<\/p>\n
<\/p>\n Willem Sannen<\/a>: \u2018Brussel Noord<\/a>\u2019 <\/p>\n framework radio<\/a> | #573<\/a><\/strong> <\/p>\n Gruenrekorder @ Sonicykle<\/a> \u2013 Austauschprozesse:Sound:Improvisation<\/strong> <\/p>\n Eine Veranstaltung des Ohrenkratzer e.V.<\/a> – Kooperative f\u00fcr Neue Musik Kassel. <\/p>\n Review | By textura<\/a><\/strong> <\/p>\n framework radio<\/a> | #571<\/a><\/strong> <\/p>\n \t<\/p>\n \t<\/p>\n <\/p>\n Gruenrekorder @ The Wire Tapper 42<\/strong> <\/p>\n Review | By textura<\/a><\/strong> <\/p>\n Review | By Raphael Smarzoch \/ MusikTexte<\/a> (150)<\/strong> <\/p>\n Review | By Julian K\u00e4mper \/ MusikTexte<\/a> (150)<\/strong> <\/p>\n Review | By textura<\/a><\/strong> <\/p>\n Review | By Matt Parker \/ earthkeptwarm.com<\/a><\/strong> <\/p>\n Review | By textura<\/a><\/strong> <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Angus Carlyle<\/a>: \u2018In The Shadow Of The Silent Mountain<\/a>\u2019 <\/p>\n Kg Augenstern<\/a> | Tentacles<\/a><\/strong> <\/p>\n Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong> <\/p>\n Review | By Hal Harmon \/ Musique Machine<\/a><\/strong> <\/p>\n Review | By Patricia Arredondo<\/a><\/strong> <\/p>\n Review | By Stephen Fruitman \/ Avant Music News<\/a><\/strong> <\/p>\n Review | By Richard Allen \/ a closer listen<\/a><\/strong> <\/p>\n Reviews | By Rigobert Dittmann \/ Bad Alchemy Magazin (91)<\/a><\/strong> <\/p>\n Roland Etzin<\/a> | SONIC DRAWINGS<\/a> <\/p>\n Mikel R. Nieto<\/a> | Dark Sound<\/a> <\/p>\n Kg Augenstern<\/a> | Tentacles<\/a> <\/p>\n Review | By Piers Warren \/ wildlife-film.com<\/a><\/strong> <\/p>\n Review | By Beach Sloth<\/a><\/strong> <\/p>\n Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong> <\/p>\n Review | By Guillermo Escudero \/ Loop<\/a><\/strong> <\/p>\n Review | By Gunter Heidegger \/ The Sound Projector<\/a><\/strong> <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong> <\/p>\n Review | By Richard Allen \/ a closer listen<\/a><\/strong> <\/p>\n Review | By Pierre C\u00e9cile \/ Le son du grisli<\/a><\/strong> <\/p>\n Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong> <\/p>\n Review | By Katrin Hauk \/ freiStil \u2013 Magazin f\u00fcr Musik und Umgebung<\/a> \/ #67<\/strong> <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Kg Augenstern<\/a>: \u2018Tentacles<\/a>\u2019 <\/p>\n Reviews | By Ed Pinsent \/ The Sound Projector<\/a><\/strong><\/p>\n <\/p>\n Thomas M. Siefert<\/a> & Lasse-Marc Riek<\/a> <\/p>\n Christina Kubisch<\/a> & Eckehard G\u00fcther<\/a> | Unter Grund<\/a> <\/p>\n R. Schwarz<\/a> | The Scale Of Things<\/a> <\/p>\n Selected Recordings of Bayaka Music by Louis Sarno<\/a> <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong> <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong> <\/p>\n Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong> <\/p>\n![\"\"](\"https:\/\/shop.gruenrekorder.de\/workspace\/look\/img\/covers\/Gruen_168.jpg\")
<\/a><\/p>\n
\nGruen 168\/16
\nField Recordings
\nGruen Digital – 5 Tracks (24:58)<\/p>\n<\/div>\n
\n
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nAngus Carlyle<\/a> | In The Shadow Of The Silent Mountain<\/a><\/p>\n<\/div>\n
\n
\nEine Musiksektion im Rahmen des 33. Kasseler Dokumentarfilm- und Videofest<\/a>. Am 17. und 18.11.2016 in der Dokfestlounge, kleine Weinkirche<\/a>, Werner-Hilpert-Stra\u00dfe 22, 34117 Kassel.<\/p>\n
\nIn Kooperation mit dem Kasseler Dokfest, dem Label Gruenrekorder, sowie dem phonophon e.V. – Verein zur F\u00f6rderung von Phonographie und experimenteller Musik in Frankfurt am Main und dem Freien Radio Kassel e.V.<\/p>\n<\/div>\n
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\nAngus Carlyle<\/a> | In The Shadow Of The Silent Mountain<\/a>
