{"id":17550,"date":"2019-10-07T08:40:45","date_gmt":"2019-10-07T08:40:45","guid":{"rendered":"https:\/\/www.gruenrekorder.de\/?page_id=17550"},"modified":"2019-10-07T09:03:29","modified_gmt":"2019-10-07T09:03:29","slug":"gruenrekorder-2018","status":"publish","type":"page","link":"https:\/\/www.gruenrekorder.de\/?page_id=17550","title":{"rendered":"Gruenrekorder \u2013 2018"},"content":{"rendered":"\n
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Christina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a><\/strong>
\n@ Top 10 Noise LPs Of 2018 | By Raymond Cummings
\nwww.magnetmagazine.com<\/a>
\nwww.facebook.com\/magnetmag<\/a><\/p>\n<\/div>\n

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Podsumowanie roku 2018 \u2013 \u015awiat<\/a> | By \u0141ukasz Kom\u0142a<\/strong>
\nMichael Lightborne<\/a>: \u2018Sounds of the Projection Box<\/a>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a><\/p>\n

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Tak brzmia\u0142 u mnie \u015awiat w roku 2018!
\nBez zb\u0119dny przem\u00f3wie\u0144 i proroczych kaza\u0144, dziel\u0119 si\u0119 list\u0105 p\u0142yt \u2013 u\u0142o\u017con\u0105 w porz\u0105dku alfabetycznym \u2013 kt\u00f3re najcz\u0119\u015bciej go\u015bci\u0142y w moim odtwarzaczu i zrobi\u0142y na mnie szczeg\u00f3lne wra\u017cenie, co te\u017c stara\u0142em si\u0119 przekaza\u0107 w recenzjach. Wybra\u0142em 43 LP i 5 EP. Zapraszam!<\/p>\n<\/div>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a> @ PEOPLE\u2019S CHOICE \u2013 BEST OF 2018<\/a><\/strong>
\nToneshift: The Future of Music, Today!
\nwww.toneshift.net<\/a><\/p>\n<\/div>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a> @ BBC Radio 3 – Late Junction<\/a><\/strong>
\n16 January 2019 – 1 hour, 30 minutes<\/p>\n

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To Alaska and the Arctic Tundra, on the wind<\/em>
\nGet set for some long-haul musical travel with intrepid itinerant Nick Luscombe tonight.
\nJoin multidisciplinary artist NSDOS on an Alaskan expedition, where he uses \u2018bio-feedback\u2019 to turn data into extraordinary textures and rhythms.
\nAnd, experience the environmental sounds of the Arctic Tundra through the responsive composition of Derek Charke and the evocative playing of the Kronos Quartet.
\nWhat means of transport will we use for our journey? Why, the wind of course! Eisuke Yanagisawa channels the airwaves and the weather for his unprocessed field recordings made outdoors in Japan. | Produced by Jack Howson for Reduced Listening.<\/p>\n<\/div>\n

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Michael Lightborne<\/a>: \u2018Sounds of the Projection Box<\/a>\u2019<\/strong>
\n@ Radio show on CITR FM 101.9 in Vancouver, Canada
\nwww.citr.ca\/2019\/01\/02<\/a>
\nwww.citr.ca\/2019\/01\/06<\/a>
\nLinks to playlists and podcast versions of broadcasts are viewable here:
\nwww.bepicrespan.blogspot.com<\/a><\/p>\n<\/div>\n

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Michael Lightborne<\/a>: \u2018Sounds of the Projection Box<\/a>\u2019 @ ACL 2018 ~ Top Ten Field Recording & Soundscape<\/a><\/strong>
\n2018 was an amazing year for field recordings and soundscapes, perhaps the best to date. We reviewed over 40 works this year, and had an incredibly difficult time choosing ten for this list since the overall quality was so high. Many of the recordings told stories; some captured specific audiographies, while others warned listeners of impending global catastrophe. […<\/a>]<\/p>\n<\/div>\n

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Slotmachine by Achim Zepezauer<\/strong>
\nVinyl 10″ will release on February 1st, 2019 via Gruenrekorder!<\/p>\n

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The 30-track album documents the website project of musician\/artist Achim Zepezauer. It mixes up recordings of 45 seconds length in a slot machine. Online the user can combine three tracks by 13 different artists with different instrumentations, either sorted by hand or completely randomized from the 158 recordings. Every artist provided at least ten tracks to generate from, which leads to the theoretical possibility of almost 4 million different combinations. Even the names of the songs are put together by the single names the artists had chosen for their recordings.<\/p>\n

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Funded by Ministerium f\u00fcr Kultur und Wissenschaft des Landes Nordrhein-Westfalen, ecce (European Centre for Creative Economy) und IKF (Individuelle K\u00fcnstlerInnen F\u00f6rderung)<\/p>\n

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slotmachine.kuhzunft.com<\/a>
\nkuhzunft.bandcamp.com\/album\/slotmachine<\/a><\/p>\n<\/div>\n

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Das Frankfurter Label „Gruenrekorder“ – Die Welt als Klang <\/strong>
\nH\u00f6rspielmagazin<\/a> (8 min – Deutschlandfunk)| von Raphael Smarzoch<\/p>\n

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Wir h\u00f6ren zu bei „Gruenrekorder“, einem Label f\u00fcr Field Recordings, Soundscapes und Sound Art. Als Field Recordings bezeichnet man ganz schlicht Aufnahmen von Natur- und Umgebungsger\u00e4uschen. „Gruenrekorder“ demonstriert, dass Feldaufnahmen nicht nur interessante Sounds dokumentieren, sondern auch philosophische und \u00f6kologische Fragestellungen thematisieren k\u00f6nnen. In einer Auflage zwischen 300 und 1000 St\u00fcck ver\u00f6ffentlicht das in Frankfurt beheimatete Label, das Lasse-Marc Riek seit 2003 zusammen mit Roland Etzin betreibt, Sounds aus unterschiedlichen akustischen Kontexten. Field Recordings \u00f6ffnen f\u00fcr die beiden Labelmacher Portale in fremde Dimensionen. Sie verstehen Feldaufnahmen als akustische Reisef\u00fchrer, die es erm\u00f6glichen, unbekannte Territorien zu erkunden, ohne selbst da gewesen zu sein. Unh\u00f6rbares h\u00f6rbar machen \u2013 das ist das Motto der auf „Gruenrekorder“ dokumentierten Klangforschung, die immer wieder die Grenzen zwischen Kunst und Wissenschaft \u00fcberschreitet.<\/p>\n

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Siehe auch:
\nNeues aus der Welt der akustischen Kunst
\nH\u00f6rspielmagazin 11\/18<\/a> (50 min – Deutschlandfunk)<\/p>\n

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Review | By Stuart Marshall \/ The Sound Projector<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nDredging detail from inaudible depths are two veterans of the interior realms, Christina Kubisch and Annea Lockwood, who pair up for a double disc document of recordings taken from situations more commonly associated with other sensory experiences: earthquakes, solar flares, electromagnetic waves and other \u2018geophysical atmospheric spheres\u2019, as well as more conventional field recording sites like subway stations, thunderstorms. At any other time we\u2019d have a melange of quotidian site recordings on our hands, but the pair\u2019s technological adeptness takes the recording process all the way into \u2018the interior of a Scots pine\u2019. […<\/a>]<\/p>\n<\/div>\n

