![\"MMABOLELA](\"https:\/\/www.gruenrekorder.de\/Photos\/MMABOLELA.jpg\" "\\"MMABOLELA")
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MMABOLELA | David Michael<\/a> & Slavek Kwi<\/a><\/strong> <\/p>\n Note from unwritten diary of David: <\/p>\n <\/p>\n CD 1: <\/p>\n 01: Usvit (Dawning in Dry Riverbed) <\/p>\n Excerpts: <\/p>\n Recordings made by Sl\u00e1vek Kwi in November 2013 at the Mmabolela. <\/p>\n CD 2: <\/p>\n 01. Sl\u00e1vek’s Dry Creek <\/p>\n Excerpts: <\/p>\n Recordings made by David Michael in November 2013 at the Mmabolela. Produced in Sleepy Hollow, New York during various sessions in 2014.<\/p>\n <\/p>\n 19 Tracks (157\u203216\u2033) <\/p>\n <\/p>\n ILLUSTRATIONS: <\/p>\n Front of CD: Dung Beetle (Catharsius platycerus). <\/p>\n Illustration 1 – from left to right: Stones rich in metal, shadow portrait of David (left) and Slavek (right), Plant bursting out of dry land. <\/p>\n ADDITIONAL PICTURES: <\/p>\n 1. Dung Beetle (Catharsius platycerus) from cover of CD from different perspective. <\/p>\n <\/p>\n All recordings within this double album were made at the Mmabolela Reserve in Limpopo, South Africa, during \u201cSonic Mmabolela\u201d, organized by Francisco L\u00f3pez and James Webb. Extended thanks to the rangers and staff at the Mmabolela Reserve for making these recordings possible and to organizers and participants of Sonic Mmabolela for creating a deeply memorable experience. May there be many more.<\/p>\n <\/p>\n Special thanks to Roland and Lasse-Marc at Gruenrekorder. <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Hal Harmon | Musique Machine<\/a><\/strong> <\/p>\n On MMABOLELA, both artists present sounds captured at the Mmabolela Reserve, located in the Limpopo province of South Africa. Both artists capture many of the same sounds found in the reserve, with each track title alluding to what animal\/insect the listener is hearing. Throughout the 2 discs, we are greeted to an orchestra of indigenous wildlife including: beetles, crickets, hippopotamuses, baboons, bats, toads, terrapins, cicadas, frogs, varieties of birds, and many other sounds of the natural environment. Even in the liner notes, Mr. Michael acknowledges that he and Mr. Kwi recorded many of the exact events, though from slightly different perspectives. If I had to draw a contrast at all, Mr. Michael\u2019s pieces sound like straight, raw field recordings. His pieces flow slowly and you get the sense that he is a patient observer soaking in the repetitive sounds of his natural environment. Mr. Kwi\u2019s pieces sound like there was much more editing in his process and they tend to unfold at a faster pace. It goes without saying that despite the slightly different approaches to the same natural environment, both artists capture Mmabolela\u2019s sounds in pristine clarity.<\/p>\n <\/p>\n Once again Gruenrekorder and co have given the listener a ticket to a distant place, most of us will never step foot in. Through these recordings one feels like a world traveler, inspecting the majesty and minute details of Mmabolela\u2019s natural splendors. For those that enjoy field recordings, consider this another worthy entry in your collection. <\/p>\n Pierre C\u00e9cile | Le son du grisli<\/a><\/strong> <\/p>\n Rentr\u00e9s \u00e0 la maison, il leur a fallu r\u00e9\u00e9couter tout \u00e7a pour composer (Kwi, CD1) ou \u00e9diter (Michael, CD2). In fine (CD1 et CD2, j\u2019insiste \u2013 ce qui fait du mat\u00e9riau), leurs field recordings ne ressemblent pas aux field recordings de M\u00f4sieur Toutlemonde. Parce que Michael a l\u2019air de prospecter avec un souci du d\u00e9tail quasi-scientifique (on entend m\u00eame une mouche voler quand un hippopotame ne prend pas tout l\u2019espace sonore) et que Kwi articule les bruits de la for\u00eat en prenant en compte le rythme des chants ou en inventant des call and response sur-naturels\u2026<\/p>\n <\/p>\n Le plus \u00e9tonnant restant quand Kwi, sous Artificial Memory