\nGruenrekorder consistently manages to extend the conceptual and presentational range of its products, the latest example being this field recordings-based release by Angus Carlyle. The project encompasses: two stitched booklets bound into a clear cover (50 copies in total), the first featuring text in the form of site-based diary records and the second colour photographs (by Chiara Caterina); sixty-six minutes of audio sound files, available as a free download from the label’s site; and a stand-alone micro-site (montesilenzio.com<\/a>), which re-presents the photography (in achromatic form) and text in a conjoined display. Carlyle is hardly new to Gruenrekorder, the sound artist, researcher, and teacher at the University of the Arts in London having previously appeared on projects such as Some Memories of Bamboo (2009) and, with Rupert Cox, Air Pressure (2012). […<\/a>]<\/p>\n<\/div>\n
\n
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nKg Augenstern<\/a> | Tentacles<\/a><\/p>\n<\/div>\n
\n
\n\t\t\t\t\t\t\t\t![\"Gruenrekorder](\"https:\/\/www.gruenrekorder.de\/wp-content\/gallery\/wire_tapper_42\/thumbs\/thumbs_01_wire-nov-cover.jpg\" "\\"Gruenrekorder")
\n\t\t\t\t\t\t\t<\/a>\n\t\t<\/div>\n<\/p><\/div>\n
\n\t\t\t\t\t\t\t\t![\"Gruenrekorder](\"https:\/\/www.gruenrekorder.de\/wp-content\/gallery\/wire_tapper_42\/thumbs\/thumbs_02_wiretapper42.jpg\" "\\"Gruenrekorder")
\n\t\t\t\t\t\t\t<\/a>\n\t\t<\/div>\n<\/p><\/div>\n
\nThomas M. Siefert<\/a> & Lasse-Marc Riek<\/a>
\nrhein_strom | von der rheinquelle bis hafen karlsruhe<\/a>
\nAll copies of the November 2016 issue of The Wire will come complete with an exclusive free CD attached to the cover, The Wire Tapper 42, the latest volume in the acclaimed series of new music compilations.
\nAs with previous volumes this CD, which has been compiled by Shane Woolman, Gustave Evrard and Astrud Steehouder is packaged in a heavy duty card sleeve designed by The Wire’s art director Ben Weaver, and contains a range of new, rare or exclusive tracks from across the spectrum of the kind of underground\/outsider musics covered in The Wire.
\nwww.thewire.co.uk<\/a><\/p>\n<\/div>\n
\n
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nIt’s saying something when the book component of Mikel R. Nieto’s Dark Sound is even more unusual than the CD material it accompanies. Dark it most definitely is: with its type printed in black ink on dark paper, the 176-page hardback book verges on unreadable; formally described as \u201cpartially legible,\u201d the book requires that the reader either hold it a particular angle under lamplight to absorb it or do the same under bright sunlight. The text itself, presented in Huao (the language spoken by the Huaorani people), Basque, Spanish, and English, is cryptic, too, as indicated by the \u201cBy buying this book you are contributing to the destruction of the planet\u201d note within and the political dimension signified by its \u201cThe price of this book is set by the crude oil Brent price (LCO)\u201d statement. […<\/a>]<\/p>\n<\/div>\n
\n
\nReview PDF<\/a>
\nVarious Artists | Landscapes of Fear<\/a><\/p>\n<\/div>\n
\n
\nReview PDF<\/a>
\nUwe Rasch<\/a> | aus vierundzwanzig<\/a><\/p>\n<\/div>\n
\n
\nKg Augenstern<\/a> | Tentacles<\/a>
\nGruenrekorder has not only repeatedly demonstrated a remarkable talent for identifying special artists and granting them an outlet by which to disseminate their works, the label also maximizes the impact such projects can have when they’re presented so elaborately. A clear case in point is Tentacles by Augenstern duo Christiane Prehn and Wolfgang Meyer, multi-dimensional sound artists who have lived and worked on the ship Anuschka for many years. The album title isn’t as odd as it might first appear: the recording, which traces a five-month trip the two undertook in July 2014 from Berlin to the south of France, takes its title from ship-attached tentacles that scratched the bridges under which the duo traveled as they made their way through canals and rivers. […<\/a>]<\/p>\n<\/div>\n
\n
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nI have listened several times to the CD Dark Sound by Mikel R. Nieto over the past month and have been intrigued by the purpose of the recordings presented by the album. \u2014 Dark Sound is a CD length single track album of field recordings taken by Mikel R. Nieto mostly in and around the Ecuadorian rainforest within areas associated with the colonisation and domination of contested areas that were found to have oil reserves. The album traces the relationships between a number of different indigenous groups who have resisted becoming associated with Western European and global models of capital, in favour of continuing the heritage and lives they had prior to the arrival of Spanish conquistadors in the late 15th Century. […<\/a>]<\/p>\n<\/div>\n
