{"id":17548,"date":"2019-10-07T08:39:22","date_gmt":"2019-10-07T08:39:22","guid":{"rendered":"https:\/\/www.gruenrekorder.de\/?page_id=17548"},"modified":"2019-10-08T19:53:28","modified_gmt":"2019-10-08T19:53:28","slug":"gruenrekorder-2017","status":"publish","type":"page","link":"https:\/\/www.gruenrekorder.de\/?page_id=17548","title":{"rendered":"Gruenrekorder \u2013 2017"},"content":{"rendered":"
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ACL 2017 ~ Top Ten Field Recording & Soundscape<\/a><\/strong>
\nKatharina Klement<\/a> ~ peripheries<\/a> (Gruenrekorder)
\n\u201cWhat does Belgrade sound like?\u201d Katharina Klement asks the question not only of herself, but of the local residents she encounters, with colorful results. She travels the streets, picking up memories and realities, visiting the trolley bus, the river, the zoo. In the end, the inhabitants are the greatest draw, the warmth and humor of their responses painting the city with natural ebullience. (Richard Allen)<\/p>\n<\/div>\n

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Sculpting Sound: The Life of a Field Recordist<\/a><\/strong>
\nJack Needham speaks to practitioners of the art of field recording about the history of the craft and their distinct creative philosophies<\/p>\n

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[…] One of the best examples of this is in \u201cCarousel feeding killer whales\u201d taken from the Gruenrekorder release Ocean Sounds<\/a>, a recording that demonstrates the effects of noise pollution on the feeding and social behaviour of killer whales in the Norwegian Archipelagos. […]<\/p>\n<\/div>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong>
\nszmt<\/a> | PARVENU<\/a>
\nBehind szmt (no capitals needed) is Tobias Schmitt, better know, I think, as Suspicion Breeds Confidence, but also an improviser and organiser of concerts. As szmt he \u201ccontextualizes seemingly contradictory material and techniques. All input is equal and will be formed into a coherent but nevertheless open to misinterpretation result by means of improvisation and composition\u201d and for \u2018Parvenu\u2019 we read that it is a \u201cwork about authoritarian structures and developments. The narrative is abstract, all sounds are concrete. Every single sound on this recording is based on recordings from three bee hives\u201d, in which context I guess the whole authoritarian structures becomes funny. […<\/a>]<\/p>\n<\/div>\n

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Review | By Pierre C\u00e9cile \/ Le son du grisli #3<\/a><\/strong>
\nKatharina Klement<\/a> | peripheries<\/a>
\nIl faut souvent s\u2019armer de patience avant d\u2019e\u0301couter un disque Gruenrekorder \u2013 label, rappelons-le, spe\u0301cialise\u0301 dans le eld recor- ding. Je veux dire : lire les textes qui posent le de\u0301cor de l\u2019enregistrement, relier des coordon- ne\u0301es ge\u0301ographiques a\u0300 des points cardinaux, voire suivre a\u0300 la trace et au fur et a\u0300 mesure de l\u2019e\u0301coute le musicien (ou le capteur) qui a de\u0301cide\u0301, un beau jour, de livrer son travail sur CD. Avec la pianiste contemporaine Katharina Klement, c\u2019est un peu di e\u0301rent. J\u2019explique : j\u2019ai fait deux e\u0301coutes de Peripheries. Une sans m\u2019inte\u0301resser a\u0300 son projet, et en y laissant trai\u0302- ner mon oreille. […<\/a>]<\/p>\n<\/div>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong>
\nszmt<\/a> | PARVENU<\/a>
\nSzmt aka Tobias Schmitt is a german sound artist based in Francfurt Am Main who has released four albums and a couple of singles for Attenuation Circuit, Acrylnimbus and Murmure Intemporel. He has participe a several groups, solo works and collaborations with other artists. \u201eParvenu\u201c is a work on structures and all sounds are concrete. Each sound in this release is based on recordings of three beehives. Some of the sounds are inaudible and all of them electronically processed allow to configure an abstraction of those innumerable actions that nature allows in beehives. Repetitive and structured actions that insinuate an established order and hierarchy as in a society like ours. […<\/a>]<\/p>\n<\/div>\n

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Review | By Roger Batty \/ Musique Machine<\/a><\/strong>
\nMarc Namblard<\/a> | F.Guyana<\/a>
\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. 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. […<\/a>]<\/p>\n<\/div>\n

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Hodokeru Mimi | 2017.12.09.sat @Ryosokuin temple <\/strong>
\nPERFORMANCE
\nminoru sato + ASUNA \/ Fabio Perletta \/ Eisuke Yanagisawa \/ Takamitsu Ohta
\nZEN MEDITATION – Toryo Ito
\n#soundart #soundperformance #kyoto #ryosokuin #\u4e21\u8db3\u9662 #\u591a\u805e\u4f1a #\u307b\u3069\u3051\u308b\u8033<\/p>\n

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facebook.com\/events<\/a>
\nhodokeru-mimi.localinfo.jp<\/a><\/p>\n<\/div>\n

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framework radio<\/a> | #620<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nMarc Namblard<\/a> | F.Guyana<\/a><\/p>\n<\/div>\n

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New Release:<\/strong><\/p>\n

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szmt<\/a>: \u2018PARVENU<\/a>\u2019
\nGruen 178\/17 – CD
\n4 Tracks (47:00)
\nrun: 300 copies<\/p>\n<\/div>\n

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New Distribution:<\/strong><\/p>\n

