![\"F.Guyana](\"https:\/\/www.gruenrekorder.de\/Photos\/cover_f.guyana_part_II_marc_namblard_gruen_175_320px.jpg\" "\\"F.Guyana")
<\/p>\n<\/p>\n
<\/p>\n
F.Guyana part II | Marc Namblard<\/a><\/strong> <\/p>\n \u00ab\u00a0F.Guyana part II\u00a0\u00bb is a serie of unreleased field recordings which can be considered as a bonus variation of the album \u00ab\u00a0F.Guyana<\/a>\u00a0\u00bb. <\/p>\n This album is only available in digital version.<\/p>\n <\/p>\n 01. Awala\u2019s Garden <\/p>\n 02. Petit Saut, Under the dead trees <\/p>\n 03. On the dirt road to St-Elie, Primary calls <\/p>\n 04. Sa\u00fcl, Dark night <\/p>\n 05. On the dirt road to St-Elie, Corayas <\/p>\n 06. On the dirt road to St-Elie, Hypsibias boans <\/p>\n 07. On the dirt road to St-Elie, Hermit courtship <\/p>\n 08. On the dirt road to St-Elie, Dusk. <\/p>\n 09. Inselberg Virginie <\/p>\n 10. Camp Ca\u00efman, midnight calls <\/p>\n 11. Salvation Islands <\/p>\n 11 Tracks (67\u203210\u2033) <\/p>\nngg_shortcode_0_placeholder\n <\/p>\n <\/p>\n Credits <\/p>\n Marc Namblard : <\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong> <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> <\/p>\n Marc Namblard recorded F. Guyana (GRUEN 175) in French Guiana, on the coast of South America. Three years of effort were spent in capturing 11 distinct episodes, featuring the forest and coastal wildlife \u2013 birds, monkeys, frogs, insects. Parisian-born Namblard was drawn into the field of nature recording from a background in fine art, and has been doing it since 2000. He\u2019s found employment applying his skills as an \u201cenvironmental educator for popular education organisations\u201d. He often finds himself pulled in two directions with each project, sometimes following logic and sometimes just trusting his instincts. This particular release is educational to the extent that the recordings are annotated with brief paragraphs noting the location, the wildlife, and explanations of what\u2019s going on. I would characterise it as a work of great beauty and subtlety, realised with sensitivity and intelligence by the unobtrusive techniques of Marc Namblard. A serene and relaxing listen is guaranteed. […] <\/p>\n Roger Batty | Musique Machine<\/a><\/strong> <\/p>\n The CD comes in a four panel digipak , and this takes in hazy pictures of the Guiana jungles. We also get a wonderfully inlay booklet, which takes in moody-to- brightly coloured photos of the wildlife & natural landscapes of French Guiana. As well as a small write up for each track, described at what time of day they where recorded, and what wildlife & natural sounds are involved in each tracks make up.<\/p>\n <\/p>\n All the recordings on the release where made & edited by French field recordist & artists Marc Namblard. And I must say he has both a fine ear for interesting sounds, as well as an ability to know when & where to finish a track. Both of course are vital to making a good field recording album, that’s fascinating & re-playable- and that\u2019s exactly what F.Guyana is.<\/p>\n <\/p>\n The CD takes in eleven tracks, & these have running times between three & fourteen minutes- with an album total runtime of seventy two minutes. Over hour worth of field recordings may seem a little much, but Namblard keeps you captivated through-out, with the wonderful selection of unique & soothing sounds. As we\u2019ve come to expect from a Gruenrekorde release- the recording quality through the release is crystal clear, detailed & perfect balanced.<\/p>\n <\/p>\n The album opens in fine lush & soothing fashion with the track \u201cAwala\u201d- this just under six minute piece takes in a recording of the coast at dusk- bringing together the rich layers of crash & foaming sea, with a back drop of crickets & the sound of a gentle breeze blowing the palm trees.<\/p>\n <\/p>\n Track three \u201cCrique Popote, Cacicus Cela\u201d- is taken at daybreak, and offers up just over nine minutes of detailed & complex map of sound- taking in the manic twittering sound of yellow-rumpled Cacique Caw, Guiana red Howler Monkeys call, and the constant hissing of Cicadas.