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\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nAs both a listener and reviewer, I’m grateful when a release comes with a generous amount of background detail, but I’m also charmed by those that don’t. In the latter case, the absence of information grants the listener greater speculative room regarding a recording’s origins and production, and generally the enigmatic character of a release is enhanced by leaving some degree of mystery in place. A case in point is Roland Etzin’s Sonic Drawings, which has been appropriately issued on Gruenrekorder, the German label Etzin co-founded with Lasse-Marc Riek, as part of its Sound Art Series. A note on the release’s inner sleeve does provide some clarification: \u201cFound sounds: Italy, Ireland, Germany; Using several kinds of microphones, analog & digital machines, and self-built instruments.\u201d […<\/a>]<\/p>\n<\/div>\n
\n![\"\"](\"https:\/\/shop.gruenrekorder.de\/workspace\/look\/img\/covers\/Gruen_162.jpg\")
<\/a><\/p>\n
\nField Recordings
\nGruen 162\/16 | 2 Booklets
\nrun: 50 copies
\n8 Tracks (55:21)
\n\u21d2 Free download: @ Bandcamp<\/a>
\nMicrosite: montesilenzio.com<\/a><\/p>\n<\/div>\n
\n
\n@ Radiophrenia<\/a> | Fri 9\/2 | 11:00 – 12:00<\/p>\n<\/div>\n
\n
\nHein Schoer<\/a> | The Sounding Museum: Box of Treasures<\/a>
\nThis is the third release from Germany’s Gruenrekorder label that I have reviewed this year after Christina Kubisch and Eckehard Guther’s Unter Grund and the startling collection of pieces collected under the Landscapes of Fear project. Despite the bar having already be set high this weighty release presenting what is in effect the doctoral project of Hein Schoer easily surpasses those other two releases in complexity, depth and intellectual rigour. The basic question that Hein poses and which provides the orientation and occasion for the recordings, book and multi-media features that are included in the Box of Treasures is stated at the outset of the text: „How do I make a good cultural soundscape composition for museum-didactic purposes“. The culture that he chose to document were the Namgis\/Kwakwaka’wakw, a North American first people based around Alert Bay British Colombia. […<\/a>]<\/p>\n<\/div>\n
\n
\nDavid Michael<\/a> & Slavek Kwi<\/a> | MMABOLELA<\/a>
\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). 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. […<\/a>]<\/p>\n<\/div>\n
\n
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nUn o\u00eddo puesto donde suena el Diablo
\nEl ruido es una escucha involuntaria. En Dark Sound, Mikel R. Nieto comparte una serie de notas, observaciones, fotograf\u00edas, grabaciones y reflexiones resultado de una estancia en el Amazonas. Pese a lo que se dice del libro, el libro me parece m\u00e1s un libro sobre la escucha que un libro sobre el impacto ambiental del ruido provocado por la maquinaria y las actividades relacionadas con los trabajos de extracci\u00f3n de petr\u00f3leo en la selva de Ecuador. […<\/a>] Nota final: La informaci\u00f3n que se recopila en esta nota se sustenta en los enlaces adjuntos en el texto, lo mismo que el gif y las fotograf\u00edas; los subt\u00edtulos son frases del libro descontextualizadas. Otro texto donde el trabajo de Mikel me ha servido como base puede descargarse aqu\u00ed<\/a>. Agradezco a Laura Mart\u00ednez-Lara, por cruzar el Atl\u00e1ntico con el libro en mano. Y evidentemente a Mikel, a quien est\u00e1 dedicados estos apuntes, por su generosidad en la escucha y por haberme compartido este proyecto desde que era silencio. All the meanings<\/a> are destroyed<\/a>.<\/p>\n<\/div>\n
\n
