diese ihr Leben lang, egal wohin es sie verschlug bis zu ihrem Tode im Jahr 2000.<\/p>\n <\/p>\n Im September 2012 nun brachte Dinah Bird die alte Plattenkiste ihrer Gro\u00dfmutter wieder zur\u00fcck an ihren Ursprungsort auf Gulf Islands. Dort spielte sie die alten Platten ihrer Gro\u00dfmutter an Orten rund um Salt Spring, die sie mit Hilfe des Tagebuchs ihres Urgro\u00dfvaters als Aufenthaltsorte ihrer Gro\u00dfmutter lokalisierte. Aber sie spielte die alten Schallplatten nicht nur an den biographisch relevanten Orten ab, sondern fertigte auch w\u00e4hrenddessen \u2013 mit Kommentaren versehen \u2013 Field Recordings an den heimatlichen Spielst\u00e4tten dieser zur\u00fcckgef\u00fchrten Sammlung an. Ein ungew\u00f6hnlicher Versuch zu den Themen Alterung, Wiederbelebung und Erinnerung wie auch zu dem Spannungsfeld zwischen Naturklang und Musik. <\/p>\n Brian Olewnick | Just outside<\/a><\/strong> <\/p>\n Side B is called „Loopside“ and consists of 12 tracks, titled \u221e1 through \u221e12, with the word „Always“ appended at the end of the track listing. The first dozen or so times I attempted to play it, my needle simply skittered across the surface of the vinyl, never finding any purchase. (Since the sides aren’t marked A & B, I actually played this side first and was mildly concerned that something had happened to my cartridge or tone arm!). Perhaps it’s my utter ignorance of loopage on vinyl, but it took me a while to realize that the audio component of the twelve tracks could be located on what looks like the track separation groove. Therein, placing the needle down with delicacy, we hear twelve loops of material, each lasting the duration of a single disc revolution and comprised of, I think, sounds from the Salt Springs environment (maritime, largely, including that wonderful wooden knocking you get on piers) as well, on the final three, samples from the 78s. After these, there’s a brief „normal“ track of someone, presumably Bird, commenting on one interviewee’s habit of adding an extra „s“ on the word „always“, thus enunciating, „alwayses“ which, once stated by Bird, also loops, ending (or not ending) the side.<\/p>\n <\/p>\n Also enclosed is a Listening Log for the listener, radio station, etc. to fill out (time, weather conditions, number of plays, etc.), which information will be used in an upcoming exhibition.<\/p>\n <\/p>\n Something very affecting about this recording, very personal and vaguely sad. The loopside is a physical annoyance (unless you enjoy standing over your turntable) but the concept moves me. <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Urednik Ksenija Stevanovi\u0107 | Radio Beograd 3<\/a><\/strong> <\/p>\n Dina Berd je dugogodi\u0161nja radijska umetnica koja \u017eivi i radi u Parizu i deluje kao kustos odeljena Zvu\u010dne umetnosti pariskog Muzeja za savremenu umetnost. Zbog toga je plo\u010da na svoj put oko sveta krenula upravo sa emitovanja na radiju France Culture 28. novembra 2014. godine. A Box of 78s je ina\u010de projekat koji mo\u017eemo da smestimo me\u0111u ostvarenja \u201ezvu\u010dne arheologije\u201c i radove koji se bave o\u010duvanjem zvu\u010dnog se\u0107anja.<\/p>\n <\/p>\n Naime, Dina Berd je prona\u0161la u posedu svoje porodice ko\u017enu kutiju u kojoj se nalazilo preko 50 primeraka plo\u010da na 78 obrtaja, sa brojnim poznatim numerama klasi\u010dne muzike i opere. Ove plo\u010de su bile stare vi\u0161e od 80 godina, a istra\u017euju\u0107i njihovo poreklo umetnica je shvatila da su one potekle sa ostvra Solt Spring koje se nalazi na pacifi\u010dkoj obali kanadske oblasti Britanska Kolumbija. Naime, tu je 1910. ro\u0111ena njena baka, koja je potom ove plo\u010de ponela sa sobom kada se preselila i \u010duvala ih sve do svoje smrti 2000. godine. Kako je putanja \u017eivota bake Dine Berd ove plo\u010de odvela na put izme\u0111u tri zemlje i dva kontineta, umetnica je \u017eelela da svoj rad tako\u0111e \u201epodvrgne\u201c putovanju i susretu sa razli\u010ditim slu\u0161aocima, a mo\u017eemo dodati i razli\u010ditim \u201egramofonima\u201c.