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Manfred Waffender<\/a>: \u2018PLACES_IN_TIME | 24seascapes<\/a>\u2019
\nGrD 30\/17
\nField Recordings
\nDVD-R – 24 Tracks (60:00)<\/p>\n<\/div>\n

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Mikel R. Nieto | Dark Sound<\/a> @ Charivaria<\/strong>
\ncentrocentro.org<\/a>
\nblog.mikelrnieto.net<\/a>
\n_
\nInauguraci\u00f3n: 5 de Octubre, 20 h.
\n06 octubre 2017 \u2013 28 enero 2018
\n_
\nCentro Centro
\nPlanta 5, Plaza Cibeles 1
\n28014 Madrid<\/p>\n<\/div>\n

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framework radio<\/a> | #615<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nCharlie Fox: Four Wild Places<\/a>; from: Autumn Leaves Compilation,
\nGruenrekorder GrDI 088, Germany 2007<\/p>\n<\/div>\n

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\nReview | By PROGRESS REPORT<\/a><\/strong>
\nSelected Recordings of Bayaka Music by Louis Sarno<\/a>
\nSong from the Forest: The Soundtrack<\/a>
\nHaving not yet seen Michael Obert\u2019s film the music here is from renders this harder to put into context, but going by what I understand from the accompanying booklet most of the songs originated from the Bayaka Pygmies in southwestern Central Africa. Each entry was recorded by the film\u2019s subject, Louis Sarno, an American who one day, in the mid-1980s, became enchanted with such a song himself on the radio and not only took himself to the place in the Congo it was sourced from but ended up staying there, adapting to the Bayaka way of life, marrying a Bayaka woman, having children and recording over 1500 hours of music. It\u2019s a compellingly unique story, saying much about the changing world as one individual\u2019s quest to escape the west he grew up in in order to apply new meaning to his life a world away from those trust-funded travelers who take a year out to, uh, \u2018find\u2019 themselves. Although it equally arrives with a plethora of questions, it is hard to take away what Sarno has done to document his adopted tribe or draw attention to both their situation and that of others amongst their neighbours. […<\/a>]<\/p>\n<\/div>\n

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AUSFLUG 4.9.17, 23 Uhr, FSK Hamburg<\/a> | By jetzmann<\/strong>
\nPlaying tracks by
\nrhein_strom, Barry Truax, Roland Etzin, Luc Ferrari, n.n. and more.<\/p>\n<\/div>\n

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Review | By felix \/ freiStil \u2013 Magazin f\u00fcr Musik und Umgebung \/ #74<\/a><\/strong>
\nKatharina Klement<\/a> | peripheries<\/a>
\nNeun Wochen verbrachte Katharina Klement vor drei Jahren in Belgrad. Die Frage, die sich ihr stellte, war, ob und, wenn ja, wie ein akustisches St\u00e4dteportr\u00e4t funktionieren k\u00f6nne. An verschiedenen Pl\u00e4tzen \u2013 vor allem an den Peripherien der Stadt, wie der Titel schon erkl\u00e4rt, aber auch im Zentrum \u2013 sammelte sie Kl\u00e4nge und Krach, Stimmen und Stimmungen und f\u00fchrte Gespr\u00e4che mit Einwohnerinnen unterschiedlichen Alters \u00fcber ihre individuellen H\u00f6rwahrnehmungen. Der Sound der Donaumetropole, multikulturell in jugoslawischen, nicht mehr ganz so in serbischen Zeiten, mit seiner reichen Geschichte an r\u00f6mischen, keltischen und t\u00fcrkischen Einfl\u00fcssen, ihrer gesellschaftlichen und historischen Nichtlinearit\u00e4t, ihrer Ambivalenz. Das akkumulierte Klangarchiv bzw. das akustische Ged\u00e4chtnis Belgrads bildete die Basis f\u00fcr eine Komposition. […<\/a>]<\/p>\n<\/div>\n

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Reviews | By Holger Adam \/ testcard #25: Kritik<\/a><\/strong>
\nDraussen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nIn der letzten Gruenrekorder-Kolumne war ja bereits die Rede davon, dass man ziemlich herum kommt mit den Ohren, wenn man sich mit den CDs des Labels besch\u00e4ftigt, und das war nat\u00fcrlich ausschlie\u00dflich positiv gemeint. Die Aufnahmen, die Gruenrekorder ver\u00f6ffentlicht, werden ansprechend pr\u00e4sentiert und sind ein Abenteuer f\u00fcr die Ohren. So auch dieses Mal.<\/p>\n