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\n\u201cThe only political issue that matters is climate change,\u201d according to American writer Michael Tolkin. \u201cEverything else is midrash.\u201d Mikel R. Nieto is a Spanish artist\/researcher from Basque country and co-editor of the sound art web portal mediateletipos<\/a>. With his piece Dark Sound, he attempts to heal the world in a fashion far more oblique than any Talmudic exegesis. For Dark Sound is a 176-page hardback book containing nearly illegible texts printed in a shade of black just barely this side of pitch, which is the color of the pages, as if it had been dipped in the effluence of the Exxon Valdez. Within are essays and letters in Huao (language of the Huaorani of Ecuador), Basque, Spanish and English. […<\/a>]<\/p>\n<\/div>\n
\n
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nHere\u2019s a release for the blackest of hearts: a black book with black ink, housing a black disc, titled Dark Sound. In addition, the price of the package is determined by the crude oil Brent price at the time of purchase. The website warns customers that by buying the book, they will be \u201ccontributing to the destruction of the planet.\u201d Now that\u2019s bleak. However, it\u2019s also the most honest advertising we can remember. So is this gothic music? Industrial? No, it\u2019s darker than that. But what could possibly be darker than a demon? one might ask. How about a duck covered with oil, or a child swallowing water from a polluted river? Got you. Yes, this is real horror […<\/a>]<\/p>\n<\/div>\n
\n
\nThomas M. Siefert<\/a> & Lasse-Marc Riek<\/a>
\nrhein_strom | von der rheinquelle bis hafen karlsruhe<\/a>
\nTHOMAS M. SIEFERT & LASSE-MARC RIEK klapperten f\u00fcr von der rheinquelle bis hafen karlsruhe | rhein_strom (Gruen 163) den Vater Rhein ab und ‚verh\u00f6rten‘ ihn von der Vorderrheinquelle bis Karlsruhe Hafen. Vorbei an Rheinschlucht, Rheinbrech, Rheinstein, Rheinfall, Restrhein und Rheinau, vorbei an 1 Hafen (Basel), 6 Staustufen, 1 F\u00e4hre (Kappel \u2013 Rhinau). Es ist das nicht mehr der romantische nationale Grenzstrom mit Rheint\u00f6chtern und Wacht am Rhein, und das Interesse daher neusachlich ern\u00fcchtert. Aber es geht auch nicht nur um eine Klangquelle f\u00fcr ein rauschendes und glucksendes H\u2082O-Gepl\u00e4tscher mehr. […<\/a>]<\/p>\n
\nROLAND ETZIN, der andere Gruenrekorder neben Riek, zeichnete Sonic Drawings (Gruen 166) mit Kl\u00e4ngen, die er in Italien, Irland und vor Ort gefunden hat. Unter Einsatz diverser Mikrophone sowie analoger & digitaler Maschinen entstanden die Klangbilder \u2018Wand\u2019, \u2018Vinschgau\u2019, \u2018Wasser\u2019 und das weitl\u00e4ufige \u2018Garten\u2019. Im Sinne von Wolfgang Welsch, der eine Abkehr von der Pr\u00e4valenz des Sehens als postmodernen Paradigmenwechsel notierte, verbindet Etzin Schwarzwei\u00dfgraphiken mit Futter f\u00fcr die Imagination des Ohres. Konkrete Kl\u00e4nge reizen den H\u00f6rsinn zu einem \u201aSehen\u2018 ohne Augen: mit Klappern und Bohren, mit Kuhglockenkonzert auf surrendem Feld, mit Kirchenglocken, vom Fliegengott umbrummt, mit glucksendem Wasser und Staustufenturbine. […<\/a>]<\/p>\n
\nMIKEL R. NIETOs Dark Sound (Gruen 167, Book + CD) verbl\u00fcfft als Buch von 176 Seiten, Schwarz auf Schwarz (!) bedruckt mit Texten in Huao, Baskisch (Nietos Muttersprache), Spanisch und Englisch. Der Preis richtet sich nach dem aktuellen \u00d6lkurs des Brent Crude Oil. Mein Wer ? Wo? Was? zu Huao f\u00fchrt zu den Huaorani, eine Volksgruppe im Amazonasurwald, deren harter Kern in einer zona intangible vor Holzf\u00e4llern und Erd\u00f6lfirmen letzte Zuflucht fand. Allerdings hatte ihnen in ihrer \u201aguten alten Zeit\u2018 Blutrache eine interne T\u00f6tungsrate beschert wie einst in Medellin und Ciudad Ju\u00e1rez oder jetzt in Caracas. Das Huaorani-Reservat liegt nahe des Yasuni-Nationalparks und der Tiputini Biodiversity Station im ecuadorianischen Amazonasgebiet, das als Dschungel mit seinen kurios pfeifenden und knarrenden Bewohnern h\u00f6rbar wird: Nachtschwalbe und Schreipipa, Fledermaus, Ameise & Co. H\u00f6rbar gemacht wird aber quasi auch die Neugier und die Besorgtheit der Forscher und die Drohkulisse der \u00d6lbohrmaschinen in beunruhigender N\u00e4he, der Krach eines Mantelstromtriebwerks, eines Yamaha Enduro, eines Caterpillar-Bohrers etc. Jede dieser Klangquellen wird einzeln beschrieben. […<\/a>]<\/p>\n