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Review | By Ed Pinsent \/ The Sound Projector<\/a><\/strong>
\nszmt<\/a> | PARVENU<\/a>
\nDolcis Concordiae Fructus
\nParvenu (GRUENREKORDER GRUEN 178) is an interesting sound-construction piece put together by szmt, the new alias for German Tobias Schmitt, an electronic shrieker who may be familiar to fans of the Attenuation Circuit label (we like that label but were not sent any of his 2016 releases). Parvenu isn\u2019t electronic music exactly but is based on field recordings of bees. More specifically he took the recordings from three beehives found in the Senckenberg Institut in Frankfurt, right where the bees are thickest. He\u2019s given the four suites quite lengthy and loaded titles, each one like the chapter of a book, and he intends the package as social commentary \u2013 it\u2019s a \u201cwork about authoritarian structures\u201d. […<\/a>]<\/p>\n<\/div>\n

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Review | By Ed Pinsent \/ The Sound Projector<\/a><\/strong>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a>
\nThe Black Island
\nSuperior piece of sound-sculpture scaping whatever from Robert Schwarz on his Double Negative (GRUENREKORDER Gruen 176) LP. We noted him in 2015 with the impressive album<\/a> The Scale Of Things, and he\u2019s doing much the same here \u2013 field recordings, for sure, but also much in the way of analogue modular synthery, and probably a lot of cooking and baking in the studio too. His method is to start with the documentary recordings then assemble his boxes of modular synths around them in some way. It\u2019s not a careless assembly, and there\u2019s some intention that the electronic parts are mirrors of the natural parts. \u201cComplex structures that resemble nature\u2019s contingency as their inner logic\u201d is his aim, according to the assessment of Stefan Militzer. […<\/a>]<\/p>\n<\/div>\n

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Review | By Robert Muis \/ Gonzo (circus)<\/a><\/strong>
\nWillem Sannen<\/a> | Brussel Noord<\/a>
\nTussen 2012 en 2015 woonde Willem Sannen in het noordelijke gebied tegen het centrum, nabij het station Brussel-Noord. Het gebied wordt gedomineerd door, naast het Noordstation, kantoren, hoteltorens en een overwegend functionele stedelijke uitleg. In die periode maakte hij op verschillende plekken geluidsopnamen, die Sannen heeft verwerkt tot een kort album. Hij biedt ons beslist geen rechttoe rechtaan field recordings; de vaak herleidbare geluiden zijn onderling en met bewerkte opnemen gecombineerd. Openingsnummer \u2018Apartment\u2019 begint al met vervormde stemgeluiden (een radio?), gevolgd door vage buitengeluiden, dan sleutels, sloten, deuren, een lift. Het daaropvolgende \u2018Commuters\u2019 begint met het geluid van een stromende douche, waar langzaam het geluid van forensenstromen uit naar voren dringt \u2013 waarbij de diepte prachtig hoorbaar is. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By textura<\/a><\/strong>
\nEvery six months or so, new items appear on Lasse-Marc Riek and Roland Etzin’s Gruenrekorder imprint that present innovative treatments of field recordings-based work. Three recent projects exemplify the imaginative sensibilities artists bring to the label’s output, in this case releases by Eisuke Yanagisawa, Gregory B\u00fcttner, and Michael Lightborne (all three are available in digital form, the first two also as CDs and Lightborne’s in vinyl). As an indication of the breadth of the label’s projects, Yanagisawa’s Path of the Wind focuses on sounds generated by the Aeolian Harp, a string instrument \u2018played‘ by nature, whereas Lightborne’s Sounds of the Projection Box has to do with ambient sounds originating from UK-based cinema projection booths. Each of the three releases fascinates in different ways.<\/p>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nThe forty-one-minute release by Yanagisawa, an ethnographer, field recordist, university professor, and filmmaker based in Kyoto, provides a remarkable illustration of the music-generating capacity of a natural element, in this instance wind. To explore the phenomenon, he first built a small Aeolian Harp using materials from a local store and then brought it outside to test it out; when no sound resulted, he adjusted the string materials and tension until a better outcome was achieved (two microphones were also adjoined to the harp to record the sounds produced). Delicate harmonic textures are generated that modify according to alterations in wind direction, strength, and consistency. […<\/a>]<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nHamburg-based sound artist Gregory B\u00fcttner used two contact mics to gather the base material for his long-form, thirty-six-minute composition Voll.Halb.Langsam.Halt. The raw sounds were collected when he took a trip in 2010 on an old icebreaker traveling from Rostock to R\u00fcgen over the Baltic Sea. With the ship’s body completely built from metal, it lent itself especially well to the project when different areas on the boat generated sounds different from anywhere else; B\u00fcttner even sourced recordings from the coal-fired steam engine. In constructing the soundscape, he used juxtapositions, transitions, and cuts but didn’t apply any additional sound manipulations; the detail’s worth noting as it makes the result all the more striking for the way he shaped the material into a piece that, while heavily percussive in nature, plays more like a musical work than field recording. […<\/a>]<\/p>\n

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Sounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nA professor in the Department of Film and Television Studies at the University of Warwick who’s currently working on a book about cinema-related environments and location sound recording, Lightborne is certainly qualified to tackle the topic of cinema projection boxes. His release, which documents the transition from 35mm to digital within the projection booth, grew out of sound recordings he began making in early 2016. By the time his fieldwork started, the majority of UK cinemas had become digital only, which made Lightborne’s desire to capture the sounds of analogue projection booths an undertaking of considerable value. Of course, the setting is so carefully enclosed it ensures that most of the sounds occurring within it are unknown to the viewing audience, which makes it easy to forget that it’s the critical center of the cinematic experience. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nNiemiecka oficyna regularnie prezentuje wyj\u0105tkowe wydawnictwa z field recordingiem z przer\u00f3\u017cnych rejon\u00f3w \u015bwiata i kultur. Poznajcie trzy najnowsze \u015bcie\u017cki.<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nGregory B\u00fcttner mieszka i pracuje w Hamburgu. Od 2000 roku koncentruje si\u0119 g\u0142\u00f3wnie na soundartcie i elektroakustyce. W 2004 roku za\u0142o\u017cy\u0142 wytw\u00f3rni\u0119 1000f\u00fcssler, specjalizuj\u0105c\u0105 si\u0119 w muzyce eksperymentalnej. \u2013 Moja praca rozpoczyna si\u0119 od poszukiwania, znalezienia lub wyprodukowania materia\u0142u akustycznego \u2013 tak pisze o sobie B\u00fcttner. Zatem jak to si\u0119 ma do najnowszego materia\u0142u z albumu \u201eVoll.Halb.Langsam.Halt\u201d? Tym razem punktem wyj\u015bcia, swoistym d\u017awi\u0119kowym znaleziskiem, okaza\u0142 si\u0119 parowiec-lodo\u0142amacz z 1930 roku. […<\/a>]<\/p>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nEisuke Yanagisawa to japo\u0144ski etnograf, scenarzysta i filmowiec z Kioto. Swoj\u0105 uwag\u0119 skupia na s\u0142uchaniu i rejestrowaniu brzmie\u0144 oraz rezonans\u00f3w z poszczeg\u00f3lnych miejsc, a tak\u017ce na odkrywaniu d\u017awi\u0119k\u00f3w z perspektywy kulturowej, ekologicznej, geograficznej, akustycznej i historycznej. Proces ten obejmuje obserwowanie i rejestrowanie ma\u0142ych, ukrytych i nies\u0142yszalnych d\u017awi\u0119k\u00f3w przy u\u017cyciu r\u00f3\u017cnych typ\u00f3w mikrofon\u00f3w. Od wielu lat Yanagisawa interesuje si\u0119 kultur\u0105 gong\u00f3w mniejszo\u015bci etnicznych zamieszkuj\u0105cych Centralne Wy\u017cyny Wietnamu. […<\/a>]<\/p>\n