<\/p>\n <\/p>\n Track nine \u201cKaw Mountain, Post-Explosive breeding\u201d is nearing six minute of Alien like chippings, cascading layers of chirping, with a underlying & distant selection of more random twitters & chip. This track truly sounds so alien & surreal in it\u2019s make-up, really taking your breath away with both it\u2019s complex layers & detail.<\/p>\n <\/p>\n I\u2019ve now been playing F.Guyana on & off for last month or so, and each time I come to it again it\u2019s sounds as fresh, vibrate, and rewarding as before. It\u2019s one of the field recording highlights of 2017- that will be of interest to both field recording fans, as well as those who are fan of more textured sound composition too. <\/p>\n textura<\/a><\/strong> <\/p>\n To create F. Guyana, Paris-born Namblard, since 2000 a nature guide, wildlife sound recordist, and sound artist in Lorraine, collected field recordings from the forests and the coastal regions of French Guiana between 2014 and 2016. As mentioned, the seventy-two-minute recording is largely free of artistic intervention apart from the imposition of track durations and the sequencing of its eleven tracks. It’s no less effective, however, for being more straightforward in its presentation than Klement’s, especially when the details of the various French Guiana locations are so vividly captured.<\/p>\n <\/p>\n Some sounds, such as water burble and insect thrum, are generic as far as field recordings-based material is concerned, but many others give the project a distinctive character. \u201cCrique Popote, Rhinella marina,\u201d for example, is distinguished by the rather woodpecker-like trilling of Cane toads, whereas \u201cCrique Popote, Cacicus cela\u201d similarly tickles the ear, in this case with the bright cawing of Yellow-rumped Caciques and the unsettling cries of Guianan Red Howler Monkeys. Generated by Black Spider Monkeys, Red Howler Monkeys, bees, cicadas, and crickets, the cumulative throb roaring through \u201cForest drones\u201d is also undeniably arresting (at one point, the strangulated wail startlingly begins to resemble the hollow death rattle of a dying person).<\/p>\n <\/p>\n F. Guyana is also, strikingly, a great deal more \u2018musical‘ than one might expect, given its concentration on undoctored nature phenomena. Animal and insect sounds punctuate droning backdrops of bird chatter and cicada thrum in a manner that suggests the organization of a formal composition. During \u201cPetit Saut, Ara chlroropterus,\u201d to cite one instance, it’s easy to regard the raw vocal declamations of the Red-and-green Macaw as a lead \u2018instrument‘ of sorts, with the other sounds taking their place as ground to its figure. Like any effective field recordings-based project, Namblard’s enables the listener to arrive without traveling, so to speak: even if one never ventures to the coastal regions of French Guiana, F. Guyana certainly allows one to get some vicarious sense of what it would be like to do so, through both auditory and, because of the booklet photographs, visual means. <\/p>\n \u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong> <\/p>\n Odkodowywanie d\u017awi\u0119k\u00f3w natury (przynajmniej w moim rozumieniu) to ka\u017cdorazowo fascynuj\u0105cy proces, najcz\u0119\u015bciej b\u0119d\u0105cy czym\u015b wi\u0119cej ni\u017c tylko ws\u0142uchiwaniem si\u0119 w nocne dialogi hord \u015bwierszczy, cykad, ma\u0142p czy ptak\u00f3w.<\/p>\n <\/p>\n Niech soundtrackiem do takowych eksploracji b\u0119dzie niedawno wydana p\u0142yta francuskiego artysty d\u017awi\u0119kowego Marca Namblarda, pt. \u201eF.Guyana\u201d. Jego materia\u0142 powsta\u0142 w przeci\u0105gu ostatnich trzech lat, dok\u0142adnie podczas pory suchej jak i mokrej na terenie las\u00f3w tropikalnych Gujany Francuskiej. Dla zainteresowanych dodam, i\u017c Namblarda mo\u017cna spotka\u0107 w Lotaryngii (p\u00f3\u0142noco-wschodnia cz\u0119\u015b\u0107 Francji) w roli przewodnika.