\nChristiane Prehn & Wolfgang Meyer sind zusammen KG AUGENSTERN. Mit Tentacles (Gruen 170, Fotoalbum + CD) laden sie ein zu einer Flussfahrt, die sie mit ihrem MS Anuschka durch Europas Ge\u00e4der f\u00fchrte: Via Spree – Havel – Mittellandkanal – Dortmund-Ems-Kanal – Rhein – Maas – Sambre \u2013 Schelde – Canal du Nord – Oise – Seine – Canal de L\u2019Ourcq \u2013 Marne – Marne- Sa\u00f4ne-Kanal – Sa\u00f4ne \u2013 Rh\u00f4ne – Rh\u00f4ne-S\u00e8te-Kanal von Berlin \u00fcber Hannover, M\u00fcnster, Njimegen, Maastrich, Charleroi, Paris, Valence, Lyon und Arles bis Maguelone, \u00fcber 2450 km! Der namensgebende Clou bestand darin, \u201aF\u00fchler\u2018 auszufahren, um die durchfahrenen Br\u00fccken zu streicheln und als kratzige und klappernde Percussion mitsamt Flussfahrtatmosph\u00e4re h\u00f6rbar zu machen. 30 Br\u00fccken in Berlin, 10 in Lyon und die Gelegenheit, \u00fcber „Die franz\u00f6sische Kunst des Krieges“ nachzusinnen. […<\/a>]<\/p>\n<\/div>\n
\n
\nAnimal Music \u2013 Sound & Song in the Natural World<\/a>
\nEdited by Tobias Fischer & Lara Cory
\n[…<\/a>] In addition there is a section where a number of leading field recordists give their expert views on recording technology and equipment. By the time I’d finished reading the book, apart from anything else, I was itching to get outside into the wilds with my recorder! Also included, and worth the cover price alone, is a specially-compiled 60 minute CD of excellent field recordings from the Gruenrekorder label, many of them made by recordists featured in the book. The recorded subjects vary from owls, water scorpions and Amazonian river dolphins to wood ants, pilot whales and hermit crabs.<\/p>\n<\/div>\n
\n
\nKg Augenstern<\/a> | Tentacles<\/a>
\nKg Augenstern\u2019s \u201cTentacles\u201d is the embodiment of tactile sound. Utilizing space as an artifact of sound the pieces represent their unique geography. Like a wordless travelog the songs have love for their surroundings, exploring them in a myriad number of ways. The mixture of the calm and the chaotic works wonders for the sound as it feels positively alive with meaning. Over the course of the album Kg Augenstern lets each of these different locations show off a distinct personality. Starting things off on a mellow note is the spaciousness of \u201cBerlin\u201d. On this piece the transitions feel light and airy as the sound itself is one that is impossible to fully pin down. […<\/a>]<\/p>\n<\/div>\n
\n
\nKg Augenstern<\/a> | Tentacles<\/a>
\nNiemieccy arty\u015bci wybrali si\u0119 w podr\u00f3\u017c statkiem z Berlina do Francji. Po drodze pokonali wiele most\u00f3w i w trakcie ich mijania zarejestrowali r\u00f3\u017cne odg\u0142osy. Christiane Prehn i Wolfgang Meyer tworz\u0105 duet o nazwie Kg Augenstern. Oboje dzia\u0142aj\u0105 w obszarze audiowizualnych\/audiokinetycznych instalacji, performance\u2019u, sztuki wideo, soundartu i filmu. Przez wiele lat \u017cyli i pracowali na statku Anuschka. W lipcu 2014 roku arty\u015bci wyp\u0142yn\u0119li z Berlina w kierunku Pary\u017ca, lecz miejscem docelowym ich wyprawy by\u0142a miejscowo\u015b\u0107 Maguelone na po\u0142udniu Francji (dotarli tam w listopadzie 2014). P\u0142yn\u0105c r\u00f3\u017cnymi rzekami mijali wiele most\u00f3w i kana\u0142\u00f3w. Postanowili, i\u017c b\u0119d\u0105 nagrywa\u0107 d\u017awi\u0119ki otoczenia w momencie kiedy ich statek wp\u0142ynie pod most\/kana\u0142. […<\/a>]<\/p>\n<\/div>\n
\n
\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nThis is a new piece of prolific German artist who develops his woork in the genres of field recordings and audio art. He has a string of releases on Gruenrekorder, a record label co-founder member alongwith sound artist Lasse-Marc Riek. \u201eSonic Drawings\u201c is part of the label series of Sound Art. To the question posed by Etzin \u201eWhat effects do silence and noise have?\u201c I think the effects would be depending on what perceptual representations we have more available, if the visual, auditory or kinesthetic (emotions, touch). Consequently the sound or silence, a human being can associate it with an image, or listening and therefore have an interpretation of what he\/she hears, or experience an emotional state of joy, sorrow, anger, love, etc. […<\/a>]<\/p>\n<\/div>\n