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Sounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nBrytyjski artysta d\u017awi\u0119kowy i wizualny, Michael Lightborne, od wielu lat tworzy prace zaanga\u017cowane w kwestie krajobrazu, kultury popularnej, pami\u0119ci i technologii. Interesuje go szczeg\u00f3lnie koncepcja psychetecture, jaka pojawia\u0142a si\u0119 w latach 80. w komiksie pt. \u201eMister X\u201d. Jeszcze inaczej przedstawia si\u0119 zakres poszukiwa\u0144 Lightborne\u2019a na \u201eSounds of the Projection Box\u201d. Nagrania powsta\u0142y w przeci\u0105gu ostatnich dw\u00f3ch lat i dokumentuj\u0105 zmieniaj\u0105c\u0105 si\u0119 struktur\u0119 d\u017awi\u0119kow\u0105 wn\u0119trza projektora kinowego. […<\/a>]<\/p>\n<\/div>\n

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Review | By TJ Norris \/ Toneshift<\/a><\/strong>
\nVoll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nHamburg-based field recordist Gregory B\u00fcttner delivers his latest, Voll.Halb.Langsam.Halt, a singular work, an electroacoustic composition based on the stereo sound of two contact mics upon a metallic steamboat, runs for about thirty-six minutes. The recording starts with lots of jittering, growing slightly voluminous in short time. It\u2019s as though B\u00fcttner is settled in the engine room with loose old mechanics. However, the shimmies are somewhat engaging, like rickety beats. IN-SITU AHOY: He\u2019s managed to capture all sorts of unusual gadgets in action, with a dad that was a longshoreman, this grabs my ears by the drums. So many unusual squeeky, roaring percussive elements, mechanical drone and various rotors in action \u2013 it\u2019s quite exciting. […<\/a>]<\/p>\n<\/div>\n

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Review | By Hal Harmon \/ Musique Machine<\/a><\/strong>
\nVoll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nGruenrekorder, the ever reliable label for all things in the realm of field-recording based sound art, presents Voll.Halb.Langsam.Halt by Gregory B\u00fcttner. This release is available in both CD and digital formats. When I was a young chap I used to fantasize about being a stowaway on a large naval vessel at the turn of the century. Perhaps fueled by stories of the Titanic or the explorations of Jacques Cousteau, my day dreams often drifted to adventure on the high seas. Even at middle age now, I\u2019ve never stopped being attracted to maritime sights and sounds. Despite never having the opportunity to realize those childhood fantasies, Voll.Halb.Langsam.Halt provides a welcome vicarious excursion. […<\/a>]<\/p>\n<\/div>\n

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Review | By Denis Boyer \/ FEARDROP<\/a><\/strong>
\nPath of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nLe label allemand Gruenrekorder a b\u00e2ti sa r\u00e9putation sur une s\u00e9lection exigeante et originale d\u2019enregistrements de terrain \u2013 field recordings \u2013 r\u00e9partis en trois s\u00e9ries de CD ou de vinyles : field recordings purs, soundscapes et sound art, marquant la progression de l\u2019implication humaine dans le produit sonore final. La premi\u00e8re s\u00e9rie, \u00e0 vocation principalement documentaire, h\u00e9berge cette fois un disque de l\u2019artiste japonais Eisuke Yanagisawa qui aurait pu ais\u00e9ment se placer dans l\u2019une des deux autres tant les qualit\u00e9s harmoniques qui le parcourent sont manifestes. Pourtant\u2026 pourtant, formellement il s\u2019agit de field recordings purs, intouch\u00e9s, \u00ab unprocessed \u00bb nous affirme Eisuke Yanagisawa. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By Brian Olewnick \/ Just outside<\/a><\/strong>
\nSounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nA sonic documentation of the history of the film projector (movie house version), from spool to digital. The recordings seem to be presented as is, with little or no obvious enhancement. The sounds, unsurprisingly, are cyclic near the beginning, less so as time moves on but also include the actions (and noises) made by the projectionist moving about, manipulating parts of the machine, etc., which sounds are perhaps even more intriguing than the mechanical ones. Sometimes you hear what\u2019s being shown in the theater, also fun. The last two tracks (this is a vinyl release, btw) form a small drama: \u201aTower (death rattle)\u2018 (like the title implies) and \u201aDigital Light\u2018, spinning off into the hums and drones of the new age. Enjoyable work, especially for those interested in localized field recordings.<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nContact mic recordings sourced from a 1930s steamboat that had been used as an ice-breaker, on which B\u00fcttner voyaged in 2010. Much of the ship was metal and contained a vast array of sound possibilities and excellent resonance. B\u00fcttner has assembled a load of recordings, not altering them in any manner apart from cutting and reconfiguring, presenting a 35-minute sequence of sounds that, while often iterative in an engine\/machine sense, strike me as generally remote from water, an interesting isolation and encapsulation of internal noises and environments. Those repetitive sounds, which layer and agglomerate in the work\u2019s end phase, can be quite hypnotic and rhythmically fascinating. As one who has spent time on ferries, ear pressed to engine housings, I enjoyed this quite a bit.<\/p>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nYanagisawa crafted a homemade Aeolian harp, then took it to various locations where it interacted with the environment, natural and manmade. The harp created the eerie, quavering tones that these instruments tend to do and both blends in and offsets the surrounding sound-world very effectively, whether that world is made up of low horns of passing ferries, waves and seagull cries, drilling from a local mine or much subtler contributions. The minute fluctuations in the character of the harp are quite intriguing as are the various environs and the interpenetration of the two. Yanagisawa evinces great sensitivity in his choices. While perhaps more over than, say, Toshiya Tsunoda\u2019s recordings, fans of his work will find much to enjoy here.<\/p>\n<\/div>\n

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Gruenrekorder @ The Global Composition 2018 <\/strong>
\nSound, Ecology, and Media Culture
\nOnly at the 6th of October 2018!
\nTGC will be hosted at the Media Campus in Dieburg. It is organized by Hochschule Darmstadt\u2019s Research Center for Digital Communication and Media Innovation (DKMI).
\nlink<\/a><\/p>\n<\/div>\n