<\/p>\n <\/p>\n Francuz podzieli\u0142 sw\u00f3j album na jedena\u015bcie fragment\u00f3w \u2013 wynotowa\u0142em sobie co najmniej kilka, kiedy to w trakcie przedzierania si\u0119 przez fonosfer\u0119 las\u00f3w tropikalnych, dozna\u0142em nadzwyczaj przyjemnego zagubienia, dezorientacji czy uczucia \u201edotykania\u201d nieznanych mi wcze\u015bniej d\u017awi\u0119k\u00f3w. Z ca\u0142\u0105 pewno\u015bci\u0105 do tych wyj\u0105tkowych zaliczam w \u201eCrique Popote, Rhinella marina\u201d nagrane na wsch\u00f3d od wsi Sa\u00fcl, gdzie pierwsze skrzypce odgrywa ropucha aga (nazywana te\u017c kururu lub ropuch\u0105 olbrzymi\u0105). Jej odg\u0142osy wydawane noc\u0105 robi\u0105 du\u017ce wra\u017cenie. W tym samym miejscu, cho\u0107 ju\u017c o \u015bwicie, w \u201eCrique Popote, Cacicus cela\u201d stykamy si\u0119 z pi\u0119knymi trelami kacyka \u017c\u00f3\u0142tosternego. W nast\u0119pnych fragmentach (np. \u201eKaw Mountain, Manucus manucus\u201d) s\u0142yszymy niepozornego aczkolwiek charakterystycznego ptaszka nazywanego manakinem brodatym.<\/p>\n <\/p>\n Na po\u0142udnie od jeziora Petit Saut zadziwiaj\u0105 okrzyki czerwono-zielonych ar. Nie mo\u017cna pomin\u0105\u0107 tak\u017ce fascynuj\u0105cego dronu natury (\u201eForest drones\u201d), stworzonego przez zacne grono \u2013 ma\u0142py: czepiak czarny i wyjce, pszczo\u0142y, cykady oraz \u015bwierszcze. Ch\u00f3ry kilku gatunk\u00f3w p\u0142az\u00f3w w \u201eKaw Mountain, Post-explosive breeding\u201d mog\u0105 kojarzy\u0107 si\u0119 z elektroniczn\u0105 sinusoid\u0105 o psychodelicznym zabarwieniu, ale pulsuj\u0105c\u0105 w samym \u015brodku le\u015bnej kakofonii. Zainteresowa\u0142 mnie r\u00f3wnie\u017c \u015bwiergot strzy\u017cona melodyjnego w \u201eCrique Douille, Arada\u201d.<\/p>\n <\/p>\n Regularnie opisuj\u0105c na Nowej Muzyce wydawnictwa z oficyny Gruenrekorder zawsze zastanawiam si\u0119 nad istot\u0105 field recordingu. Wydaje si\u0119, \u017ce wci\u0105\u017c dla wielu os\u00f3b field recording jest bezsensown\u0105 sztuk\u0105 uprawian\u0105 przez zbzikowanych ekscentryk\u00f3w albo introwertyk\u00f3w. Nie twierdz\u0119, \u017ce mentalnie pozostajemy jeszcze w latach 30. XX w., cho\u0107 z drugiej strony warto zada\u0107 sobie pytanie: czy ch\u0119\u0107 poznawania nagra\u0144 terenowych przez przeci\u0119tnego odbiorc\u0119 wyostrzy\u0142a si\u0119 a\u017c tak mocno od czas\u00f3w najwi\u0119kszej aktywno\u015bci artystycznej Ludwiga Kocha (przypadaj\u0105cej na lata 50. i 60. XX w.) ? Spr\u00f3bujcie sami sobie odpowiedzie\u0107 na to by\u0107 mo\u017ce g\u0142upie pytanie, ale my\u015bl\u0119, \u017ce warte przemy\u015blenia. <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n Beach Sloth<\/a><\/strong> <\/p>\n Sleepy in sentiment is the opener \u201cAwala\u201d with gentle waves giving the sound a distinctly summery flair. One of the most fascinating track is \u201cCrique Popote, Cacicus cela\u201d where the unique sound of the bird at times recalls the digital synthesis of Florian Hecker\u2019s work in terms of its almost angular digital sound. A meditative spacious drone is dominant on the blissful atmosphere of \u201cBoeuf Mort, Dark night\u201d. Much more ominous in execution is the eerie sheen of \u201cForest Drones\u201d whose tension is without relief. Surreal and yet another highlight comes from the primal disorientating sound of \u201cKaw Mountain, post-explosive breeding\u201d. As a nice touch Marc Namblard include a digital bonus, which includes the playful \u201cP.St-Elie_Hypsiboas boans\u201d. With \u201cC.Caiman_Midnight calls\u201d Marc Namblard highlights how space is explored by birds with their echoing calls. Ending things with a thoughtful attitude is the luxurious \u201cSalvation\u2019s islands\u201d.