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RODOLPHE ALEXIS<\/a> entf\u00fchrt mit The Glittering Thing On The Mountain erneut auf ferne tropische Inseln, wo V\u00f6gel wie Synthesizer klingen und mitunter auch b\u00fchnentaugliche
\nNamen wie Ruddy Kingfisher tragen! Es zirpt Tag und Nacht, und noch viele andere Ger\u00e4usche dringen aus dem Urwald ans Ohr. Wie immer atemberaubend, spannend und entspannend. Noch relaxter geht es bei HAFIS BJARNAD\u00d3TTIR<\/a> zu, deren Sounds Of Iceland \u00fcberraschend reduziert r\u00fcberkommen. Es pl\u00e4tschert, taut, blubbert, rauscht und kocht – je nachdem ob das Mikrophon vor B\u00e4che, Gletscher, hei\u00dfe Quellen, Wasserf\u00e4lle oder Lavastr\u00f6me gehalten wurde. Wasser, Gezeiten, Naturgewalten und gigantische Naturschauspiele, die \u00fcberraschend intime Sounds generieren. Trotzdem wird es beizeiten recht kalt oder hei\u00df gewesen sein, wobei es sich in angemessener Funktionskleidung sicher neben dem Mikrophon hat aushalten lassen. Die Aufnahmen selbst machen wenig fr\u00f6steln, im Gegenteil, sie w\u00e4rmen eher – auch wenn einem der Wind um die Ohren bzw. aus den Kopfh\u00f6rern pfeift. Gro\u00dfes Kopfkino liefert auch, man mag es nicht meinen, der Rhein. Es muss nicht immer Island sein, Karlsruhe hat es auch in sich. Das Duo RHEIN _ STROM<\/a> bestehend aus Lasse-Marc Riek (Aufnahmen) und Thomas M. Siefert (Location Scout), dokumentiert den Klang des Rheines und seiner nahen Umgebung Von der Rheinquelle bis Hafen Karlsruhe auf der ebenso benannten CD. Das sind ein paar Hundert Kilometer, festgehalten in 21 Ausschnitten. Und – im Unterschied zur zivilisationsfernen Wildnis einer tropischen Insel oder der relativen Unber\u00fchrtheit Islands – um den Rhein herum menschelt es, Flugzeuge \u00fcberfliegen den Fluss und Schiffe befahren ihn, Autos und Z\u00fcge begleiten ihn. Auch das h\u00f6rt man. Und so stellt das Booklet zur CD die Frage: \u00bbWie k\u00f6nnen wir als heutige Menschen zu diesem Fluss in Beziehung treten, ohne in der Begegnung mit seiner an manchen Stellen erhaltenen Sch\u00f6nheit wieder einem Romantizismus zu verfallen bzw. im Konfrontiertsein mit den irreparablen Eingriffen sich frustriert und desillusioniert abzuwenden?\u00ab Eine Audio-Aufnahme des Flusses und seiner nicht nur nat\u00fcrlichen Ger\u00e4uschkulisse mag da einen weniger voreingenommenen Zugang gew\u00e4hren. Der Rhein als Fluss und von Mensch und Maschine geformte und genutzte Ressource klingt hier und da wie eine elektro-akustische Komposition (im Hafen Karlsruhe etwa, wenn sich unter Wasser aufgenommene Schifffahrtsger\u00e4usche in der Aufnahme wiederfinden). Das klingt alles recht spannend und wirft anregende mithin schwerwiegende Fragen auf, die nach Umweltschutz beispielsweise. Eine \u00f6kologische Frage, auch f\u00fcr die Ohren. Was muss man nicht alles h\u00f6ren, tagein tagaus! Und was will man nicht h\u00f6ren bzw. was h\u00f6rt man \u00fcberhaupt, wenn es zirpt und raschelt? So harmlos geht es nicht zu, so unber\u00fchrt ist die Natur nicht. Wie (drohende) Umweltverschmutzung als Field-Recording klingt, diese Erfahrung kann man sich am Beispiel von MIKEL R. NIETO<\/a> und seinem Dark Sound eindr\u00fccklich vor Augen bzw. Ohren f\u00fchren. Die Aufnahmen kommen zusammen mit einem pechschwarzen Buch und dokumentieren Naturaufnahmen aus dem Yasuni-Nationalpark in Equador, dessen indigene Bev\u00f6lkerung und tierischer Artenreichtum durch Bohrungen nach einem \u00d6lvorkommen tief unter dem Naturschutzgebiet nicht mehr nur bedroht ist – die Zerst\u00f6rung und Vertreibung ist bereits in vollem Gange. So stellt sich beim Zuh\u00f6ren die Frage, ob der Tropenregen schon auf aufgew\u00fchlte Erde f\u00e4llt, die von Roh\u00f6l verschmutzt ist, und es knattern auch die F\u00f6rdermaschinen auf der CD, die dem schwarzen Buch beigelegt ist. Man k\u00f6nnte fragen, ob nicht mit dem schwarzen Buch (schwarzer Druck auf schwarzem Papier) der p\u00e4dagogische Holzhammer herausgeholt wurde – andererseits entspricht das schwarze, beinahe unlesbare Buch in seinem Aussehen den \u00f6lverklebten V\u00f6geln und Meerestieren, deren Bilder in Europa noch am ehesten mit \u00d6lkatastrophen assoziiert werden, und insofern ist die Aufmachung genau passend. Dark Sound zeigt eindr\u00fccklich die politische und unbequeme Seite dessen, was Field-Recordings auch sein k\u00f6nnen. \u00c4hnlich unheimlich auch die Aufnahmen von CHRISTINA KUBISCH \/ ECKEHARD G\u00dcTHER<\/a> , die auf Unter Grund Grubenwasser zu Geh\u00f6r bringen, das sich in stillgelegten Untertagebausch\u00e4chten sammelt und dort abgepumpt und umgeleitet werden muss, damit es das Trinkwasser in der Region nicht verunreinigt und den Grundwasserspiegel nicht derart anhebt, dass sich das Ruhrgebiet mit der Zeit in \u00bbeine riesige Sumpflandschaft\u00ab (so ein Zitat aus dem Beiheft zur CD) verwandelt. Langzeitfolgen des Kohlebergbaus, gruselig, hier nachzuh\u00f6ren. Verlassen wir diesen Horror und wenden uns noch kurz der Field-Recording basierten Klangkunst und Musik zu. KG AUGENSTERN<\/a> sind per Kanalschifffahrt von Berlin bis Maguelone am Mittelmeer gelangt. Das scheint zu gehen und sie haben auf Tentacles ein Klangexperiment festgehalten, das sich wie folgt erkl\u00e4ren l\u00e4sst: Lange Stangen auf dem Kahn kitzelten bei jeder Durchfahrt unter einer Br\u00fccke deren Eisenkonstruktion und der dabei entstehende jeweils spezifische Sound wurde festgehalten und im Rahmen von Klanginstallationen in diversen Museen zug\u00e4nglich gemacht. Das klingt aufwendig und phantasievoll, es scheppert auch ordentlich, aber auf der Reise stelle ich mir das Spektakel interessanter vor, als das konservierte Ergebnis klingt. Das je eigene Klangprofil der Br\u00fccken, von dem KG Augenstern im Booklet zur CD schreiben, es kommt nicht so recht r\u00fcber. Kommen wir zu DAVID ROTHENBERG \/ KORHAN EREL<\/a>. Rothenberg hat ja schon mit Zikaden musiziert, und auf Berlin B\u00fclb\u00fcl spielt er zu Field-Recordings von Nachtigallen Klarinette. Das ist nach all dem Rauschen und den \u00f6kologisch katastrophalen Perspektiven je nach Geschmack l\u00e4ppisch oder erholsam. Es ist beides, lang lebe der Zwiespalt. Ganz unzweideutig Nerven zerfetzend ist das Ergebnis von CLUB BLEU<\/a> , die auf Dark- Asian- Energy Field-Recordings der Stadt Singapur elektronisch erg\u00e4nzen, verfremden und bis zur Unkenntlichkeit verzerren. Heraus kommt dabei ein elektro-akustischer H\u00f6llenritt. Mir zu stressig, aber m\u00f6glicherweise hervorragend geeignet, morgens statt mit Kaffee mit dieser Musik in die G\u00e4nge zu kommen. Lieber greife ich abschlie\u00dfend zu Sonic Drawings von ROLAND ETZIN<\/a> , die CD liefert auch nicht gerade Easy-Listening, aber das Soundmaterial ist weniger chaotisch organisiert. Etzin kombiniert Field-Recordings unterschiedlicher Herkunft und verfremdet sie ebenfalls elektronisch. Das geht, um es mal etwas flapsig zu formulieren, bei ihm eher in Richtung Nurse With Wound und nicht – wie bei Club Bleu – in Richtung Atari Teenage Riot. Das mal als lahmer Vergleich zum Abschluss.<\/p>\n<\/div>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong>
\nAngus Carlyle<\/a> | In The Shadow Of The Silent Mountain<\/a>
\nWhile leafing through the essential but elegant booklet of In The Shadow Of The Silent Mountain and starting \u201cAcqua Bianca\u201d, the first of 8 files\/compositions present in this digital album by Angus Carlyle for Gruenrekorder, we soon get the feeling of plunging into a point-like sound landscape. This landscape is characterized by natural sounds, at first hardly recognizable, then similar to something dripping, fluid, winter-like: maybe ice sheets breaking and snow under the boots. The various creakings then leave space for stronger sounds. In \u201cBells of Church\u201d we find some descriptive field recordings (the bells, the flock to pasture, some southern Italian dialects typical of a rural setting). In \u201cFifty Breaths in the Valley\u201d we find more repetition of sound effects, basically some echoes which are repeated and more shaded and attached to some dialogue fragments, all objects of sound editing. […<\/a>]<\/p>\n<\/div>\n