Trace influence, donne l\u2019impression d\u2019emprisonner un insecte dans un pot de yaourth qu\u2019il sonorise ou quand lui vient l\u2019id\u00e9e de planter violemment son micro dans le sol pour capter l\u2019activit\u00e9 des grouillants \/ rampants. Peut-\u00eatre ses plus belles prises ! <\/p>\n Tobias Fischer | Beat<\/a><\/strong> <\/p>\n darkroomrituals – independent blog about postindustrial culture<\/a><\/strong> <\/p>\n Brian Olewnick | Just outside<\/a><\/strong> <\/p>\n textura<\/a><\/strong> <\/p>\n The first of the trio is Mmabolela, a double-CD set of field recordings-based settings by Slavek Kwi (aka Artificial Memory Trace) and David Michael. Working in the realm of phonography, which treats nature as an acoustic site teeming with musical sounds, the two collected their recordings during a November 2013 residency at the Mmabolela Reserve in Limpopo, South Africa during Sonic Mmabolela, an event organized by Francisco L\u00f3pez and James Webb. Adding to the release’s interest is the fact that Michael and Kwi gathered their recordings at the same time and place (in a liner note, Michael writes, \u201cWe each now have many recordings of the exact same events, but from slightly different perspectives\u201d), which naturally encourages the listener to attend to their respective presentations with that detail in mind.<\/p>\n <\/p>\n Kwi’s CD extends twelve pieces across eighty minutes, the shortest of them a single minute (a close-up of Xmas Beetles) and the longest a twenty-minute nocturnal portrait (one of three) featuring cicadas, frogs, and baboons. Kwi gets close to the subject matter, resulting in sounds that can sometimes seem almost violent when they seem so near. Of course, these ever-stimulating nature mini-symphonies don’t feature hippos, toads, birds, frogs, bats, and beetles only but the environment, too. Sounds of wind, water, thunder, rain, and rustlings of various kings appear throughout as a backdrop to the chirps, cries, grunts, windpecks, and buzzing. Though Kwi’s interventions appear minimal with respect to the raw material involved, some degree of compositional design is apparent in the overall sequencing, the transitions between pieces, and the occasional interventions that occur within them. There are moments, for example, when the insect thrum in the final nocturnal setting starts to resemble an electronic soundscape as much as a field recordings piece.<\/p>\n <\/p>\n Just as Kwi closes his CD with a twenty-minute setting, Michael opens his with one of equal duration, \u201cSkavek’s Dry Creek,\u201d a peaceful portrait flush with bird chatter. Michael weaves seven settings into an uninterrupted travelogue that transitions seamlessly from day into night (\u201cMidnight on the Limpopo\u201d) and from locales featuring the bellow of hippopotamuses to one with baboons and bats. In the aptly titled \u201cDuets,\u201d the chattering counterpoint of various creatures is heard for thirteen hypnotic minutes; replete with grunts, chirps, and other noises, \u201cThe Bridge To Botswana IV,\u201d on the other hand, is characterized by boisterous levels of activity. If the buzzing seems to swell at CD’s end, perhaps it’s because we’re spending the \u201cAfternoon With An Impala Carcass.\u201d If there’s one difference between Kwi’s and Michael’s presentations that stands out more than any other, it’s that whereas Kwi’s at times reveals the presence of the artist, Michael disappears from view in his. Though the listener is obviously aware that he’s the controlling hand who’s selected and sequenced the material, his presence is camouflaged by the absence of noticeable interventions.