<\/p>\n <\/p>\n Quite engrossing in the unusual locale and the unusual sounds of the lovely creatures who reside there, Marc Namblard delivers a gorgeous view of the world on \u201cF. Guyana\u201d. <\/p>\n Holger Adam | testcard<\/a><\/strong> F.Guyana part II | Marc Namblard Gruen 175 (digital bonus) Audio CD & Digital > [here] Reviews \u00ab\u00a0F.Guyana part II\u00a0\u00bb is a serie of unreleased field recordings which can be considered as a bonus variation of the album \u00ab\u00a0F.Guyana\u00a0\u00bb. All sounds were recorded in the forests and coastal regions of French Guiana in […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-16096","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16096","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=16096"}],"version-history":[{"count":29,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16096\/revisions"}],"predecessor-version":[{"id":17432,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16096\/revisions\/17432"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 175 (digital bonus)
\nAudio CD & Digital > [here<\/a>]
\nReviews<\/a><\/p>\n
\nAll sounds were recorded in the forests and coastal regions of French Guiana in November and December 2014, 2015 and 2016 (with Sennheiser MKH microphones and Nagra recorders).<\/p>\n
\nAwala Yalimapo, somewhere between the beach at les Hattes and the large swamp of Panato. Soft watery murmur close to the mudflats, (gentle) wind in palm trees, cicadas. Birds chatting: Crested Oropendola (Psarocolius decumanus<\/em>), Yellow-rumped Cacique (Cacicus cela<\/em>), Great Kiskadee (Pitangus sulphuratus sulphuratus<\/em>), House Wren (Troglodytes aedon<\/em>)\u2026<\/p>\n
\nSouth of lake Petit Saut, early morning. Birds are waking up under tall dead trees, relics of a drowned forest: House Wren (Troglodytes aedon<\/em>), Lineated Woodpecker (Dryocopus lineatus<\/em>), Orange-winged Amazon (Amazona amazonica<\/em>).
\nMP3<\/a><\/p>\n
\nSouth of Sinnamary. Daylight soundscape typical of the primary forest undergrowth, with the explosive song of Screaming piha (Lipaugus vociferans<\/em>) and regular calls of a Smoky jungle frog (Leptodactylus pentadactylus<\/em>), hidden under a pile of dead leaves.<\/p>\n
\nNorth of Sa\u00fcl. Night music, featuring an array of living creatures, including Pristimantis chiastonotus<\/em>, a small frog (in the foreground), a Spectacled Owl (Pulsatrix perspicillata<\/em>) and Guianan Red Howler Monkeys (Alouatta maconelli<\/em>), high up in the canopy.<\/p>\n
\nNature trail on St-Elie\u2019s dirt road, mid-morning. A Coraya Wren (Pheugopedius coraya<\/em>) starts singing and (from 1\u201911\u2019\u2019) is joined by another to perform a duet.<\/p>\n
\nBetween grasslands and secondary forest, early at night. A choir of Giant Treefrogs (Hypsiboas boans<\/em>) close to the woods. In the background, several Rough-skinned Green Treefrogs (Hypsiboas cinerascens<\/em>) are calling as well as a few Rufous Frogs (Leptodactylus fuscus<\/em>), in a nearby quarry.<\/p>\n
\nNear an open-air community hall on St-Elie\u2019s dirt road. Courtship display by Long-tailed Hermits (Phaethornis superciliosus<\/em>), a species of forest hummingbird, in a small creek. Their compulsive \u00ab\u00a0tsiks\u00a0\u00bb are near-inaudible. Cicadas. A Red-necked Woodpecker (Campephilus rubricollis<\/em>) is also in the vicinity, recognisable by its short and powerful drumming consisting of two single hits.<\/p>\n
\nSame location, at dusk. The calls of a Loreto white-lipped Frog (Leptodactylus rhodomystax<\/em>) smack the undergrowth. An Oophagous Slender-legged Treefrog (Osteocephalus oophagus<\/em>) can be heard intermittently, identifiable by its song evoking mocking laughter. A little further away, two other species of Lepdodactylus<\/em> (Leptodactylus cf. knudseni, Leptodactylus aff. mystaceus<\/em>) and several Snouted Treefrogs (probably Scinax ruber<\/em>) liven up a small temporary pool.
\nMP3<\/a><\/p>\n
\nSavane-roche Virginie, at the beginning and at the end of the morning. In an area of transition between a rocky outcrop and the forest. A soundscape dominated by the spellbinding song of Green Oropendolas (Psarocolius viridis<\/em>), high above, followed by the Golden-winged Parakeets (Brotogeris chrysoptera<\/em>). Receptive ears will notice the small grinding calls of the Amazonian Poison Frogs (Ranitomeya ventrimaculata<\/em>), hidden in nearby bromeliads, as well as the faint clinking sound betraying the immediate presence of a wasp nest (unidentified species).