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Review | By textura<\/a><\/strong>
\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.<\/p>\n

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Katharina Klement<\/a> | <\/a>peripheries<\/a>
\nIn 2014, Klement, an Austrian-born and Vienna-based sound artist, spent nine weeks in Belgrade where she collected sound materials from various parts of the city to help answer the questions, \u201cWhat does this city sound like?\u201d and \u201cIs it possible to portray it using sounds?\u201d; to help flesh out those answers, she also interviewed people of different ages and backgrounds about the city. In conceptualizing the proposed work, she designed a score using her city map with her apartment as the center around which eight concentric circles were drawn; recordings gathered from those demarcated zones were then shaped into eight musical layers to produce a presentation piece featuring eight channels and eight speakers (the fifty-two-minute CD presents a stereo version). […<\/a>]<\/p>\n

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Marc Namblard<\/a> | F.Guyana<\/a>
\nTo 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. 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. […<\/a>]<\/p>\n<\/div>\n

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framework radio<\/a> | #608<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nArtificial Memory Trace<\/a> & Porya Hatami<\/a> | REPREMONITIUM<\/a><\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nKatharina Klement<\/a> | peripheries<\/a>
\nAustriacka eksperymentatorka wybra\u0142a si\u0119 do Belgradu, \u017ceby odpowiedzie\u0107 sobie na kilka pyta\u0144 zwi\u0105zanych z fonosfer\u0105 tego miejsca. Katharina Klement pochodzi z jak\u017ce zas\u0142u\u017conego dla historii muzyki wsp\u00f3\u0142czesnej miasta Graz, cho\u0107 obecnie mieszka w Wiedniu. Kompozytorka, pianistka i improwizatorka cz\u0119sto w swoich kompozycjach wykorzystuje na r\u00f3\u017cnych poziomach preparowany fortepian oraz elektroakustyk\u0119. Wydaje p\u0142yty od przesz\u0142o dwudziestu lat. Oczywi\u015bcie nie jest jej obcy tak\u017ce soundart o czym \u015bwiadczy najnowsze wydawnictwo , pt. \u201eperipheries\u201d. Artystka sp\u0119dzi\u0142a w 2014 roku dziewi\u0119\u0107 miesi\u0119cy w Belgradzie, koncentruj\u0105c si\u0119 na zadawaniu pyta\u0144 i szukania na nie odpowiedzi: Co to jest za miasto? […<\/a>]<\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nMarc Namblard<\/a> | F.Guyana<\/a>
\nJeste\u015bcie ciekawi jakie odg\u0142osy wydaje \u015bwiat przyrody Gujany Francuskiej? 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. 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. […<\/a>]<\/p>\n<\/div>\n