<\/p>\n <\/p>\n Abetted by sleeve photos of dung beetles and millipedes, the recordings enable the listener to feel as if he\/she has been transplanted into a resplendently rich soundworld teeming with exotic birds, animals, and insects. The optimal conditions for immersion in this case call for loud volume, darkness, and a high-quality sound system; experiencing Mmabolela in accordance with such conditions helps facilitate the illusion that one is at the site, even if only for the 160-minute duration of the recording. […] <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Sl\u00e1vek Kwi to czeski artysta, kompozytor i naukowiec, kt\u00f3rego zainteresowania badawcze dotykaj\u0105 zjawiska percepcji jako podstawowego wyznacznika relacji z rzeczywisto\u015bci\u0105. W ci\u0105gu ostatnich trzydziestu lat bardzo cz\u0119sto odwiedza\u0142 tropikalne lasy deszczowe, gdzie oczywi\u015bcie rejestrowa\u0142 d\u017awi\u0119ki natury. Od pocz\u0105tku lat 90. Kwi wyda\u0142 ju\u017c ponad dziesi\u0119\u0107 album\u00f3w jako Artificial Memory Trace. Wsp\u00f3\u0142pracuje tak\u017ce od wielu lat z dzie\u0107mi z autyzmem. Z kolei David Michael to ameryka\u0144ski naukowiec eksperymentuj\u0105cy z d\u017awi\u0119kiem. Swobodnie porusza si\u0119 mi\u0119dzy biologi\u0105 a technologi\u0105. W 2012 roku wyda\u0142 interesuj\u0105c\u0105 p\u0142yt\u0119 \u201eThe Slaughterhouse\u201d (Gruenrekorder), na kt\u00f3rej utrwali\u0142 proces uboju zwierz\u0105t.<\/p>\n <\/p>\n W listopadzie 2013 roku obaj arty\u015bci wybrali si\u0119 na wsp\u00f3ln\u0105 podr\u00f3\u017c do Republiki Po\u0142udniowej Afryki, gdzie w ramach programu Sonic Mmabolela \u2013 prowadzonego przez Francisco L\u00f3peza i Jamesa Webba \u2013 zarejestrowali sw\u00f3j materia\u0142. Wszystkie nagrania zosta\u0142y wykonane w rezerwacie Mmabolela, a tak\u017ce m.in. nieopodal rzeki Limpopo. Pierwsza p\u0142yta nale\u017cy do Sl\u00e1vka Kwiego i brzmi bardziej r\u00f3\u017cnorodnie ni\u017c propozycja Davida Michaela, co nie znaczy, \u017ce ucho Amerykanina nie wy\u0142apa\u0142o ciekawych d\u017awi\u0119k\u00f3w. Najbardziej mnie zafascynowa\u0142y u Kwiego pomruki pawian\u00f3w i hipopotam\u00f3w, przypominaj\u0105ce swoj\u0105 ekspresj\u0105 rozjuszone plemi\u0119 wojownik\u00f3w. Kwi zaprezentowa\u0142 te\u017c wci\u0105gaj\u0105ce fragmenty wype\u0142nione odg\u0142osami \u015bwierszczy, \u017cab, ptak\u00f3w, chrz\u0105szczy i cykad, nagrane gdzie\u015b w pobli\u017cu suchego koryta rzeki Umzumbi.<\/p>\n <\/p>\n Na drugiej p\u0142ycie Michael spogl\u0105da z nieco innej perspektywy na afryka\u0144sk\u0105 przyrod\u0119. Odwiedzi\u0142 praktycznie te same miejsca co Kwi, ale jego uwaga skupi\u0142a si\u0119 na bardziej spokojnych odg\u0142osach przyrody, cho\u0107 w kilku miejscach niespodziewanie pojawiaj\u0105 si\u0119 grzmoty i niskie d\u017awi\u0119ki hipopotama brzmi\u0105ce niczym przenikliwy dron.<\/p>\n <\/p>\n Dwup\u0142ytowy zestaw \u201eMmabolela\u201d to idealna pozycja na te zimowe dni, nie tylko dlatego, \u017ce wyrywa nas z mro\u017anej aury, jak\u0105 mamy za oknem, lecz przede wszystkim znakomicie oddaje transowy klimat afryka\u0144skiej przyrody, kt\u00f3rej d\u017awi\u0119kowe bogactwo mo\u017cemy podziwia\u0107 na wielu poziomach. <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Guillermo Escudero | Loop<\/a><\/strong> MMABOLELA | David Michael & Slavek Kwi Gruen 144 |\u00a0Double CD > [order] Sound adventures from South Africa – Mmabolela Reserve in Limpopo. Reviews Note from unwritten diary of David: 3:45 AM. Time to get up. The Bushveld is already awake. Sl\u00e1vek and I are both dragging a bit, rushing to get out […]<\/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-12575","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12575","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=12575"}],"version-history":[{"count":42,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12575\/revisions"}],"predecessor-version":[{"id":15373,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12575\/revisions\/15373"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12575"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 144 |\u00a0Double CD > [order<\/a>]
\nSound adventures from South Africa – Mmabolela Reserve in Limpopo.