\nMP3<\/a><\/p>\n
\nOn the road to Kaw, half-way through the night. A few Clown tree frogs (Dendropsophus leucophyllatus<\/em>) and Giant monkey frogs (Phyllomedusa bicolor<\/em>) are calling close to a creek, a few dozen minutes after a short but generous shower.<\/p>\n
\nIle Royale, mid-morning. Undulating cicadas. Bubbling sea.<\/p>\n
\n(digital bonus)<\/p>\n
\n
\n\u2014
\nSound recording, studio editing and mastering: Marc Namblard
\nDesigned by U9.net
\nWritten by Marc Namblard
\nTranslated into English by H\u00e9l\u00e8ne Marchand
\nPhoto credits: Anne-C\u00e9cile Monnier, Hadrien Lalag\u00fce, Yann Chassatte, Antoine Baglan and Marc Namblard.
\nThe sounds, texts and images presented here are the property of the authors.
\nAll rights reserved.
\nA big warm thank you to Yannick Chassatte, Fernand Deroussen, Antoine Baglan, Thomas Tilly, Anne-Laure All\u00e8gre & Nicolas Quendez, Pierre Gutierrez & Ronan Monel (Nature de Guyane), Nils de Pracontal & Charlotte Briand, Kami Khazraie, Hadrien Lalagu\u0308e, Yannick Dauby, Anne-C\u00e9cile Monnier, Daniel Wambach, Sophie Krommenacker, Orlane Cornu, Joanne Lacour, Nicolas Franek.<\/p>\n
\nwww.marcnamblard.fr<\/a>
\nwww.promeneursecoutant.fr<\/a><\/p>\n
\nGermany \/ 2017 \/ Gruen 175 (digital bonus) \/ LC 09488 \/ GEMA \/ EAN 4050486989432<\/p>\n
\n
\nMarc Namblard is no stranger to audio-naturalistic approaches \u2013 we could remember his previous release on labels like Nashvert, Ou\u00efe-Dire e Kalerne \u2013 and in fact even to the exploration of open-air spaces in French Guiana, which have already been the subject of long recordings. The sound collage of those first auditory captures \u2013 field recordings made between the dry season and the \u201clittle rainy season\u201d \u2013 clearly leave a strong impression on the Parisian investigator who, for this release on the prestigious Gruenrekorder, has this time chosen, always at the same time of year, the coastal regions, surely no less charmless than other, in the forest and in the savannah, still rich in different and well detailed vibrating frequencies, of resonant fragments and enveloping iterations. The environmental suggestions are often kept abstract, intense of a single sound, and then in other cases open to the chirping of a bird rookery, to the monkeys\u2019 and cicadas\u2019 gurglings \u2013 among the morning inhabitants \u2013 that are highlighted with guttural and crackling expressions. On Saint-Elie road, close to Sinnamary, an area that is still at the edge of the forest, Marc Namblard is attracted by colibri emissions, by high-pitched buzzing of ever present cicadas, and also by the constant hammering of woodpeckers. The sounds we hear are never ordinary: the collected field recordings are rich in minimized interferences and the sequences captured by drones are in other cases recordings of very specific frogs (leptodactylus, vitreorana oyampiensis and eleutherodactylus johnstonei, the ones best known), of birds (for example cyphorhinus arada or eptotila rufaxilla) or just of the ocean, accompany by the breaking waves on the beach tenuous and unsettling or by the same ones which incessantly beat on the coral reef. The whole work seems infused by the pure spirit of the original phonography and we don\u2019t perceive any post-editing: some more \u201cembellishment\u201d is given by the interesting attached book, completed with suggestive color images credited to Hadrien Lalag\u00fce, Antoine Baglan and Anne C\u00e9cile Monnier, authentic experts in these kind of shots. In conclusion, the sound space is really well defined, full of details and hyper-vivid and the listening is definitely pleasant, it is completely up to such a sedimented and valuable record series.