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Gruenrekorder @ WahlFach<\/strong>
\nWir er\u00f6ffnen am 3. Oktober 2018 zum \u201eTag der offenen Hoftore\u201c in Niederursel.
\nAlt Niederursel 21 | 60439 Frankfurt am Main
\nlink<\/a><\/p>\n<\/div>\n

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Gruenrekorder @ Der Schein tr\u00fcgt – Kunstfestival<\/strong>
\n5. Okt um 16:00 \u2013 7. Okt um 22:00
\nOst-Stern | Hanauer Ldstr 121, 60314 Frankfurt am Main
\nlink<\/a><\/p>\n<\/div>\n

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Gruenrekorder @ A – MUSIK<\/strong>
\nSp\u00e4tkauf mit Gruenrekorder | Donnerstag 04.10.2018
\nab 19 Uhr | Der Laden ist bis 22 Uhr ge\u00f6ffnet.
\nRoland Etzin und Lasse-Marc Riek vom Label Gruenrekorder stellen intuitiv Arbeiten und Ver\u00f6ffentlichungen aus dem Sammelbecken f\u00fcr H\u00f6rkunst vor. Aus \u00fcber 180 Katalognummer werden vielleicht sogar ein paar aus der Zahlenbox von den beiden gezogen. Der Zufall spielt also nicht nur beim Aufnehmen im Wald eine Rolle auch heute Abend in den R\u00e4umen vom A-Musik zum Sp\u00e4tkauf.
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Review | By Lutz V\u00f6ssing \/ skug<\/a><\/strong>
\nPath of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nDer japanische Filmemacher und Feldrekorder Eisuke Yanagisawa trat in der Vergangenheit bereits mit Aufnahmen in Erscheinung, welche einen Teil des Ortes, an dem er seine Technik installiert hatte, einfangen sollten. In einer dieser Aufnahme, \u00bbUltrasonic Scapes\u00ab (2011), wurden den Menschen umgebende, aber mit freiem menschlichem Geh\u00f6r oft nicht wahrnehmbare Kl\u00e4nge, wie das Surren von Zikaden, das Rufen von Flederm\u00e4usen oder auch das Brummen von Ampeln, mit Hilfe eines Ultraschallmikrofons zum Teil verst\u00e4rkt, dokumentiert. Auf \u00bbPath of the Wind\u00ab bedient er sich selbstgebauter \u00c4olsharfen, das sind Saitenkonstrukte, die, vom Wind angetrieben werden und von selbst \u2013 je nach Windst\u00e4rke und -richtung \u2013 ein hohes Leiern oder Dr\u00f6hnen fabrizieren. Das Mikrofon wandelt dann den Wind in die T\u00f6ne des Instruments um. […<\/a>]<\/p>\n<\/div>\n

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Review | By Richard Allen \/ a closer listen<\/a><\/strong>
\nSounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nWhat a great record. And thank God it\u2019s vinyl, because this is the only way to hear Sounds of the Projection Box, which is at once an homage to antiquated technology, a requiem for days gone by and a reflection of supposed progress. We\u2019ve gained something in the switch to the digital format ~ clarity, seamlessness, an ability to show a film without any humans being present. But we\u2019ve lost something as well ~ a tactile nature, a feeling of community, the contract between projectionist and audience. Earlier this year, I was at a film that \u201cbroke.\u201d The older attendees kept turning back, looking up and yelling, \u201cfix the screen!\u201d But there was no one there; they were screaming into a void. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By Rigobert Dittmann \/ Bad Alchemy Magazin<\/a> (100)<\/strong>
\nSounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nDie Vorf\u00fchrkabine des Planet war so primitiv, da\u00df Edison sie abgeschrieben h\u00e4tte: zwei Ross-Projektionsmaschinen und ein Diaprojektor nahmen den gr\u00f6\u00dferen Teil des vorhandenen Raumes ein… Neben der Kabine war ein klaustrophober Umspulraum, der so eng war, da\u00df man da drin vom Filmkleber high werden konnte. In so einer Kabine (was davon museal an der University of Warwick oder sonst noch erhalten ist), wo Jeff Torringtons Swing Hammer Swing!-Held Tam Clay Saufkumpane trifft, stellte MICHAEL LIGHTBORNE seine Mikrofone auf. Um f\u00fcr Sounds of the Projection Box (Gruen 177, LP) das ganze Drumherum einzufangen, das dazu geh\u00f6rt, einen 35 mm-Film (zuf\u00e4llig John Carpenters „The Thing“) vorzuf\u00fchren. Die B-Seite erweitert die cineastische Zeitreise mit Sounds aus dem Electric Kino in Birmingham, dem Rio in Dalston und dem Hyde Park Picture House in Leeds, endend mit dem Eindringen ins Innere eines Digital-Projektors, wobei ein dynamisches Mikrofon selbst dort ein summendes und atmendes Innenleben offenbart. Als ‚Tonfilm‘, der den Apparat und das Handwerk hinter den Kulissen des auf die Leinwand Geworfenen w\u00fcrdigt und h\u00f6rbar macht, fast ein wenig als Trauerarbeit f\u00fcr eine obsolete Technik und einen ausgestorbenen Beruf. Da surren und sirren dann die Spulen und einmal woosht sogar die Tonspur zu unerwartet musikalischen Drones, Beats und Vibrationen, die mich vermuten lassen, dass Lightborne die auch kontaktmikrofonierten Kl\u00e4nge nicht nur ‚unter die Lupe‘ nimmt, er kann auch ihre der Rotation geschuldete klackende und tickende Grooviness hervorkehren oder ein erstaunlich reiches digitales Innenleben.<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nWas habe ich als Innenleben und Getriebe eines Dampfbootes aus den 30ern vor Augen? Nichts, au\u00dfer den Lektionen des Maschinisten Jake Holman (Steve McQueen) auf dem „Kanonenboot am Yangtse-Kiang“, oder den \u00dcberlebenskampf im Maschinenraum der antriebslosen SS ‚Phemius‘ im 1932er Monsterhurrikan vor Kuba, wie ihn Richard Hughes plastisch geschildert hat („In Bedr\u00e4ngnis“). Und das ist beides ziemlich weit hergeholt. Voll.Halb.Langsam.Halt (Gruen 181), GREGORY B\u00dcTTNERs Beitrag zur Field Recording Series, erweitert nun meinen Horizont mit Aufnahmen, die er 2010 bei einem Steamboat-Trip von Rostock nach R\u00fcgen machte. Mit zwei Kontaktmikrofonen belauschte er Herz und Haut des noch mit Kohle geheizten Dampf-Eisbrechers „Stettin“. Der Sound erklingt unmanipuliert, aber in einer Montage oder Collage, die die Fahrt als wackelige eiserne Angelegenheit widerhallen l\u00e4sst. Als rhythmischen Groove mit pulsenden Loops und klackenden Akzenten. Ohne Motor l\u00e4uft da nichts und der treibt hier mit stampfendem Dreh quasi als ‚Schlagzeug‘ oder klackendes Uhrwerk auch die Klangbilder voran, in dumpfer Distanz oder zum Greifen nahe und in Stereo. Neben der gro\u00dfen Maschine fand B\u00fcttner auch surrende Oszillatoren oder Vibratoren, dazu ein hinkendes Kurbeln und anschwellendes Brausen mit Dampflocomotion zu m\u00e4chtig tickenden Sekunden, die tauchen, tauchen, tauchen sagen. Uptempotrommeln klopfen, l\u00e4ssigere Beats federn und shuffeln und r\u00fctteln. Noch kleinere Frequenzen kollern, und so verschwindet der Dampfer und mit ihm diese 2000 PS starke Minimal Music im Nebel.<\/p>\n