\n
\nRodolphe ALEXIS<\/a> | The glittering thing on the mountain<\/a>
\nThe work of French-speaking sound artist Rodolphe Alexis has been previously documented in The Sound Projector; his contribution to the duo OttoannA\u2019s \u2018cohesive and varied \u2013 if hardly electrifying \u2013 sound-art soup\u2019 Federated States of Micronesia provided our reviewer<\/a> with some diverting hours of listening. However, while the many field recordings under his name remain largely unknown to us, little guesswork is needed to form an idea of his product, so long as this captivating natural survey is representative. Fulfilling a personal vow in July 2014, Alexis took his recording equipment to Iriomote-Jima, the southernmost island of Japan and a former coal-mining area, where jungle covers 90% of the ground and the Tropical Biosphere Research Centre (and its accompanying roads) is one of the few signs of human presence. […<\/a>]<\/p>\n<\/div>\n
\n
\nKg Augenstern<\/a> | Tentacles<\/a>
\nFollowing last weeks lavish dark book by Mikel R\/ Nieto, there is now another oversized CD booklet (15 x 23 centimetre), 44 pages of text and colour photos of a project carried out by KG Augenstern, a duo of Christiane Prehn and Wolfgang Meyer. They have a boat, the MS Anuschka and they motorshipped their way from Berlin to Amarages de Maguelone, which is all the way down south in France. On the ship they made tentacles to scratch the bridges, under which they passed to there. All along they also took pictures and all of that resulted in installation pieces in Arles and Valence. The fun for Vital Weekly is that they passed by our sunny town also, as documented on the second piece \u201aFrom Berlin to Nijmegen (NL)\u2018. […<\/a>]<\/p>\n<\/div>\n
\n
\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nSonic Drawings is a meditation on sound, noise and musicality. As such, it may be a reaction to genre tags, especially that of \u201cnon-music\u201d awarded by Discogs to Etzin\u2019s last outing, TransMongolian. Can we term the sounds of our environments \u2013 natural and otherwise \u2013 music? By the wide definition, yes, although they may not be as composed as Etzin\u2019s new creations. These drawings begin with field recordings before entering different fields, coming across as experimental due to the form of their permutations. And so, as the set starts with what might be interpreted as the sound of an animal being prepared for slaughter \u2013 grunts offset by the starting of machinery \u2013 the brain attempts to discern patterns, even though none may be intended. This is how the mind works, attempting to impose order on chaos. The second piece, \u201cVinschgau\u201d, contains some of the album\u2019s most striking moments, especially the overlay of cowbells with motorbikes and drones. […<\/a>]<\/p>\n<\/div>\n
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\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nApr\u00e8s nous avoir fait faire un petit tour d\u2019Asie dans son TransMongolian, Roland Etzin nous revient d\u2019Allemagne, d\u2019Italie et d\u2019Irlande avec des sons plein la musette (floqu\u00e9e Gruenrekorder, of course). Reste plus qu\u2019\u00e0 piocher dedans pour confectionner un nouvel album, et c\u2019est Sonic Drawings ! Pour faire vite on pourrait dire qu\u2019Etzin ne sait pas vraiment quoi dessiner et qu\u2019il crayonne en attendant l\u2019inspiration. Il fourre donc tous les bruits qu\u2019il peut (cloches suspendues \u00e0 des cous de moutons, bruit d\u2019une moto sur la route, notes de piano\u2026) sur une m\u00eame piste (ou plut\u00f4t sur quatre, m\u00eame si les trois premi\u00e8res sont bien plus courtes que la derni\u00e8re) et compte peut-\u00eatre sur son auditeur pour trouver un sens cach\u00e9 \u00e0 tout \u00e7a, qui sait ? […<\/a>]<\/p>\n<\/div>\n
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\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nJeden ze wsp\u00f3\u0142za\u0142o\u017cycieli oficyny Gruenrekorder powraca z nowym albumem.