<\/p>\n <\/p>\n Gramofon je jedno od osnovnih sredstava za nastanak primarnog materijala. Naime, Dina Berd je odnela plo\u010de nazad na Solt Spring, gde je koriste\u0107i dnevnik svog pradede detektovala mesta koja su bila va\u017ena za njenu porodicu. Uz pomo\u0107 malog, prenosnog gramofona koji mo\u017ee da reprodukuje sedmadesetosmice, pu\u0161tala je muziku na lokacijama gde je njena porodica pravila piknike, igrala tenis ili plesala, a potom bi snimala celokupnu zvu\u010dnu situaciju. Obavila je i niz intervjua sa sada\u0161njim stanovnicima Solt Springa, a tako\u0111e je zabele\u017eila i se\u0107anja svog deda ujaka koji se nalazi u dubokoj starosti. Svi ovi elementi prisutni su u zavr\u0161nom radu A Box of 78s u kome se zvu\u010dne strukture pretapaju sa se\u0107anjima, opservacijama, terenskim snimcima i odsviranom muzikom. Ovo je li\u010dna kartografija Dine Berd, koja nosi u sebi ne\u0161to od univerzalne ljudske potrebe da se zabele\u017ei \u017eivot i produ\u017ei vreme, kao i da se uka\u017ee na to da slu\u0161anje otvara vrata bliskosti i povezivanja me\u0111u ljudima. A Box of 78s\u00a0| DinahBird Gruen 148 |\u00a0Vinyl > [order] Reviews This is the story of a box A leather box that is over eighty years old and has lived in three different countries, and on two different continents. It contains over fifty 78 rpm recordings of\u00a0 classical music and opera hits of […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-12542","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12542"}],"version-history":[{"count":42,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12542\/revisions"}],"predecessor-version":[{"id":14998,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12542\/revisions\/14998"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 148 |\u00a0Vinyl > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nA leather box that is over eighty years old and has lived in three different countries, and on two different continents. It contains over fifty 78 rpm recordings of\u00a0 classical music and opera hits of the day. The box and its contents were inherited by my grandmother who was born on the Gulf Islands, British Columbia, in 1910. She grew up on Salt Spring. She took the box with her when she left the island in 1925 and carried it to her various adult homes until her death in 2000. In September 2012 I retraced the box\u2019s long journey and took the records back to the island where they were first played. Using my great-grandfather\u2019s diary and daily notes on the weather as a guide, I played the records outdoors, on a portable gramophone in spots around Salt Spring where my grandmother and her family had picnics, played tennis or danced, and I recorded what happened. I also talked to today\u2019s Salt Springers, and my late Great Uncle, about their memories and reasons for being on the island. This composed sound work blends memories, observations, field recordings and music. This piece is about rekindling lost, and perhaps forgotten, sounds. Are they so very different to those my grandmother heard ? It is a personal response to the people and places of Salt Spring Island, British Columbia.<\/p>\n
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\nThe trip out –\u00a0 2’17
\nThe end of the road – 1’41
\nFlower heads and skinny cows – 5’38
\nThe Daisy – 5’25
\nThe Empress and the grizzly – 2’37
\nTea time – 0’45
\nHappy hour – 5’40<\/p>\n
\n\u221e\u00a01-12
\nAlways<\/p>\n
\nVinyl (300 copies)<\/p>\n
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\nCoproduction : La Muse en Circuit, Centre National de Cr\u00e9ation Musicale.