\nlink<\/a><\/p>\n
\nBeyond The Fringe
\nTwo recent field recording releases from Gruenrekorder, the German label that offers unparalleled high quality releases and packages in this genre. Both albums are presented in soft digipaks with booklets of full colour photographs, complementing the sounds. Both from 12th June 2017.<\/p>\n
\nlink<\/a><\/p>\n
\nF.Guyana is a collection of soothing, detailed, often layered, and lush field recordings from forests and the costal regions of French Guiana. The CD appears on the always dependable & quality bound German label Gruenrekorder- either as a CD( which I\u2019m reviewing), or as a digital release that features a bonus batch of tracks.<\/p>\n
\nlink<\/a><\/p>\n
\nIt’s fitting that these Gruenrekorder releases by Katharina Klement and Marc Namblard respectively appear as part of the label’s Sound Art Series and Field Recording Series: peripheries is very much a highly personalized sound portrait the artist fashioned of Belgrade, whereas F. Guyana is a relatively undoctored set of field recordings collected at French Guiana. Both releases benefit from Gruenrekorder’s customary dedication to high-quality presentation, with each fold-out package supplementing its CD with a full-colour booklet of photographs and text that thoroughly enhances the project. Each also rewards a headphones-styled listen when its sound field is so rich in detail and panoramic in spatial definition. […<\/a>]<\/p>\n
\nlink<\/a><\/p>\n
\nJeste\u015bcie ciekawi jakie odg\u0142osy wydaje \u015bwiat przyrody Gujany Francuskiej?<\/p>\n
\nlink<\/a><\/p>\n
\nWith the weather being all sunny, and located in a very quiet neighbourhood, I sleep with windows open and every morning birds awake me quite early. Being no ornithologist, I have no idea which one, but one of these birds makes a very high-pitched noise, which is, come early morning, quite irritating. How remarkable, I thought a few hours later, that I don’t mind hearing such sounds when they arrive on compact disc. Gruenrekorder is a German label with an extensive catalogue of works that deal with field recordings (you know this of course from the many reviews already appeared here) and here we have two new ones, dealing with places I have never been too. Which always made me wonder if that is a ‚problem‘ or not; can I fully relate to the work at hand, without ever visited the place? Of course it is a bit of a theoretical question, since the review has to be written anyway.
\nI started this little trip overseas (for me that is) and joined Marc Namblard on a journey through France Guyana. Namblard, who calls himself a ’sound artist and naturalist‘ is from the North of France and has a few releases to his name (see Vital Weekly 624, 737 and 914). Namblard is entirely focussed on recording the sounds of the rain forest and animal life within that. In the booklet that comes with this (and as usual, no expenses are spared with Gruenrekorder) Namblard gives us information about the location where did his recordings and what kinds of animals we are hearing. He certainly seems to know his stuff. What particularly struck me in the eleven pieces here was the fact that many of the sounds we hear are very minimal and repetitive and also quite musical. I am not sure how that Namblard does his editing, be it that each of these pieces is a strict recording of a particular event with nothing else than just cut ’n paste, or if there is layering of sounds, looping or such like. In a piece like ‚Crique Popote, Rhinella Marina‘, we hear the beginning of night with far away chirping of cicadas and close by the Cane toads (also known as Rhinella marina) and the way the piece unfolds sounds very much like a song; one sound coming in on it’s own and later on repeated, altered a bit, and becoming a kind of chorus. As the CD progresses the sounds get more and more minimal, but also they seem to be electronic; here I was thinking about that bird that woke me up this morning. In ‚Forest Drones‘ one could easily mistake the repeating sound to be that of lo-fi cassette loop, and in ‚Kaw Mountain, Post-explosive breeding‘ it sounds like a synthesizer. It is not easy to think of all of this in terms of ‚just‘ natural sounds, but so it is. This is an excellent release of pure field recordings sounding like some great music. […<\/a>] Both of these new Gruenrekorder releases are excellent, but I preferred the one by Namblard to the one by Klement, mainly for it’s minimal approach that worked out quite musically.