\nNiemiecki artysta d\u017awi\u0119kowy od wielu lat zajmuje si\u0119 field recordingiem. Zwi\u0105zany jest m.in. z grup\u0105 Autumn Appreciation Society. W pierwszym okresie swojej dzia\u0142alno\u015bci Etzin tworzy\u0142 pod nazw\u0105 Rasselland. Jednak szybko porzuci\u0142 ten alias i zacz\u0105\u0142 wydawa\u0107 pod w\u0142asnym nazwiskiem. W 2015 roku wraz ze Stefanem Militzerem opublikowa\u0142 p\u0142yt\u0119 \u201eO\/live\u201c (tutaj<\/a> pisa\u0142em). Najnowszy kr\u0105\u017cek \u201eSonic Drawings\u201d powsta\u0142a w oparciu o nagarnia terenowe zarejestrowane we W\u0142oszech, Irlandii i Niemczech, przy u\u017cyciu analogowych i cyfrowych mikrofon\u00f3w, a tak\u017ce rozmaitych urz\u0105dze\u0144 elektronicznych w\u0142asnor\u0119cznie wykonanych. \u201eSonic Drawings\u201d nie jest materia\u0142em w pe\u0142ni sk\u0142adaj\u0105cym si\u0119 z field recordingu, to raczej eksperyment z obszaru tzw. sound art\u2019u. […<\/a>]<\/p>\n<\/div>\n
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\nInvading Pleasures (Nikola Lutz<\/a> & Mark Lorenz Kysela<\/a>) | Infinite Jest<\/a>
\n[…<\/a>] Fast alle St\u00fccke auf dieser CD beinhalten elektronische Zuspielungen bzw. Live-Elektronik, wie etwa auch Malte Giesens Komposition mit Verlaub (gehoben, eine m\u00f6glicherweise \u00c4rger erregende Aussage einleitend). Schnelle Saxofonlinien fallen hier zu Beginn nach unten, begleitet von elektronischen Kl\u00e4ngen, die sich im weiteren Verlauf des St\u00fccks in Stimmengewirr ver\u00e4nderen. Neben Musik dieser beiden Komponisten gibt es noch Arbeiten von Remmy Canedo, Joseph Michaels und Nikola Lutz selbst zu h\u00f6ren. Lutz‘ St\u00fcck GraphicSound VI basiert auf Detail-Fotografien einer Kontrabassklarinette und eines T\u00e1rogat\u00f3, die in einem weiteren Schritt abstrahiert werden und durch \u00dcberlagerungen zu einer variablen Partitur f\u00fchren. Jedes dieser St\u00fccke trieft nur so vor Hirnschmalz. Die Musik selbst klingt dennoch nie konstruiert, was den beiden Interpreten zuzuschreiben ist. Sie spielen gekonnt, mit \u00dcberzeugung und bringen es stets auf den Punkt.<\/p>\n<\/div>\n
\n![\"\"](\"https:\/\/shop.gruenrekorder.de\/workspace\/look\/img\/covers\/Gruen_170.jpg\")
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\nGruen 170\/16 | Book + CD
\nField Recordings
\n10 Tracks (55:08)<\/p>\n<\/div>\n
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\nrhein_strom | von der rheinquelle bis hafen karlsruhe<\/a>
\nThe field recording record Von Der Rheinquelle Bis Hafen Karlsruhe (GRUENREKORDER Gruen 163) is credited to rhein_strom, but is in fact the work of Lasse-Marc Riek, the label boss Gruenrekorder; he did these field recordings of the Rhine river, while his collaborator Thomas M. Siefert was the \u201clocation scout\u201d \u2013 a role which sounds not unlike something you\u2019d expect in a move production company \u2013 and took the colour photos which appear in the foldout booklet. Across 21 tracks which segue into each other, we have a detailed sound map of the river, one which is illustrated by a very precise schematic time-line \/ diagram included in the printed insert, telling us where we are on the stations of this journey; in structure, perhaps, not unlike Annea Lockwood\u2019s Sound Map Of The Hudson River, which she undertook in 1982. […<\/a>]<\/p>\n
\nWe\u2019ve heard a few items from German sound artist Christina Kubisch over time, but not encountered many instances of her installation work, so it\u2019s good to get our ears around this copy of Unter Grund (GRUENREKORDER Gruen 160). These two tracks might be taken as a partial, representative snapshot of a much larger and highly ambitious 26-channel installation piece which she made at the Zollverein Coal Mine Industrial Complex in Essen. It\u2019s to do with water streams both above ground and below the ground, and her work has led her into a detailed research of the history and geography of the area, as well as an understanding of the workings of this 19th-century mineshaft. […<\/a>]<\/p>\n
\nAustrian composer Robert Schwarz, appearing here as R. Schwarz, mixes field recordings with droning analogue synth noise on The Scale Of Things (GRUENREKORDER Gruen 154). It\u2019s a strange surface he creates, slow and eerie, yet seething with some kind of unidentifiable energy underneath. As far as I can make out, he wants to assert the importance of his own reworkings over the original source recordings, and thereby portray the world as an alien and unfamiliar place. At the same time, he\u2019s encouraging the force of nature to bubble its way to the surface at unexpected points, as if to prove to himself that you can\u2019t keep a good insect down, nor tame the ocean or prevent the seedlings from growing through the concrete. He seems to perceive nature as somewhat threatening, or at least governed by rules that we puny humans would find to be quite chaotic and unexpected. […<\/a>]<\/p>\n