\nIt was the recipient of a Brouillon d\u2019un r\u00eave sonore\u00a0 grant from la SCAM.
\nSalt Spring Island : A very heartfelt thanks to all the anonymous people who picked us up in their cars, to Salt Spring Archives, Usha Rautenbach, George Laundry, Sue Mouat, for their invaluable input and help, to Peter and Mary Grove for their warmth and welcome, and to Tony and Denis Devenyi for the pitstop in Vancouver.<\/p>\n
\nAdditional field recordings and moral support : Jean-Philippe Renoult
\nMastering : Laurent Codoul
\nGraphic design : www.g-u-i.net<\/a><\/p>\n
\nGermany \/ 2014 \/ Gruen 148 \/ LC 09488 \/ SCAM \/ EAN 4050486913840<\/p>\n
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\nIt is not a race, quite the opposite. It is a playful protest against the way sound is propagated in the digital age. The idea is simple. I have made a piece of radio pressed to vinyl available on Gruenrekorder. I would like the same copy of the record to be relayed between the different partner radio stations, so that no single broadcast sounds the same. The scratches formed en route\u00a0 will become part of the piece, mirroring the journey my grandmother\u2019s records made. I will also ask each station that plays the record to fill in a listening log, a bit like the piece of paper that used to get stamped when you took a book out of the library. So far twenty one radio stations from places as far flung as Newfoundland and Dunedin have agreed to take part and play the record whatever state it might be in after all its travels. It is a radio relay, a kind of chain letter if you like. I am hoping that sometime around October 2015 the record and the physical traces if its journey will be returned to me, accompanied by the written observations of those who have played it.<\/p>\n
\n27 jan 2015 Radio On<\/a> – Berlin.
\nThe Lake Radio<\/a>, Copenhagen<\/a>, DK.
\nRadio Nova<\/a>, Oslo, Norway.
\nRadio Worm<\/a>, Rotterdam, Netherlands.
\nRadio Panik<\/a>, Brussels, Belgium.
\nRadio Papesse<\/a>, Florence, Italy.
\nRadiophrenia<\/a>, Glasgow, Scotland.
\nNova<\/a>, on RTE Lyric FM, Ireland.
\nResonanceFM<\/a>, London, UK.
\nSoundart Radio<\/a>, Devon, UK.
\nRadio Grenouille<\/a>, Euphonia, Marseille, France.
\nVoice of Bonne Bay<\/a>, Newfoundland, Canada.
\nWave Farm, <\/a>WGXC 90.7 FM, Accra, NY. USA.
\nCRFC <\/a>101.9 FM, Kingston, Ontario, Canada.
\nCKUW 95.9 FM<\/a>, Winnipeg, Manitoba, Canada.
\nTree Frog radio, Denman Island, BC, Canada.
\nRadio One<\/a> (91 FM) Dunedin, NZ.
\nCreative Audio Unit on ABC Radio National<\/a>, Melbourne Australia
\nRadio Campus Bruxelles<\/a>, Belgium.
\nHRT _ Croatian Radiotelevision<\/a>, Zagreb.
\nRadio Campus Grenoble<\/a>, France.<\/p>\n
\n
\nTiens, les deux faces ne marchent pas de la m\u00eame fa\u00e7on, m\u00eame si elles sont toutes les deux remplies de sons qui \u00ab auraient \u00bb fait le voyage jusqu\u2019\u00e0 nous (c.a.d. sur ce vinyle) dans une valise \u2013 je renvoie le lecteur int\u00e9ress\u00e9 par les explications aux explications donn\u00e9es par l’artiste sonore DinahBird sur le site du label Gru\u00ebnrekorder).<\/p>\n
\nlink<\/a><\/p>\n
\nMusikalische Wertung: 5 – Technische Wertung: 5 – Booklet: 5
\nEs gibt Gr\u00fcnde, auf Vinyl zu ver\u00f6ffentlichen: Da w\u00e4re der High-End-Fetischismus einer wachsenden Analog-Gemeinde; da w\u00e4re der sch\u00f6ne Karton ohne Plastik; da w\u00e4re das Konzept, das eben nicht nur den Inhalt, sondern auch die Form bestimmt. Vor allem Letzteres trifft auf die LP A Box of 78s zu, die die Radioautorin DinahBird in der \u00abSound Art Series\u00bb bei Gruenrekorder ver\u00f6ffentlichte.