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Review | By Richard Allen \/ a closer listen<\/a><\/strong>
\nKatharina Klement<\/a> | peripheries<\/a>
\nWhat comes to mind when you think of Belgrade? Katharina Klement went on a nine-week mission to discover the sound of the city, and came away with a multitude of answers. peripheries plays like a sonic photo album, the images more important than the flow. While the album begins with a thump, the field recordings soon settle into a sort of rhythm. As the set progresses, a tapestry is revealed. The overture of the city is heard from a balcony: dogs, sirens, traffic, street music, passers-by. A discernible hum emerges. Is this Belgrade? Can a single chord, a melange of sounds, sum up the city? Klement answers with an emphatic no. Her explorations reveal jagged edges and clear demarcations, from Tesla\u2019s gorgeously amplified induction motor to the bells of Saint Sava. […<\/a>]<\/p>\n<\/div>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong>
\nMikel R. Nieto<\/a> | Dark Sound<\/a>
\nIn the product page on the label\u2019s website the description of this release ends with this warning: \u201cPartially legible. Sunlight reading recommended\u201d. It\u2019s hard to fail recognising that this warning is absolutely appropriate, until you realise that it\u2019s a black book, with black opaque pages, printed with black lucid ink, housing a black CD. And it doesn\u2019t stop there, as it doesn\u2019t have a fixed sale price, but its price is determined by the crude oil Brent price at the time of purchase, so the author and label warn that if you buy the book you\u2019ll \u201ccontribute to the destruction of the planet.\u201d With these creepy premises, a curiosity about the content of the work immediately arises. And after a few attempts, the reader can find the right angle and light to (struggle to) start reading realising that it\u2019s a remarkable collection of essays, pictures and documents on the oil industry\u2019s impact on the Ecuadorian natural environment. […<\/a>]<\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nThomas M. Siefert<\/a> & Lasse-Marc Riek<\/a>
\nrhein_strom | von der rheinquelle bis hafen karlsruhe<\/a>
\nDocumenting a surrealist walk is the busy atmospherics of Thomas M. Siefert & Lasse-Marc Riek\u2019s \u201crhein_strom von der rheinquelle bis hafen Karlsruhe\u201d. Nicely merging the natural with the industrial tinged landscape the sound truly has love for its surroundings. The analysis of the sound works wonders as well for the duo utilizes light edits to further emphasize exactly how exactly the world interacts. Within the tapestry of sound there are found conversations, mechanical churns, and birdsong that is woven together. Rather than focus on any one of these the duo incorporates them altogether as a greater whole. […<\/a>]<\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nChristina Kubisch<\/a> & Eckehard G\u00fcther<\/a> | Unter Grund<\/a>
\nFinding the mysticism in everyday life, Christina Kubisch & Eckehard G\u00fcther sculpt elaborate electro-acoustic field recordings with \u201cUnter Grund\u201d. Quite lush in terms of their sonic detail not a single element goes unnoticed. Much of the sound has a journey-like quality to it while the origin of the sound slowly comes into view. By opting for such a style the pieces resonant on an intellectual as well as an emotional level. Sounds positively teem with life for the duo chooses to amplify the busy moments in a life that so often go completely unnoticed. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nRoger D\u00f6ring<\/a> & Konrad Korabiewski<\/a> | Komplex<\/a>
\nAnother release from the sound-art side of Germany’s Gruenrekorder, Komplex is a collaboration between saxophonist Roger D\u00f6ring and electronic improviser Konrad Korabiewski. Recorded over two years in a variety of locations and different acoustic spaces, D\u00f6ring, who also improvises on c clarinet, provides the material which Korabiewski manipulates into unfamiliar shapes or adds to with mostly subtle electronics and field recordings. The first piece Kremmenerstra\u00dfe opens with quiet street noise (perhaps recorded from the Berlin street which gives the piece its title) before D\u00f6ring’s baritone sax appears playing extended low notes which are overdubbed and lightly processed by Korabiewski. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nR. Schwarz<\/a> | The Scale Of Things<\/a>
\nGruenrekorder has been one of my favourite labels of the last few years. Their output traces a line from socio-political academic works like Hein Schoer’s remarkable The Sounding Museum to documentary style field recordings and in this case, complex, composed works of sound-art. The blurb for R.Schwarz’s The Scale of Things notes its distant relationship with classic musique concrete but emphasises the transformational approach taken by Schwarz and his combining audio processing with modular synthesis. The result is a rather dark and engaging suite of pieces that attempt to capture something of the chaos and indeterminacy of the natural environment, amplifying it through studio techniques and electronic sound. The cover art gives some indication to the compositional approach, eschewing the type of formal style associated with music concrete; instead, presenting a confusing collage of monochrome environments and magnified elements that could be insect, plant or otherwise. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nAngus Carlyle<\/a> | In The Shadow Of The Silent Mountain<\/a>
\nIn keeping with Gruenrekorder’s pedigree in curating immersive multi-media experiences centred on field recordings, Angus Carlyle’s In the Shadow of the Mountain does not disappoint. The work consists of fifty 100 word texts and 33 split page photographs (presented in two accompanying booklets) and a composed series of field recordings captured over a three year period in the Picentini mountain area of Southern Italy. Immediately on perusing the booklets one senses aspects of the mystical and spiritual in Carlyle’s project. A quote from Ren\u00e9 Daumal’s Mount Analogue on the necessary invisibility of the mountain summit draws our attention to Carlyle’s ’silent‘ mountain; a silence which for the sound recordist is comparable to Daumal’s invisibility. […<\/a>]<\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nMarc Namblard<\/a> | F.Guyana<\/a>
\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. 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. […<\/a>]<\/p>\n<\/div>\n