\nSong from the Forest: The Soundtrack<\/a>
\nA Documentary Film by Michael Obert. Selected Recordings of Bayaka Music by Louis Sarno. GERMANY GRUENREKORDER Gruen 150 CD (2014)
\nNeed an interesting solution to the problem of market saturation? Try marketing your charming recordings of an African tribe and their wild locality not as \u2018World Music\u2019 but as the soundtrack to a film about\u2026 a white American gone native. Add a varnished cover, fit for a mid-budget Hollywood project, copious and illuminating annotation along with rich illustration and bingo: something to compete with the eye-catching graphic design and oddball eccentricity of labels like Sublime Frequencies and Nonesuch Explorer. I\u2019m making this sound far more cynical than it actually is of course, and it\u2019s purely a result of my own petty envy at the remarkable life experience of said American, the recording artist and film subject Louis Sarno, who tracked down the Bayaka pygmies after hearing them on the radio, then went on to become the only outsider (let alone westerner) to be inducted into the tribe. […<\/a>]<\/p>\n<\/div>\n
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\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nFrom these two new Gruenrekorder releases I started with the one that has the most regular package, a digipack and CD by Roland Etzin, who has had releases on this label before (see Vital Weekly 631 and 851). On the cover we read that this contains \u201afound sounds: Italy, Ireland, Germany; using several kinds of microphones, analog & digital machines and self built instruments\u2018, which is probably I would describe this myself, as it what I hear too. It also lives up to it\u2019s title as these four pieces (ranging from two minutes to thirty-five minutes), as these are very much drawings with sounds. We hear cow bells, cars, chainsaws, water, church bells and what have you, played together, perhaps not always \u201apossible\u2018, but that\u2019s the beauty of music: it can all sound together and make a wonderful visual piece. […<\/a>]<\/p>\n<\/div>\n
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\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\n[…<\/a>] There are lots of wildlife, rain, and thunder sounds but also the sounds of the oil industry. Of course I should say about the latter they are ‚awful‘ sounds, but it makes up a fascinating listening experience, moving from one sound into the next; the whole piece has thirty-four different segments, but it is cut as one piece on the disc, perhaps to suggest a unity of location. Nieto, who is from a Basque background, in case you were wondering why that language is part of this, created a great imaginative piece of sound art based on totally contrasting field recordings. Meanwhile you can read the book, obviously, but I must admit I found it not easy to read, or even to search for those bits that were in English, as the four languages are together, arranged per chapter\/section. Holding this against the light, concentrating really hard to decipher it, made me think: ‚okay, I sympathise with this message, even if I can’t find the concentration to take it all in‘. But this is all together an excellent political statement.<\/p>\n<\/div>\n
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\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nHiszpa\u0144ski artysta d\u017awi\u0119kowy w swojej ksi\u0105\u017cce \u201eDark Sound\u201d porusza wiele zagadnie\u0144 zwi\u0105zanych z ha\u0142asem, cisz\u0105 i s\u0142uchaniem. Opr\u00f3cz tekst\u00f3w naukowych mamy te\u017c nagrania terenowe zarejestrowane w lasach tropikalnych Ekwadoru. Mikel R. Nieto jest tak\u017ce naukowcem, wyk\u0142ada na r\u00f3\u017cnych uczelniach, prowadzi warsztaty oraz konstruuje w\u0142asne mikrofony, pozwalaj\u0105ce mu odkrywa\u0107 nowe metody zapisu d\u017awi\u0119ku w terenie. \u201eDark Sound\u201d to jego pierwsza pozycja w katalogu niemieckiej oficyny Gruenrekorder. W pierwszej kolejno\u015bci dostajemy do r\u0119ki czarn\u0105 ksi\u0105\u017ck\u0119, w twardej oprawie, 176 stron, kt\u00f3r\u0105 najlepiej czyta si\u0119 przy \u015bwietle dziennym z uwagi na spos\u00f3b w jaki j\u0105 wykonano \u2013 na czarnych, atramentowych kartkach wydrukowano teksty w kolorze przypominaj\u0105cym \u201ez\u0142oto\u201d. Artyku\u0142y s\u0105 napisane w czterech j\u0119zykach: huao, baskijskim, hiszpa\u0144skim i angielskim. […<\/a>]<\/p>\n<\/div>\n
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