\nZum Hintergrund: In einer \u00fcber achtzig Jahre alten Kiste ihrer Gro\u00dfmutter fand DinahBird etwa f\u00fcnfzig Schallplatten mit Aufnahmen klassischer Werke inklusive vieler bekannter Opernarien. Im September 2012 f\u00e4ngt sie an, die Spuren der Platten zur\u00fcckzuverfolgen. Mit den Scheiben im Gep\u00e4ck fliegt sie zu den Golf Islands, wo ihre Gro\u00dfmutter geboren wurde; diese Heimreise der Platten wiederum ist dokumentiert: Field Recordings, selbst gesprochene Erinnerungen und O-T\u00f6ne vermischt DinahBird mit den alten Kl\u00e4ngen der 78er-Scheiben.
\nDie Story klingt nach nebul\u00f6ser, ziemlich subjektiv ges\u00e4ttigter Selbsterfahrung. DinahBird aber spricht objektiver von \u00abcomposed sound\u00bb. Und nicht nur dies bringt A Box of 78s in die N\u00e4he von Luc Ferraris wunderbaren Soundscapes der 1960er Jahre, etwa Presque rien (No. 1). Der Wechsel von gesprochenen Passagen, von Musikpassagen der alten Platten oder den Naturaufnahmen ist klug arrangiert, nie zu dicht, immer viel assoziativen Freiraum lassend. Das Spiel mit Vorder- und Hintergrund ist toll arrangiert, liebevoll und technisch ausgereift, dabei nie ins Kitschige, blo\u00df Gef\u00e4llige abdriftend.
\nZum Konzept der Box geh\u00f6rt ein \u00e4hnliches Nachleben, das den Platten der Gro\u00dfmutter widerfuhr. Mit einem ausgef\u00fcllten \u00abListening Log\u00bb (H\u00f6r-Eintrag) kann man die Platte zur\u00fccksenden, worauf sie ein letztes Mal gespielt wird. Ein Kreis schlie\u00dft sich und auch dies mag Anlass gewesen sein f\u00fcr eine LP-Pressung. Auf alle F\u00e4lle ist A Box of 78s nicht nur wegen des sch\u00f6n dicken Vinyls eine au\u00dfergew\u00f6hnliche Pub\u00adlikation, die alle Hochachtung und H\u00f6chstnoten verdient. Selbst der klangverw\u00f6hnte High-End-Fetischist wird auf seine Kosten kommen. So direkt und live klingt eine CD wahrlich nur sehr selten. Das gelegentliche leise Staubknistern tr\u00e4gt zur ganz besonderen Note des durchaus nostalgischen Konzepts bei.