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Review | By ATTN:Magazine<\/a><\/strong>
\nPhilip Sulidae<\/a> | Appropriated field recordings from temporary data sources<\/a>
\nThis one takes me back. I can remember my early experiences of navigating \u201copen world\u201d computer games back when they first started to emerge. I remember taking those nervous forays into vast, vibrant landscapes via Super Mario 64 and The Legend Of Zelda, unhooked from the rigid tracks of two-dimensional platform games, liberated from the ruthlessly imposed direction of travel and the requirement to roll monotonously from one objective to the next. Instead, I dithered and ambled. I stopped to examine the details and glitches of my digital scenery, or to analyse the repetitive back-and-forth movements of the game\u2019s civilian furniture. Without the urgency of an objective to complete, open world gameplay offered the opportunity to break away and contemplate the meticulous artistry of computer game architecture. […<\/a>]<\/p>\n<\/div>\n

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Review | By Hal Harmon \/ Musique Machine<\/a><\/strong>
\nArtificial Memory Trace<\/a> & Porya Hatami<\/a> | REPREMONITIUM<\/a>
\nGruenrekorder presents REPREMONTIUM, the second collaborative venture by Artificial Memory Trace and Porya Hatami. Available digitally in MP3 and FLAC formats, this massive single piece is a follow up to the duo\u2019s 2015 release EVOLVA 5. While I\u2019m not familiar with the aforementioned album, I have spent quite a bit of time absorbing many of Artificial Memory Trace\u2019s sounds. The moniker of Czech-born sound sculptor, Slavek Kwi, AMT crafts some exceptional field recording soundscapes. Porya Hatami is an Iranian-based sound artist that toils in ambient, minimalist sounds. Field recordings, minimalist sounds, Gruenrekorder\u2026.does that sound like the perfect synergy? Yeah, pretty much. […<\/a>]<\/p>\n<\/div>\n

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framework radio<\/a> | #601<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nWillem Sannen<\/a> | Brussel Noord<\/a><\/p>\n<\/div>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong>
\nArtificial Memory Trace<\/a> & Porya Hatami<\/a> | REPREMONITIUM<\/a>
\nThis is a new collaboration between the Iranian Porya Hatami and the Czechoslovakian Artificial Memory Trace aka Slavek Kwi, who resides in Ireland and the one that precedes his previous album „Evolva“ 5. Since 2014 these sound artists have been exchanging field recordings captured in their local areas that later are processed. \u201cRepremonitium\u201d is one track only of around 70 minutes long which displays sinuous sounds that move in the background while the field recordings emerge almost clearly in the surface alongwith voices, bird songs, insects and found sounds, all of it arrange with subtle sounds generated by a design software, creating soundscapes with a rich variety of shades.<\/p>\n<\/div>\n

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Review | By textura<\/a><\/strong>
\nVarious Artists | MALI BLUES \u2013 SOUNDTRACK<\/a>
\nA film and a soundtrack, Mali Blues travels to the heart of West Africa to introduce us to its rich musical culture and four artists in particular, global star-in-the-making Fatoumata Diawara, ngoni player and traditional Griot Bassekou Kouyat\u00e9, Malian rapper Master Soumy, and Tuareg musician Ahmed Ag Kaedi. Director Lutz Gregor’s 2016 documentary follows Diawara (known as Fatou) who, having fled Mali as a young woman to escape an arranged marriage, is seen preparing for her first-ever concert performance in the southern Mali city of S\u00e9gou at the Festival of the Niger in 2015. In addition to documenting her concert tour, the film shows her meeting with Ahmed Ag Kaedi, who fled his desert home for a different reason: fundamentalists threatening to cut off his fingers. Not only have individuals been threatened but so too has the entire musical heritage of Mali: in 2012, a ban was instituted by radical Islamists that saw radio stations destroyed and musicians forced into exile. […<\/a>]<\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nVarious Artists | MALI BLUES \u2013 SOUNDTRACK<\/a>
\nW\u0142a\u015bnie ukaza\u0142a si\u0119 \u015bcie\u017cka d\u017awi\u0119kowa do ubieg\u0142orocznego filmu dokumentalnego o malijskich artystach.
\nTak si\u0119 sk\u0142ada, \u017ce muzyka z Afryki cz\u0119sto pojawia si\u0119 na \u0142amach Nowej Muzyki, a szczeg\u00f3lne miejsce zajmuje Mali. Wystarczy przypomnie\u0107 sk\u0142adank\u0119 z zesz\u0142ego roku \u201eEvery Song Has Its End: Sonic Dispatches From Traditional Mali\u201d<\/a> (Glitterbeat), koncertowy materia\u0142 Tamikrest z okazji Record Store Day (\u201eTaksera\u201d<\/a>) oraz ich niedawno wydany album \u201eKidal\u201d<\/a>, a tak\u017ce sprzed dw\u00f3ch lat p\u0142yt\u0119 Bassekou Kouyat\u00e9 & Ngoni Ba \u2013 \u201eBa Power\u201d<\/a>. […<\/a>]<\/p>\n<\/div>\n