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Path of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nEISUKE YANIGASAWA ist in Kyoto ein Fieldrecorder, der wie mit der W\u00fcnschelrute zwar nicht Wasser, aber doch dessen Kl\u00e4nge gesucht hat („Scenery of Water“). Bei „Ultrasonic Scapes“ hat er Flederm\u00e4use, Zikaden, automatische T\u00fcr\u00f6ffner und Stra\u00dfenlichter belauscht oder Furin Bells. Der Wind spielt nicht nur diese feinen Glockenspiele, die K\u00fchle suggerieren, er harft nun bei Path of the Wind (Gruen 182) auch auf Yanigasawas Aeolian Harps. Dabei nimmt der Japaner bei seinen Fieldtrips und Windscapes Beifang mit auf: das Fauchen des Windes, das Brummen von F\u00e4hren vor Narugashima, das Krah-krah-krah einer M\u00f6ve am Strand von Kehi no Matsubara, die rauschende Krone einer Camellia japonica, die vage Atmosph\u00e4re von Parks, die noch vagere Aura eines Schreins, die ferne Klangkulisse des Kinshozan-Kalksteinbruchs bei Ogaki. Der Wind erzeugt summende Schwellkl\u00e4nge, t\u00f6nend changierendes Vibrato wie von einem sanften Donnerblech, Fl\u00f6tent\u00f6ne, die leicht an eine Sh\u014d erinnern, an ein Theremin oder an den dr\u00f6hnenden Nachhall einer Steelpan oder Hang. Im Grunde ist der Klang aber schlicht einzigartig.<\/p>\n<\/div>\n

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Review | By TJ Norris \/ Toneshift<\/a><\/strong>
\nPath of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nThe unprocessed field recordings of Eisuke Yanagisawa were made all around Japan (2014-17) using Aeolian Harps (a stringed wind harp). On his fourth solo record since 2009, Path of the Wind includes seven tracks with a run time of over forty minutes, each named after their location or single subject as titled. Kyoto-based Yanagisawa is an ethnographer and filmmaker as well. The recording begins with Ferry Passing. It\u2019s amazing to think that he is basically placing the instrument, in-situ, and it is able to channel the air and natural environment in this way, with only the sounds of the un-manned instrument and the nearby surroundings. […<\/a>]<\/p>\n<\/div>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nChristina Kubisch and Annea Lockwood met each other in a different age. It was around 1975 and the New York experimental music scene wasn\u2019t as internationally recognized, but both artists already had solid backgrounds. Christina Kubisch had attended the Milan Conservatory and was developing some fundamental multimedia research with the Italian artist Fabrizio Plessi. Annea Lockwood was a teacher at the Hunter College in Manhattan and was already working with field recordings, focusing especially on the environment, often in partnership with different choreographers, sound poets and visual artists. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong>
\nPath of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nThis new trio of releases by Germany\u2019s Gruenrekorder all deal with field recordings, yet none in a very traditional way; not your usual \u201alet\u2019s tape some bird calls\u2018 type of thing. First there is \u201aPath Of The Wind\u2018 by Eisuke Yanagisawa, who set up an Aeolian Harp of his own making and recorded the instrument in a bunch of locations. The Aeolian Harp is also known as wind harp and it\u2019s were wind plays the strings attached to it. Yanagisawa learned how to work it, with string s being attached, tension and angles to capture the right amount of wind, which causes the strings to vibrate and thus a rich pattern of harmonic overtones emerge. […<\/a>]<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\nThe other two releases by Gruenrekorder deal with field recordings of a less organic nature. Gregory B\u00fcttner\u2019s work in installations, composition and improvisation should be known by now, and here he has a thirty-five minute piece of music entirely build from contact microphone recordings he made on old steamboat, an icebreaker from the 19830s. In 2010 he went over the Ostsee from Rostock to R\u00fcgen and spend his time in the bowels of the ship to tape all the rattling of the metal in what was effectively a big resonant room. I am not sure but I would think contact microphones may not capture the actual space, just the vibrating surfaces but no doubt B\u00fcttner has better mics than me. He also recorded the steam engine, fired by coal. This piece comes without any processing or manipulation; everything is layered, edited and cut together and has four distinct parts. […<\/a>]<\/p>\n

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Sounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nMore mechanics of some kind can be found on the LP by Michael Lightborne. I don\u2019t think I heard of him before and he describes himself thusly: \u201eMichael Lightborne is an artist based in Birmingham and Cork. He works with video, sound and print, and has exhibited around the UK and internationally, in exhibitions and film festivals. His work engages with questions of landscape, popular culture, memory, and technology. He is currently exploring the viability of \u2018psychetecture\u2019, a concept used in the 1980s comic Mister X to describe the psychological effects of architecture and urban forms.\u201c In 2016 and 2017 he did recordings in a cinema projection box, documenting the changing from 35mm to digital projection. Very few cinemas still use 35mm, and Lightborne found one, which is what he calls \u201ea workshop, an engine room, and an artist\u2019s studio\u201c, with a great picture on the cover. […<\/a>]<\/p>\n<\/div>\n

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3 Reviews | By Beach Sloth<\/a><\/strong>
\nPath of the Wind<\/a> | Eisuke Yanagisawa<\/a>
\nEisuke Yanagisawa shows love for their surroundings with the surreal drones of \u201cPath of the Wind\u201d. Infinitely delicate the way that the pieces evolve seems to go for a meditative, fully immersive sort of scenario. By making sure that these field recordings float further and further away from their origins, Eisuke Yanagisawa makes sure that the whole of the scope works wonders in gradually weaving itself into the mind. Hard to precisely pin down, besides the obvious drone influences and environmental elements Eisuke Yanagisawa utilizes elements of classical into the mix ensuring that everything comes together in a grand stream of consciousness style. […<\/a>]<\/p>\n

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Voll.Halb.Langsam.Halt<\/a> | Gregory B\u00fcttner<\/a>
\n\u201cVoll.Halb.Langsam.Halt\u201d shows off Gregory B\u00fcttner\u2019s uncanny ability to create aural universes that teem with unease. Throughout the album Gregory B\u00fcttner delves into noise, industrial, and drone. Much of the piece has an assaultive, take no prisoners approach where everything seemingly comes together in unexpected, bizarre ways. Great details punctuate the whole of the album while everything collides into a unified whole. Every single suite within the grand scope proves to be part of a larger symphony, one that feels quite vital. […<\/a>]<\/p>\n