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\n3:45 AM. Time to get up. The Bushveld is already awake.
\nSl\u00e1vek and I are both dragging a bit, rushing to get out the door and deploy.
\nAfter almost two weeks of nonstop recording, we are both tired and a little homesick.
\nAt this point in the residency we have already found a dependable dawn recording location in a dry creek bed just far enough away from Weederdooper homestead so that our microphones will not pick up breakfast activities and just close enough for us to make it back for a nap before the morning field session. In a strange way this location reminds me of another of Sl\u00e1vek’s favorite recording spots on a small tributary flowing into Lake Mamori in Brazil. Sl\u00e1vek and I share a room at Weederdooper, which makes these dawn sessions simple. Our equipment too tends to share space in locations we scout together during many of the field sessions. We each now have many recordings of the exact same events, but from slightly different perspectives. The dry river bed at Umzumbi, the hippos at Mmabolel Rock, the bridge to Botswana, the watering holes. Perhaps when we get back home we will make a CD together.<\/p>\n
\n
\nSl\u00e1vek Kwi (Artificial Memory Trace)<\/p>\n
\n02: Windpeckers
\n03: Lament of Longhorn Beetle
\n04: Subaquatic Insects, Terrapins, Fish Munching on Algae
\n05: From Perspective of Wasps
\n06: Baboons
\n07: Mouchy
\n08: Hippo-pota-muses
\n09: Noc Pt1 (Toads, Bats [via heterodyne detector], Xmas Beetles)
\n10: Transition (Xmas Beetles close-up)
\n11: Noc Pt2 (Frogs, Bats [via microphone], Insects)
\n12: Noc Pt3 (Cicadas, Frogs, distant Baboons)<\/p>\n
\nTrack 01
\nMP3<\/a>
\nTrack 04
\nMP3<\/a><\/p>\n
\nComposed in between February and June 2014 in Beech House, Ireland.
\nTrk 01-09 was originally constructed as multichannel piece titled \u201cAfriKaa!\u201d
\ndedicated to children with autism.
\nThe Sound Expedition was funded by The National Concert Hall in Dublin;
\nvery special thanks to Ciara Cuffe and Simon Taylor for kind support.
\nExtended thanks to David for making this publication possible.<\/p>\n
\nDavid Michael<\/p>\n
\n02. Midnight on the Limpopo
\n03. Hippopotamuses at Mmabolel Rock
\n04. Umzumbi with Baboons, Bats
\n05. Duets
\n06. The Bridge to Botswana IV
\n07. Afternoon with an Impala Carcass<\/p>\n
\nTrack 4
\nMP3<\/a>
\nTrack 6
\nMP3<\/a><\/p>\n
\nDouble CD (500 copies)<\/p>\n
\n
\nngg_shortcode_1_placeholder<\/p>\n
\nRear of CD: Amethyst Fruit Chafers (Leucocelis amethystina) mating.<\/p>\nngg_shortcode_2_placeholder\n
\nIllustration 2: various Millipedes in defensive position (Diplopoda).
\nIllustration 3: Millipedes (Diplopoda) mating.
\nIllustration 4 – from left to right: Armoured Ground Beetle (Gonopus tibialis), Giant Longhorn (Acanthophorus confinis), Small Green Dung Beetle (Gymnopleurus humanus).