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Review | By Zipo \/ aufabwegen<\/a><\/strong>
\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nRoland Etzin ist einer der Begr\u00fcnder und Betreiber des Gruenrekorder Labels, da wundert es kaum, dass sein Release ein Pl\u00e4doyer f\u00fcr das H\u00f6ren ist. Sonic Drawings betitelt er seine Sammlung mit aus Feldaufnahmen-Kompositionen, die die Vorstellungskraft und Wahrnehmung der Umwelt stimulieren soll. Oder vielmehr das Nachdenken \u00fcber usnere Wahrnehmung, die sehr vom Visuellen gepr\u00e4gt ist. Wie viel Potenzial und Sch\u00f6nheit liegt in der Fokussierung der Wahrnehmung des Alltags mit unseren Ohren? Die Antwort liegt in der hier enthaltenen Ger\u00e4uschkunst selbst: Tracktorschnattern, Vogelgezwitscher, dr\u00f6hnende synthetsiche Kl\u00e4nge, Wasserger\u00e4usche, zartes Knistern und vieles mehr vermengen sich zu einem fast schon blumigen Eindruck unserer Welt. Eine liebevoll ausgew\u00e4hlte H\u00f6rentdeckungsroute schl\u00e4gt uns Roland Etzin hier vor.<\/p>\n<\/div>\n

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Reviews | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong>
\nMarc Namblard<\/a> | F.Guyana<\/a>
\n[…<\/a>] 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 \u2019n paste, or if there is layering of sounds, looping or such like. In a piece like \u201aCrique Popote, Rhinella Marina\u2018, 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\u2019s 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 \u201aForest Drones\u2018 one could easily mistake the repeating sound to be that of lo-fi cassette loop, and in \u201aKaw Mountain, Post-explosive breeding\u2018 it sounds like a synthesizer. It is not easy to think of all of this in terms of \u201ajust\u2018 natural sounds, but so it is. This is an excellent release of pure field recordings sounding like some great music. […<\/a>]<\/p>\n

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Katharina Klement<\/a> | peripheries<\/a>
\n[…<\/a>] Each of the pieces is described here in the booklet and unlike Namblard Klement layers various sound events together to make a musical composition out of sounds from the city. She uses sounds from market squares, elevators, sounds from the Tesla Museum, concrete mixers, animals in the zoo and even historical speeches by Tito, the first president of Yugoslavia. Klement draws from a wider selection than Namblard does, but also seems to be doing much more when it comes to editing and layering of sounds. Whereas Namblard is mainly about the minimalist approach towards field recordings and create musical piece with these sounds, Klement is more into telling a story with sounds. Maybe one not necessarily gets the story of Belgrade (certainly if one has never been to the city before; it is perhaps not easy to say where this city is, based on hearing these pieces and that includes the Tito talk), but abstract as it is, it is also a fascinating piece (nine of them) of music. Klement is not shy to bend and shape tones, pitch them up or down as she sees fit, as long as it is necessary for the actual composition. […<\/a>]<\/p>\n<\/div>\n

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Marc Namblard<\/a>: \u2018F.Guyana<\/a>\u2019
\nGruen 175\/17
\nField Recordings
\nCD + Digital
\n11 Tracks (72:22)
\nrun: 500 copies
\n+ Digital Bonus
\n11 Tracks (67:10)<\/p>\n<\/div>\n

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Katharina Klement<\/a>: \u2018peripheries<\/a>\u2019
\nGruen 173\/17
\nSound Art
\nCD
\n9 Tracks (50:20)
\nrun: 500 copies<\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nArtificial Memory Trace<\/a> & Porya Hatami<\/a> | REPREMONITIUM<\/a>
\nArtificial Memory Trace & Porya Hatami hark back to early electronic music pioneers with the soothing bliss of \u201cRepremonitium\u201d. Quiet and contemplative the piece unfolds in discrete ways. Subtle transitions are of the utmost importance for the music shifts with grace and taste. By incorporating lovely tender analog sounds alongside found sounds and manipulated field recordings, the sound feels alive. Layer upon layer of this work results in miniature movements and symphonies, all of which come together in a blissful serene state. Nearly silent, the sparkling introduction begins the piece on a gentle note. With every sound fully realized the way that the piece unfurls feels gorgeous. […<\/a>]<\/p>\n<\/div>\n

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Budhaditya Chattopadhyay (DE\/IN) – solo<\/strong>
\nListening and its discontents
\nFive Live Cinematic 4 Channel Sound Performances
\n12. Mai | Fr | 20:30 h
\nAlte Feuerwache Kino (2.Stock), Melchiorstr 3. \u2013 50670 K\u00f6ln
\nwww.gerngesehen.de<\/a><\/p>\n<\/div>\n

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Review | By Klaus Halama \/ Sound & Image<\/a><\/strong>
\nVarious Artists | MALI BLUES \u2013 SOUNDTRACK<\/a>
\nDer Spielfilm \u201eTimbuktu\u201c des malischen Filmemachers Abderrahmane Sissoko war nahe dran, in Cannes einen Preis abzustauben. Dass es dann letztendlich doch nicht geklappt hat, lag keinesfalls daran, dass der Inhalt nicht 100%ig gepasst h\u00e4tte. Viel eher fehlte vielleicht das entscheidende Quentchen Gl\u00fcck, vielleicht aber auch ein insgesamt mangelndes Interesse am schon l\u00e4nger schwelenden Konflikt, der in Mali durch islamische Milizen heraufbeschworen wurde. Das Thema \u201eB\u00fcrgerkrieg in Mali\u201c bleibt aber dennoch auf der Agenda all derjenigen, die das uns\u00e4gliche Treiben von Al-Qaida verfolgen. Unter ihnen ist auch der Filmemacher Lutz Gregor, der den Dokumentarfilm \u201eMali Blues\u201c in die Welt gesetzt hat und der die Geschichte von vier malischen Musikern erz\u00e4hlt, die f\u00fcr einen toleranten Islam k\u00e4mpfen. Allen voran die Singer-\/Songwriterin Fatoumata Diawara, die das Land verlie\u00df, um nicht zwangsverheiratet zu werden. Aber auch der Ngoni-Spieler Bassekou Kouyat\u00e9 ist ein weltoffener und weitgereister Kritiker der augenblicklichen Zust\u00e4nde. […<\/a>]<\/p>\n<\/div>\n