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Sounds of the Projection Box<\/a> | Michael Lightborne<\/a>
\nGreat dollops of noise create tense, anxious track with Michael Lightborne\u2019s \u201cSounds of the Projection Box\u201d. For this work, Michael Lightborne relies heavily upon the natural rhythms that the machine creates. Layer upon layer of sound comes into the fray with such majesty and grace. Even within these noises Michael Lightborne occasionally lets something more come in, the way that little melodies flicker about in mere moments. By letting these pieces gain a level of prominence within the album the whole of the work feels so visceral. […<\/a>]<\/p>\n<\/div>\n

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Deutschlandfunk<\/a> | Christina Kubisch \u2013 Sounds mit narrativen Qualit\u00e4ten <\/strong><\/p>\n

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Christina Kubisch \u2013 Sounds mit narrativen Qualit\u00e4ten<\/a> [AUDIO]<\/p>\n

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Ein Portr\u00e4t der Klangk\u00fcnstlerin von Raphael Smarzoch
\nChristina Kubisch @ Gruenrekorder<\/a><\/p>\n<\/div>\n

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

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Eisuke Yanagisawa<\/a>: \u2018Path of the Wind<\/a>\u2019
\nGruen 182\/18 – CD + Digital
\n7 Tracks (41:14)
\nrun: 300 copies<\/p>\n

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Gregory B\u00fcttner<\/a>: \u2018Voll.Halb.Langsam.Halt<\/a>\u2019
\nGruen 181\/18 – CD + Digital
\n1 Track (35:35)
\nrun: 300 copies<\/p>\n

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Michael Lightborne<\/a>: \u2018Sounds of the Projection Box<\/a>\u2019
\nGruen 177\/18 – Vinyl + Digital
\n10 Tracks (43:30)
\nrun: 500 copies<\/p>\n<\/div>\n

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

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Deutschlandfunk Kultur | Kurzstrecke 76<\/a><\/strong>
\nHard Bit Rock – Roland Etzin
\nRadio: 08.08.2018 – 00:05 Uhr
\nListen:
\nwww.deutschlandfunkkultur.de<\/a><\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nDwie wielkie artystki d\u017awi\u0119kowe, przekaza\u0142y sobie odmienny materia\u0142 \u017ar\u00f3d\u0142owy, kt\u00f3ry po\u0142\u0105czy\u0142y na jednym wydawnictwie. \u201eThe secret life of the inaudible\u201d to wsp\u00f3lny album dw\u00f3ch niezwyk\u0142ych artystek. Na pocz\u0105tku chcia\u0142bym przybli\u017cy\u0107 w paru zdaniach bogate \u017cyciorysy obu pa\u0144. Annea Lockwood urodzi\u0142a si\u0119 w Nowej Zelandii w 1939 roku. W 1961 roku przenios\u0142a si\u0119 do Anglii, gdzie studiowa\u0142a kompozycj\u0119 w londy\u0144skim Royal College of Music, ucz\u0119szcza\u0142a na letnie kursy w Darmstadt i uko\u0144czy\u0142a studia w Kolonii i Holandii, bior\u0105c udzia\u0142 w kursach muzyki elektronicznej u Gottfrieda Michaela Koeniga. W latach siedemdziesi\u0105tych zdecydowa\u0142a si\u0119 zamieszka\u0107 w Stanach Zjednoczonych podejmuj\u0105c prac\u0119 w Hunter College w Nowym Jorku. […<\/a>]<\/p>\n<\/div>\n

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Gruenrekorder @ FUTURE SOUND\/FUTURE VISION<\/strong>
\nGROUP EXHIBITION – 07.13.2018 – 07.23.2018
\n5-186-8 ISHIKAWACHO, YOKOHAMA 045-641-0511
\nwww.launchpad-gallery.com<\/a><\/p>\n<\/div>\n

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Merzouga<\/a> @ The Wire Tapper 47<\/a><\/strong>
\n„Palimpsest Of Beginnings And Ends“
\nFrom De Rerum Natura \u2013 Dance Of The Elements
\n(Soon @ Gruenrekorder)<\/p>\n<\/div>\n

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Klangkomposition \u00fcber die dunkle Seite des Netzes<\/strong>
\nDarknet Poetry
\nVon Lasse-Marc Riek und Tobias Schmitt
\nwww.deutschlandfunkkultur.de<\/a><\/p>\n<\/div>\n

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Review | By TJ Norris \/ Toneshift<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nRecorded between 2016-17 here we find two longtime experimental composers at work, and both women have pioneered new sonics at every turn over five decades. Released via the Soundscape Series (Gruenrekorder; 2xCD) New Zealander Annea Lockwood and German Christina Kubisch deliver The Secret Life Of The Inaudible. The record consists of four tracks, two from each artist, separated on the two included disks. Starting off with Wild Energy (with Bob Bielecki) Lockwood darkens the room with a earthly rumbling, maybe she\u2019s a storm-chaser? The atmosphere is cavernous with sudden broad bass. As she conducts this muffled noise symphony tiny starry electronic blips emerge and disappear quickly. At 70-something she is still sculpting soundscapes with intuition and a greater understanding of minimalism. As the storm moves out a tiny watery \u2018thwack\u2019 grows into what sounds like distortions derived by nature. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a><\/p>\n

Something of an event release this for Gruenrekorder; The Secret Life of the Inaudible is a double CD collaboration between the New Zealand born American composer Annea Lockwood (She of A Sound Map of the Hudson River and numerous brutalised pianos in the 1970s) and Christina Kubisch who’s most recent release on Gruenrekorder was Unter Grund a record which made use of material collected appropriately enough beneath the earth’s surface at various locations in the area of the Ruhr in Germany. For this joint endeavour the artists exchanged a wealth of material derived from the inaudible sounds that are usually out of the frequency range for humans. Kubisch contributes electromagnetic recordings made while travelling through cities such as Montreal, Paris, Dortmund and Bangkok. Lockwood contributes a range of sources for her recordings which go from the earthly ultrasound of a Scots pine to massively sped up solar oscillations recorded from space! Just the list of sound sources puts this release into something of a class of its own. […<\/a>]<\/p>\n<\/div>\n

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Review | By Louise Gray \/ The Wire Magazine \u2013 Issue 412<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nWhile Christina Kubisch and Annea Lockwood have been significant points on each other\u2019s radars since their first meeting in the mid-1970s, it\u2019s only now, on this double CD release, that the two have collaborated. They do this via a sharing of sound files that effectively points towards a process of co-composition allowing each musician to enter and manipulate the other\u2019s soundworlds. As the album title suggests, the pair were brought together by a shared interest in making audible sounds that are, by reason of their frequency and materiality, inaccessible to the unaided human ear. The results are exhilarating, both compositionally and in the breadth of new approaches to sound sourcing. Each composer takes one CD apiece, each of them containing two works. […<\/a>]<\/p>\n<\/div>\n