\nlink<\/a><\/p>\n
\nAbsolutely soothing in its reinterpretation of the real, Marc Namblard casts a gorgeous spell on \u201cF. Guyana\u201d. Nicely documenting a world that few others get to truly engross themselves in, the way the piece unfolds is quite masterful adhering to Luc Ferrari\u2019s love for his surroundings. Elements filter in and out of the mix, as every song represents yet another step in the journey. Naturalistic in tone, there is something so warm and inviting about the way Marc Namblard lets the sounds speak for themselves with minimal interference.<\/p>\n
\nlink<\/a><\/p>\n
\nDrau\u00dfen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nGruen, gruen, gruen sind alle meine Farben \u2013 bereits zum dritten Mal in Folge eine Gruenrekorder-Kolumne in testcard. Wie immer kommt man aus dem Staunen nicht heraus, wenn man sich die Ver\u00f6ffentlichungen des Frankfurter Labels anh\u00f6rt. Unerschrocken und ohne mit der Wimper zu zucken haben sie die Ger\u00e4usche von laufenden Filmprojektoren auf Vinyl gepresst: Sounds Of The Projection Box<\/a> hei\u00dft das Album von MICHAEL LIGHTBORNE<\/a> und es dokumentiert das Rattern der Maschinen, deren Ger\u00e4usche \u00fcblicherweise nicht aus der Kabine von Filmvorf\u00fchrern hinaus dringen. Ger\u00e4usche, die vom Aussterben bedroht sind, weil Filme ja mehr und mehr digital an Lichtspielh\u00e4user \u00fcbermittelt und dort abgespielt werden. Insofern wird hier akustisches Kulturerbe archiviert, und wer die Platte auflegt, kann sich bei geschlossenen Augen in die Rolle des Filmvorf\u00fchrers imaginieren und zus\u00e4tzlich versuchen, den Tonspuren bzw. -fetzen der ablaufenden Filme ein zus\u00e4tzliches Narrativ abzuringen. \u00c4hnlich abenteuerlich auch die Aufnahmen von GREGORY B\u00dcTTNER<\/a>, der f\u00fcr Voll.Halb.Langsam.Halt<\/a> die Fahrt eines alten Dampfschiffes, eines Eisbrechers dokumentierte, bearbeitete und sein Vorgehen sowie das Ergebnis wie folgt kommentiert: \u201eI had the chance to take a trip on the ship from Rostock to Ru\u0308gen over the Baltic Sea in 2010. The body of the ship is completely built from metal, so it is a big resonant room which sounds very different on each spot which I put my contact mics on (I used two contact mics, so I could record in stereo). I walked around the ship, placing my mics on different areas of the ship and also directly on parts of the steam engine, which is still fired by coal. For the composition I only used the pure recordings without additional sound manipulations, only juxtapositions, transitions and cuts.\u201d Alles klar? Der Kahn bzw. das, was B\u00fcttner aus seinen Ger\u00e4uschen macht, kann locker mit Merzbow mithalten. Harter Stoff. Metallisch k\u00fchl, aber weniger krachend klingt auch Gasworks<\/a> von GERALD FIEBIG feat. EMERGE & CHRISTIAN Z. M\u00dcLLER<\/a>. Der Ort als Resonanzk\u00f6rper f\u00fcr Ger\u00e4usche bildet das Ausgangsmaterial f\u00fcr diese CD. Entsprechend r\u00e4umlich ist in der Tat viel von dem, was es zu h\u00f6ren gibt, organisiert: Echo und Hall spielen eine gro\u00dfe Rolle im Klangbild \u2013 aber auch eine dialekt-gef\u00e4rbte Stimme, die von der industriellen Nutzung des Geb\u00e4udes erz\u00e4hlt, kommt, erg\u00e4nzt um Ger\u00e4usche, zu Wort. So entsteht f\u00fcr das Gaswerk von Augsburg-Oberhausen ein Denkmal. Der gleicherma\u00dfen verspielte und dokumentarische Charakter der musikalischen Arbeiten verwandelt den fr\u00fchindustriellen Arbeitsalltag in eine geisterhafte Klangreise: \u201eDes gibt\u2019s heut\u2018 nimmer.