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V.A.: \u2018MALI BLUES \u2013 SOUNDTRACK<\/a>\u2019
\nGruen 174\/17
\nSound Art
\nCD
\n13 Tracks (63:14)
\nrun: 1000 copies<\/p>\n<\/div>\n

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Review | By textura<\/a><\/strong>
\nCLUBbleu<\/a> | DARK~asian~ENERGY [singa~core album]<\/a>
\nGruenrekorder has probably never before released anything as weird and playful as DARK~asian~ENERGY [singa~core album], though the move is hardly unwelcome; if anything, it’s refreshing to see the label making room for material of a wilder nature. Issued as part of its Sound Art Series, the forty-five-minute collection is the brainchild of CLUBbleu members Felix Leuschner and Julia Mih\u00e1ly, the former a classically trained drummer with experience composing for music theatre, chamber music, and vocal-electronic pieces and the latter a composer-performer with backgrounds in classical singing and electronic composition. […<\/a>]<\/p>\n<\/div>\n

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Gruenrekorder @ taz.mixtape<\/a><\/strong>
\nW\u00f6chentlich | Freitag 17 – 18 Uhr
\nDas taz.mixtape wird konzipiert von taz-Musik-Redakteur Julian Weber und taz-Redakteurin Doris Akrap. Die Produktion und Moderation \u00fcbernehmen die ByteFM-Redakteur_innen Diviam Hoffmann, Oliver Stangl und Klaus Walter.
\nwww.byte.fm<\/a><\/p>\n<\/div>\n

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Artificial Memory Trace<\/a> & Porya Hatami<\/a>: \u2018REPREMONITIUM<\/a>\u2019
\n(GrDl 171\/17)
\nSound Art
\nGruen Digital – 1 Track (78:46)<\/p>\n<\/div>\n

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Louis Sarno<\/a><\/strong>, an American musicologist and author, has died. We are deeply affected and very sad. Our thoughts are with his family and all those who were close to him.<\/p>\n<\/div>\n

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Review | By Roger Batty \/ Musique Machine<\/a><\/strong>
\nKg Augenstern<\/a> | Tentacles<\/a>
\nTentacles brings together a selection of bridge based field recordings made on rivers & canals between Berlin and North-East France. The release comes in the form CD, and 44 page colour booklet from respected German field recording\/ sound-art label Gruenrekoder. The release charts a series of journeys made between July 2014 & November 2014 on the MS Anuschka traveling from France & Germany. As the crew of sound-recordists went under different bridges, they used special installed metal tentacles to capture the sound profile of each structure they passed under it, as well as its surrounding sound environment. In all the disc takes in eight different recordings of these sonic profiles, and two shorter tracks from the resulting art installation connected to the project- with each track lasting between one minute forty & nearing thirteen minutes. […<\/a>]<\/p>\n

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Review | By Adam Skyes \/ Musique Machine<\/a><\/strong>
\nRoland Etzin<\/a> | SONIC DRAWINGS<\/a>
\nSonic Drawings is a four track album of found sounds, analogue and digital machines and self built instruments, and is designed to give the listener the feeling and effects of the world around us. The chasm between silence and noise and what fills that void. The musicality and richness of the machines in our world played out across the albums 50 minute span. Starting with \u201cWand\u201d just under two minutes of what can only be described as a robotic cow and I\u2019m already to stop listening to the rest of this album. The description is pretentious enough without this as as opener. However continue I do, and I have to say track two \u201cVinschgau\u201d actually piques my interest a little. […<\/a>]<\/p>\n<\/div>\n

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\u2018SONIC MMABOLELA\u2019 2017\u2019<\/strong>
\n5th Annual Workshop\/Residency for sound artists & composers at Mmabolela Reserve, Limpopo, South Africa
\nDates Workshop\/Residency: 16-29 November 2017
\nDeadline for registration: 15 July 2017
\nYou can find all the detailed information here:
\nConceived and directed by Francisco L\u00f3pez (www.franciscolopez.net<\/a>)
\nCoordination and logistics by Barbara Ellison (www.barbaraellison.com<\/a>)<\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nPhilip Sulidae<\/a> | Appropriated field recordings from temporary data sources<\/a>
\nPhilip Sulidae opts for a surreal exploration of sound on the otherworldly presence of \u201cAppropriated field recordings from temporary data sources\u201d. Over the course of the album the way that Philip Sulidae lightly edits the world gives it a masterful, rich feeling. The attention to the smallest elements of sound, from meadows to machinery, ensures that he captures a wide swath of human experience. By taking on such an approach the sound teems with life, with some moments growing quite physical at times. Letting the beauty and ugliness of the world combine the album itself feels akin to a journey. […<\/a>]<\/p>\n<\/div>\n

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framework radio<\/a> | #590<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nPhilip Sulidae<\/a> | Appropriated field recordings from temporary data sources<\/a><\/p>\n<\/div>\n

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