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Review | By a-Musik<\/a> \/ News: April 2018<\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nDer Titel der neuen Ver\u00f6ffentlichung auf Gruenrekorder, dem auf Fieldrecordings spezialisierten Label aus Frankfurt am Main, ist Programm: \u201eThe secret life of the inaudible\u201c. Mit dem, was uns zwar soundtechnisch st\u00e4ndig umgibt aber gleichzeitig in der Regel ungeh\u00f6rt bleibt, besch\u00e4ftigen sich auf dieser gro\u00dfartigen 2CD zwei legend\u00e4re Klangk\u00fcnstlerinnen. Christina Kubisch und Annea Lockwood, die l\u00e4ngst nicht mehr aus der Geschichte der Soundart wegzudenken sind, sind nicht nur seit den 1970er Jahren aktiv, sondern kennen und \u2013 wie aus den ausf\u00fchrlichen Begleittexten erkenntlich wird \u2013 sch\u00e4tzen sich bereits ebenso lange. Umso erstaunlicher, dass es sich bei \u201eThe secret life of the inaudible\u201c um ihre erste gemeinsame Ver\u00f6ffentlichung handelt. […<\/a>]<\/p>\n<\/div>\n

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Review | By Peter van Cooten \/ ambientblog.net<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nGruenrekorder is a German label \u201cpromoting soundworks and phonography. Phonography considers nature\/the environment as an acoustic experience, loaden with musical sounds\u201d.
\nI don\u2019t think a more fitting label could be found for the release of The Secret Life Of The Inaudible, the double CD set by Annea Lockwood and Christina Kubisch. The recordings can be categorized as \u2018field recordings\u2019 but it\u2019s not as easy as going \u2018into the field\u2019 and \u2018press record\u2019 (most good field recordings aren\u2019t, by the way). And both these artists have been around since the beginning of these kind of sonic explorations (Annea Lockwood was born in 1939, Christina Kubisch in 1948). Both are legends in their own fields, the true first generation of sound artists. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nszmt<\/a> | PARVENU<\/a>
\nThe organicist metaphor of society as like that of bees has a long history in Western thought, predating the better known bodily metaphor – which is the foundation of modern corporational doctrine – by several centuries. Originating in Antiquity, the notion that human society should imitate nature as best it can slowly came into question during the later European middle ages, under pressure from developing mercantile economy and advances in legal and political organisation. In the modern era the hive metaphor was increasing viewed as anti-democratic, suppressive of the individual and hive-like societies almost inevitably malevolent; think of the Borg in Star Trek or caricatures of Communism (particularly Chinese) during the Cold War. Nevertheless the beehive society metaphor never entirely vanished and in the Modern period was most often invoked as an embellishment to holistic economic thought. George Cruikshank’s remarkable British Beehive image is paradigmatic in this respect, not least in its overall schematic similarity to medieval overviews of the hierarchical world such as those of Honorius of Autun. […<\/a>]<\/p>\n<\/div>\n

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Reviews | By Zipo \/ aufabwegen<\/a><\/strong>
\nHafd\u00eds Bjarnad\u00f3ttir<\/a> | Sounds of Iceland<\/a>
\nUm field recordings ranken sich etliche Diskurse, es wird gestritten um Fragen der Repr\u00e4sentanz, der Aneignung, der Authentizit\u00e4t, der \u00c4sthetik und weitere mehr. Fest steht, dass man scheinbar unbearbeiteten Ger\u00e4uschen aus der Au\u00dfenwelt mit viel Genu\u00df lauschen kann. Wenn es sich um unbearbeitete Feldger\u00e4usche, wie im Falle von Hafd\u00eds Bjarnad\u00f3ttir CD, handelt, bekommen die Entscheidungen des Field Recordists besonderes Gewicht: Was wurde wann und warum ausgew\u00e4hlt, was wurde weggelassen, welche Themensetzungen liegen den ausgew\u00e4hlten Aufnahmen zugrunde, was soll erz\u00e4hlt werden? Sounds Of Iceland versucht n\u00e4mlich tats\u00e4chlich, eine Geschichte zu erz\u00e4hlen \u2013 der Lauf des Jahres wird mit den verschiedenen Regionen der Insel in Aufnahmen verkn\u00fcpft. Allein diese Setzung verdeutlicht, dass es nicht um eine komplette akustische Darstellung gehen kann, sondern der Versuch unternommen wird, punktuell besonders eindr\u00fcckliche Klangereignisse in eine dramaturgische Abfolge zu birngen. […<\/a>]<\/p>\n<\/div>\n

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Review | By textura<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nThough this double-CD collaboration between sound artists Christina Kubisch and Annea Lockwood comes with the kind of pulpy title one might expect from a \u201860s TV sci-fi episode, it actually represents the project content in literal terms. One of the more fascinating things about the recording (and something of which I constantly remind myself as I attend to its seventy-four minutes) is that the sounds presented didn’t originate as audible material but rather as non-audible phenomena and energy fields the artists translated into audible form. Even to characterize the originating materials as being below the threshold of human audibility is a misrepresentation when Kubisch and Lockwood, despite using different techniques, function as sound mediums, channels through which sonic waves sourced from natural and cosmic sources turn into listenable material. Issued in a 500-copy edition as part of Gruenrekorder’s Soundscape Series, the release presents four pieces, two of them credited to Kubisch and Lockwood individually and the other two collaborations. […<\/a>]<\/p>\n<\/div>\n

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Review | By Lutz V\u00f6ssing \/ skug \u2013 MUSIKKULTUR<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nMusik hat unter anderem die F\u00e4higkeit, zu unterhalten, zu beruhigen, zum Kauf von Dingen anzuregen, zu foltern, zu empowern. In dem vorliegenden Werk der beiden Klangk\u00fcnstlerinnen geht es um ihre F\u00e4higkeit, vorher Unsichtbares sichtbar zu machen. Um die Vertonung von Unh\u00f6rbarem. T\u00f6ne, die f\u00fcr das menschliche Ohr nicht wahrnehmbar sind, werden von den beiden so manipuliert, dass am Ende etwas herauskommt, das geh\u00f6rt werden kann, vielleicht wie Musik. In der \u00c4sthetik-Theorie gibt es die Vorstellung von Kunst als \u00bbdas Sich-ins-Werk-Setzen der Wahrheit des Seienden\u00ab. Das, was die beiden Musikerinnen zu einem Kunstwerk machen, ist schon immer da gewesen, und doch wurde es erst jetzt durch ihr Zutun wahrnehmbar gemacht und kann aus sich strahlen. […<\/a>]<\/p>\n<\/div>\n

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Review | By Robert Muis \/ Gonzo (circus)<\/a><\/strong>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a>
\nDe Oostenrijker Robert Schwarz heeft, naast heel wat ander werk, een aantal jaren geleden het album The Scale of Things bij Gruenrekorder uitgebracht. Het album ging uit van natuuropnamen, die Schwarz mengde met (modulaire) synthesizerklanken, zonder herkenbaarheid of structuur na te streven. Op Double Negative dat het onvolprezen Gruenrekorder nu uitbrengt, zet Schwarz zijn werkwijze voort, al is dit album iets abstracter te noemen. Field recordings, gemaakt op locaties als Wonder Valley, Yangshuo, Fiskars, Palawan en Sandouping, zijn soms duidelijk herkenbaar (wind, water, vogels). Net zoals de synthesizerklanken regelmatig duidelijk zijn aan te wijzen. Maar met grote regelmaat kan er verwarring optreden: \u2018gevonden\u2019 geluiden en elektronisch gecre\u00eberde geluiden komen dicht bij elkaar. […<\/a>]<\/p>\n<\/div>\n