\nIllustration 5 – from left to right: Red Velvet Mite (Trombidiidae), Cicada (Oxypleura lenihani), Armoured Ground Beetle (Gonopus tibialis) pritending being dead.<\/p>\n
\nngg_shortcode_3_placeholder<\/p>\n
\n2.-18. The examples of locations of recordings (names are attached with each individual photo).<\/p>\n
\n
\nPhotos and design by Sl\u00e1vek Kwi.<\/p>\n
\nGermany \/ 2014 \/ Gruen 144 \/ LC 09488 \/ IMRO \/ EAN 4050486919194<\/p>\n
\n
\nAfter weeks of digesting wall noise and sounds residing on the harsher side of the experimental spectrum, I was due for a respite. And what better way to cleanse the palette than to escape into the naked sounds of the natural world as provided by Gruenrekorder and friends. The German-based field recording label (arguably, one of the most prolific in the field recording arena) teams up with Tentacles of Perception Recordings to present MMABOLELA, a 2 x CD by David Michael and Slavek Kwi (Artificial Memory Trace).<\/p>\n
\nlink<\/a><\/p>\n
\nSonic Mmabolela est un festival, organis\u00e9 par Francisco L\u00f3pez et James Webb dans la r\u00e9serve du m\u00eame nom que ce double-CD. En 2013, il a permis \u00e0 Sl\u00e1vek Kwi (Artificial Memory Trace) et David Michael de balader leurs micros (d\u00e8s tr\u00e8s t\u00f4t le matin !) sur un terrain riche en bestioles de toutes tailles et de toutes couleurs.<\/p>\n
\nlink<\/a><\/p>\n
\nZwei Field Recorder durchschreiten zur selben Zeit einen s\u00fcdafrikanischen Nationalpark, doch ihre Ergebnisse sind alles andere als gleich. Kwis Tracks muten wie psychedelische Collagen voller elektrisch surrende Felder, irr pulsierenden Vogelzwitscherns und st\u00f6hnender Stimmen an. Michaels Impressionen sind delikat und dezent, platzieren den H\u00f6rer in eine leise schillernde Welt aus W\u00fcrmern, K\u00e4fern und Nilpferden. Sounds, die einem aus der elektronischen Klangsynthese vertraut sind, wirken in einem nat\u00fcrlichen Umfeld pl\u00f6tzlich seltsam verst\u00f6rend. Es stellt sich ein Gef\u00fchl hypnoptischer Desorientierung ein \u2013 und das Ohr wird zum zutiefst subjektiven Erz\u00e4hler.
\nlink<\/a> \/ Beat \/ April 2015<\/p>\n
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\u0432 \u043e\u0433\u0440\u043e\u043c\u043d\u043e\u043c \u043e\u043a\u0440\u0443\u0436\u0430\u044e\u0449\u0435\u043c \u043c\u0438\u0440\u0435. \u0422\u0440\u0435\u043a\u0438 \u0414\u044d\u0432\u0438\u0434\u0430 \u041c\u0430\u0439\u043a\u043b\u0430 \u043e\u043f\u0438\u0441\u044b\u0432\u0430\u044e\u0442 \u0432 \u0442\u043e\u0439 \u0436\u0435 \u043c\u0430\u043d\u0435\u0440\u0435 \u0442\u0435 \u0436\u0435 \u043b\u043e\u043a\u0430\u0446\u0438\u0438: \u0432 \u0432\u0435\u0447\u043d\u043e\u043c \u043a\u043e\u043d\u0432\u043e\u0435 \u0441\u0443\u0435\u0442\u043b\u0438\u0432\u044b\u0445 \u043f\u0442\u0438\u0446 \u0438 \u043e\u0431\u0435\u0437\u044c\u044f\u043d \u043c\u044b \u043f\u0440\u043e\u0433\u0443\u043b\u044f\u0435\u043c\u0441\u044f \u0432\u0434\u043e\u043b\u044c \u0431\u0435\u0440\u0435\u0433\u0430, \u043f\u043e\u0441\u0442\u043e\u0438\u043c \u043d\u0430 \u0443\u0437\u043a\u043e\u043c, \u0434\u0435\u0440\u0435\u0432\u044f\u043d\u043d\u043e\u043c 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\u0447\u0435\u0440\u0435\u0437 \u043c\u0438\u043a\u0440\u043e\u0444\u043e\u043d \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u044f. \u0422\u0430\u043a \u0447\u0442\u043e \u043f\u0440\u043e\u0441\u0442\u043e \u0437\u0430\u043a\u0440\u043e\u0439\u0442\u0435 \u0433\u043b\u0430\u0437\u0430 \u2013 \u0438 \u043c\u0438\u0440 \u0434\u0430\u043b\u0435\u043a\u043e\u0439 \u0410\u0444\u0440\u0438\u043a\u0438 \u043e\u0436\u0438\u0432\u0435\u0442 \u043f\u0435\u0440\u0435\u0434 \u0432\u0430\u043c\u0438. \u041e\u0442\u043b\u0438\u0447\u043d\u044b\u0439 \u0442\u0440\u0438\u043f \u0431\u0435\u0437 \u043f\u0443\u0442\u0435\u0432\u043a\u0438 \u0438 \u0432\u0438\u0437\u044b, \u043b\u0438\u0447\u043d\u043e \u043c\u043d\u0435 \u0442\u0430\u043a\u043e\u0439 \u0432\u0438\u0434 \u043f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0439 \u043f\u043e \u0434\u0443\u0448\u0435.