\u201c Bemerkenswert. Maschinenmusik ist auch auf der Slotmachine<\/a>-10\u201c versammelt, einem Projekt von ACHIM ZEPEZAUER<\/a>, der von unterschiedlichen Musiker*innen jeweils 45 Sekunden lange Klangskizzen anfertigen lie\u00df, die in der Logik eines Spielautomaten und nach Zufallsprinzip geleichzeitig aufgerufen werden k\u00f6nnen. Realisiert ist das im Rahmen einer Online-Anwendung, die das Bedienen eines virtuellen Spielautomaten zur Erzeugung der Zufalls-Kompositionen zug\u00e4nglich macht, hier: http:\/\/slotmachine.kuhzunft.com<\/a>. Viel Spa\u00df! (Die 10\u201c dokumentiert nur einen kleinen Teil der gewisserma\u00dfen unendlichen Kombinationsm\u00f6glichkeiten.) Auch KATHARINA KLEMENT<\/a> liefert mit Peripheries<\/a>, einem akustischen Portrait der Stadt Belgrad, eine quirlig-nerv\u00f6se und herausfordernde Arbeit ab. Unter Zuhilfenahme des Stadtplans erstellte Klement eine kartographisch inspirierte Partitur. Verschiedene Lokalit\u00e4ten in der Stadt wurden aufgezeichnet und ineinander gemischt. So entsteht ein wahres Klang-Gewimmel, das beizeiten wirklich anstrengend sein kann. Ich empfehle nach Selbstversuch folgendes: Die Aufnahmen auf dem Balkon abspielen und die Balkont\u00fcre offenlassen, w\u00e4hrend man im Zimmer bleibt. So entsteht der Eindruck, drau\u00dfen sei Belgrad! Bei der Gelegenheit gebe ich gerne zu, dass mir im Zweifel die eher ruhigen Aufnahmen aus tropischen Gefilden lieber sind. F. Guyana<\/a> von MARC NAMBLARD<\/a> hilft sich vom Stress in Belgrad zu erholen. Allerlei hypnotisches Summen, Surren und Dr\u00f6hnen der Flora und Fauna von der Nordk\u00fcste S\u00fcdamerikas! Auch DAVID ROTHENBERG<\/a> hat wieder mit allerlei V\u00f6geln Musik gemacht und sich f\u00fcr Nightingale Cities<\/a> auch zus\u00e4tzliche menschliche Instrumentalist*innen dazu geholt. Die in Berlin und Helsinki angefertigten Aufnahmen geh\u00f6ren sicherlich zum zug\u00e4nglichsten Material in dieser Kolumne, die V\u00f6gel sind freundliche Wesen, die Musik ist es auch. Wer noch nie eine Gruenrekorder-Produktion geh\u00f6rt hat, kann vielleicht auf diesem Weg einen sanften Einstieg in den Katalog des Labels finden. Fr\u00fchlingsmusik. Ganz anders und noch besser: die Windharfen-Aufnahmen auf Path Of The Wind<\/a> von EISUKE YANAGISAWA<\/a>. Windharfen, gro\u00dfe Saiteninstrumente in die Brise gestellt, werden buchst\u00e4blich von der Natur gespielt und je nachdem, wo die Windharfen standen mischen sich unterschiedliche Umgebungsger\u00e4usche unter die bet\u00f6renden Kl\u00e4nge der Instrumente. Ambient Drone mit Seem\u00f6ve. Minimal Music mit Meeresrauschen. N\u00e4her an New Age Klanglandschaften waren Gruenrekorder vielleicht nie, und es schadet nicht: Absolutes Highlight! Das Meer rauscht auch auf De Rerum Natura \/ Dance of the Elements<\/a> von MERZOUGA<\/a>, die nichts geringeres als eine Komposition auf Grundlage des Lehrgedichtes von Lucretius\u2018 wagen. Soweit so ambitioniert, aber da muss man sich nicht abschrecken lassen. Musik ist immer Ausdruck von Ideen, hier eben einer dezidiert philosophischen. Und elektronische Musik eignet sich auch nicht erst seit gestern, zur Verdeutlichung, mithin Vermittlung abstrakter Vorstellungen. Und so knistert es kleinteilig, die Atome tanzen unsichtbar aus den Lautsprechern, eine Stimme fl\u00fcstert hier und da Versatzst\u00fccke in englischer und lateinischer aus dem Gedicht usw. \u2013 ein kurzeiliges, abwechslungsreiches und durchaus spannendes H\u00f6rerlebnis, das dem \u00dcberbau entsprechen mag; letztlich aber spielt es zum Genuss der Komposition keine entscheidende Rolle, w\u00fcrde ich meinen. \u00c4hnlich gelagert ist es wom\u00f6glich im Fall von The Secret Life of the Inaudible<\/a> von ANNEA LOCKWOOD und CHRISTINA KUBISCH<\/a> anzuh\u00f6ren. Die beiden Klangk\u00fcnstlerinnen haben sich Soundfiles von an sich bzw. f\u00fcr Menschen nicht h\u00f6rbaren geophysikalischen Ph\u00e4nomenen zur gegenseitigen Bearbeitung vorgelegt: elektromagnetische Wellen, Ultraschallwellen, Sonnenwinde\u2026 akustische Ereignisse also, die zun\u00e4chst technisch in eine f\u00fcr das menschliche Ohr h\u00f6rbaren Frequenzbereich \u00fcberf\u00fchrt werden m\u00fcssen und von Kubisch und Lockwood bearbeitet wurden, und die dann \u2013 wie auch immer das im Detail von Statten ging \u2013 daraus sozusagen dunkle Materie gewannen. Mich w\u00fcrde einmal interessieren, inwiefern, das geologisch-kosmische Quellenmaterial, wo es ohnehin in den h\u00f6rbaren Bereich \u00fcbersetzt und also synthetisiert werden muss, nicht auch anders, also mit weniger Aufwand, generiert werden k\u00f6nnte? Ich nehme behelfsweise an, es w\u00e4re nicht dasselbe! Wie dem auch sei, das Ergebnis fasziniert: Sunn O))) \u2013 Kindergarten dagegen. Finster dr\u00e4uende, pechschwarze Klangfl\u00e4chen. Wahrhaft infernalische Musik aus dem Reich des sonst Nichtwahrnehmbaren. Hervorragend.
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"