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\nBrytyjka zabiera nas w d\u017awi\u0119kow\u0105 podr\u00f3\u017c, \u015bladami swojej babci, kt\u00f3ra mieszka\u0142a w r\u00f3\u017cnych cz\u0119\u015bciach \u015bwiata. Nie by\u0142oby w tym nic nadzwyczajnego, gdyby nie fakt, \u017ce p\u0142yta DinahBird sta\u0142a si\u0119 niecodziennym projektem. Jakim? Sprawd\u017acie sami.<\/p>\n
\nlink<\/a><\/p>\n
\n‚This is the story of a box \u2026‘
\nA leather box containing over fifty 78rpm records of opera and classical music that belonged to DinahBird\u2019s grandmother. Who was born in British Columbia in 1910 and grew up on a small island off its west coast, a place called Salt Spring. When she moved from Salt Spring to various other homes during her life she took the box with her until her death in 2000 whereupon the box became Birds.<\/p>\n
\nlink<\/a><\/p>\n
\nThis vinyl album is lavishly presented on Gruenrekorder, with nice artwork and photographs; it recounts the story of a box of records. This box, full of old 78s, was inherited by the artist\u2019s grandmother and then passed down across many years and miles; with DinahBird then deciding to retrace its steps, and return to Salt Spring Island with them. She then toured the island, playing the records and recording herself doing this; as well as talking to islanders and her late Great Uncle: \u2019This piece is about rekindling lost, and perhaps forgotten, sounds. Are they so very different to those my grandmother heard? It is a personal response to the people and places of Salt Spring Island.\u2019 Its also tedious as hell.<\/p>\n
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\nOne of the things that helps make Gruenrekorder’s products so fascinating is that they encompass such a wide range of styles and genres. In presenting phonography, audio-visual work, and sound art, three recent releases (each a different format) by David Michael and Slavek Kwi, Manfred Waffender, and DinahBird provide an excellent illustration of the label’s range. […]<\/p>\n
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\nDies ist die Geschichte einer Kiste voller Schallplatten. Es sind alte 78er-Schellackplatten und es ist eine lange Geschichte voller Erinnerungen. Die Radioautorin Dinah Bird beendet die jahrzehntelangen Wanderungen einer Schallplattenbox ihrer Gro\u00dfmutter mit einer Reise. Es ist die Geschichte der R\u00fcckf\u00fchrung einer audiophilen Hinterlassenschaft und die Neuinterpretation eines Klanghabitats.<\/p>\n
\nlink<\/a><\/p>\n
\nThis is a very unusual record. On the one hand it’s a field recording\/nostalgia construction. Bird inherited the titular box of some 50+ ancient records amassed by her grandmother who lived in the Gulf Islands, British Columbia and decided to take them from her home in England back to their original „home“, play them in their old environment, record the surrounding ambiance and talk with people there (including her great uncle) about what she was doing. Side A, called „Trackside“, documents this experience and is strangely captivating, the strains of the recordings (generally classical and opera) warble in the background, scratchy and cloudy, among the area sounds, with the voices of the inhabitants of the town of Salt Springs, who quiz Bird about her project, elaborate on their own daily activities, etc. It’s very easy to put oneself into Bird’s mind, to relive her own sense of family history and her rediscovery of the environs of her ancestors. All well and good.<\/p>\n
\nlink<\/a><\/p>\n
\nBecause of the nature of this release, including old 78s records being played on locations, it is released on vinyl, which a nice old, retro looking cover. Bird got a leather box of fifty old, 78rpms, which her grandmother, herself born in 1910, inherited. Her granny grew up in Salt Spring and after her death in 2000 the box got to Dinah, albeit in 2012. She went back to the beach of Salt Spring and played those records, while using also excerpts from her grandfather’s diary and talking to people who live there now. All of this mixed together and while the cover notes various pieces, it’s best enjoyed as one piece of great radiophonic quality. The whole process is a bit explained in the piece itself and it combines some of the ’now‘ with the ‚then‘ – or maybe how history becomes a live thing. It’s not something that one would easily play as a piece of music, I would think, since it’s heavily on text\/voice so you need to keep your attention I guess. That all happens on the first side of the record. On the second side we find a bunch of lockgrooves, culled from sounds to be found on the other side. Probably to attract some DJs to get this? Maybe a filler? I think I would have preferred another story here and I would not have minded to skip the lock grooves. But then, I am not a DJ. Great A-side here!
\nlink<\/a><\/p>\n
\nGramofonija – U ovoj emisiji priklju\u010dujemo se me\u0111unarodnom projektu „A Box of 78s“ (Kutija sedamdesetosmica) koji je inicirala umetnica Dina Berd. Naime, plo\u010da koju ve\u010deras preslu\u0161avamo ve\u0107 vi\u0161e od dve godine putuje svetom (od Franucke, preko Australije do Srbije) i emituje se na radio stanicama, sa idejom da sva o\u0161te\u0107enja koja budu nastala na ovom putu postanu deo zvu\u010dnog identiteta ovog radiofonskog ostvarenja.<\/p>\n
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"