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\nTwo discs, one from Michael, one from Kwi (who often records under the moniker, Artificial Memory Trace), both containing recordings of fauna (and weather and, I suppose, flora) in the Mmabolela reserve in Limpop, South Africa, as part of a sound festival organized by Francisco L\u00f3pez and James Webb. It’s always a near-impossibility for me to attempt to evaluate efforts like this. I’m guessing there’s a good amount of post-recording construction involved, so listening as „compositions“ seems the way to go and, to that extent, things are fine. Kwi’s pieces move really well, are quite varied and, of course, contain sounds one’s likely to have never before encountered, particularly those of an insectile nature (plus what I take to be bats on the 9th track). It’s an interesting experience, „settling in“ like that, approaching the pieces from a certain angle and these cuts lend themselves to it rather easily, very enjoyable. Michael’s disc is subtler, quieter, less overtly manipulated (if I’m correct about either’s methods of construction, which might well not be the case; sometimes the density here, though transparent, is immense), imparting more a sense of place and time, less of a construction. It’s all so marvelously recorded–turn up the volume and all sorts of sounds appear–that it’s quite easy to lie back and bathe in. Both discs work very well on their own terms for me; I can only imagine how very enthusiastically listeners seriously into field recordings in this area would react. Recommended.
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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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\nCisza, faluj\u0105ce powietrze, ryki dzikich zwierz\u0105t, \u015bwiergot ptak\u00f3w, szeleszcz\u0105ce chrab\u0105szcze, a w tle s\u0142ycha\u0107 pioruny \u2013 tak wygl\u0105da d\u017awi\u0119kowy pejza\u017c RPA.<\/p>\n
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\nTwo releases involving Slavek Kwi, also known as Artificial Memory Trace. On the CD he works under his own name and use sounds recorded at the Mmabolela Reserve in Limpopo in South Africa when he and David Michael were part of larger project involving field recordings. I am not sure if I know who David Michael is. Together these discs have about 160 minutes of field recordings. It’s a bit strange listening to these crickets, beetles, insects, birds, baboons, frogs, cicadas and such like and watching outside at the same time and seeing this grey Dutch winter sky, occasional rain and knowing it’s very cold outside. Maybe all of this evokes a sense of holiday? Unlikely as it may seem, as I don’t like the heat very much, so such a wildlife expedition would not be something for me. There are differences between Kwi and Michael. The latter has fewer pieces, seven instead of twelve, and as far I can judge in Michael’s pieces there is less happening. He explores a single sound for a longer duration, whereas Kwi’s pieces are bit shorter and seem to be employ additional layering inside a piece, although I am not fully certain of that. It’s a long trip, these two and half hours, but it’s certainly worthwhile. From the department of pure field recording. […]
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\nDavid Michael is a sound artist from Birmingham, Alabama, who works in the fields of biology and technology. Sl\u00e1vek Kwi is a Czech composer, sound artist and researcher who lives and works in Ireland.
\nThis collaboration between sound artists was in the context of ‚Sonic Mmabolela‘ organized by Francisco L’opez and James Webb held at the Mmabolela Reserve in Limpopo, South Africa.
\nThe recordings capture field recordings of the dry river bed at Umzumbi, the hippos at Mmabolel Rock, the bridge to Botswana, the watering holes, storms. Also, you may appreciate different birdsongs, wildlife, subaquatic insects, turtles, fish chewing algae, baboons, toads, bats, frogs, cicadas.
\nThis experience allows us to appreciate the different sounds of wildlife their smallest details and textures.
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