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BE PART: THIS SUNDAY – A PROJECT BY SLAVEK KWI<\/strong>
\nSunday 29th April 2018 from 11 pm to 1am (timezone: Ireland)
\nINFO PDF<\/a><\/p>\n<\/div>\n

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Review | By Beach Sloth<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nAptly named, Christina Kubisch & Annea Lockwood discover the unlovable tiny textures and tones that surround us with the beautiful symphonies of \u201cThe Secret Life of the Inaudible\u201d. Over the course of these extended pieces the two delve deep into the innermost workings of these miniature aural universes. Rhythms appear throughout but they are merely coincidence. By far the true draw comes from the way the textures shift and evolve. Despite their small stature, the pieces can grow to become quite loud, almost noisy at times. Difficult to fully imagine their miniature status, by allowing the intense amplification the sounds become transmissions from an otherworldly source, one that continues whether or not we notice it. […<\/a>]<\/p>\n<\/div>\n

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framework radio<\/a> | #634<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity
\npresented by patrick mcginley
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a><\/p>\n<\/div>\n

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SONIC MMABOLELA 2018<\/strong>
\n6th Annual Workshop\/Residency for sound artists & composers
\nat Mmabolela Reserve, Limpopo, South Africa<\/p>\n

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Conceived and directed by Francisco L\u00f3pez (www.franciscolopez.net<\/a>)
\nCoordination and logistics by Barbara Ellison (www.barbaraellison.com<\/a>)<\/p>\n

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\u2018Sonic Mmabolela\u2019 is a 2-week workshop\/residency for professional and semiprofessional sound artists and composers with previous experience in the area of sound experimentation and sound recordings. It takes place at Mmabolela Reserve, in the Limpopo province of South Africa, right at the border with Botswana. It involves field work, studio work and theoretical\/discussion presentations. The workshop\/residency has a special focus on creative approaches to the work with environmental sound recordings, as well as the role of listening, through an extensive exploration of natural sound environments. It does not have a technical character but is instead conceived and directed towards (i) the questioning of canonical conceptions of so-called \u2018field recordings\u2019, and (ii) the development and realization of projects of sonic creation by the participant artists\/composers with the recordings gathered and through the experience of dedicated listening in natural environments.<\/p>\n

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Dates Workshop\/Residency: 16-29 November 2018
\nDeadline for registration: 1 July 2018
\n[but open only until filling the limited maximum capacity of 10 participants]
\nDetailed information here: www.franciscolopez.net\/field.html<\/a><\/p>\n<\/div>\n

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Reviews | By Ed Pinsent \/ The Sound Projector<\/a><\/strong>
\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

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

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Katharina Klement<\/a> | peripheries<\/a>
\nKatharina Klement may be more well-known to many as a contemporary classical pianist, and indeed many of her solo albums of piano music can be found on her own KalK label since 1996, although she\u2019s also represented on the Austrian label Extraplatte. On Peripheries: Sound Portrait Belgrade (Gruen 173) she\u2019s demonstrating her very able skills in the genre of documentary \/ field recording, and unlike Namblard she\u2019s concentrating on an urban area for inspiration and sounds. Indeed she has explicitly set herself a challenge to convey the truth of this city with her microphones, or to use her own words: \u201cwhat does this city sound like? Is it possible to portray it using sounds?\u201d Her own response was comprehensive, to say the least. She not only recorded sounds of Belgrade, but interviewed the locals, building up what she calls an \u201cacoustic archive\u201d over a period of nine weeks. But it wasn\u2019t just about sound; through her peregrinations, she found Belgrade to be a place of \u201cnumerous peripheries\u201d, by which she means you can turn a corner at any moment and enter a \u201cfringe area\u201d, as it were a pocket of space outside the bustling city centre, moving from loud and noisy places into quiet zones in a matter of seconds. Further: the motif of the circle imprinted itself on her creative brain, and I suppose once she\u2019d spotted it she started seeing it everywhere \u2013 on buildings, on decorations, road signs. […<\/a>]<\/p>\n<\/div>\n

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Review | By Soundohm<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\n‚The secret life of the inaudible\u2019 is the first collaborative work of two of the 20th century’s most revered and important female sound artist\/electro-acoustic composers Christina Kubisch and Annea Lockwood. Using purely natural sounds, such as Volcanic gas vents, earthquakes, solar oscillations and ultrasonic tree sounds – as well as electromagnetic recordings from light systems and seismic research centers,transmitter systems and others, they build an ultra-vivid, immersive psychoacoustic mass of rare beauty. […<\/a>]<\/p>\n<\/div>\n

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Review | By MASSIMO RICCI \/ TOUCHING EXTREMES<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nA cause of extreme disgruntlement for this writer is the passive awareness that the bulk of a lifetime was splurged on issues and people not belonging to a sphere of intuitions and considerations even marginally correlatable with his own. If one inaugurates the process of growth by being predominantly attracted by non-vocal emissions, it is foreseeable that \u2013 quite soon \u2013 attention will not be given anymore to individuals imparting sagacity via mere words, typically instilling some kind of dismay in the potential victim. In that sense, imagine the (adult) quotidian disheartenment for not having a chance to remain within essential acoustic domains when the calls comes; silence is mandatory to do that, and silence is by now a rare commodity. Finally, try to explain all of the above to someone blathering non-stop because convinced \u2013 possibly via previous trauma \u2013 or out-and-out pretending of living outside his\/her body, then get back to me for a good laugh together. […<\/a>]<\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a>
\nPoprzedni album austriackiego kompozytora Roberta Schwarza opisywany przeze mnie na Nowej Muzyce nosi tytu\u0142 \u201eThe Scale Of Things\u201d (2015 r.). Tegoroczny \u201eDouble Negative\u201d jest swoistym przed\u0142u\u017ceniem koncepcji i my\u015bli zawartych na \u201eThe Scale Of Things\u201d, ale tylko do pewnego stopnia. Generalnie Schwarz tworzy swoje konstrukcje d\u017awi\u0119kowe w oparciu o field recording, kt\u00f3ry nast\u0119pnie modyfikuje przy pomocy syntezatora modularnego. S\u0142uchaj\u0105c najnowszej p\u0142yty artysty (z czarnego kr\u0105\u017cka), mocno si\u0119 zastanawia\u0142em nad poziomem nat\u0119\u017cenia abstrakcji. Wysz\u0142o mi po r\u00f3wno w stosunku do obu wydawnictw. Rol\u0119 kontrapunktu do tzw. dronowych rze\u017ab d\u017awi\u0119kowych, jakie Austriak skomponowa\u0142 na \u201eDouble Negative\u201d, przybra\u0142y ponownie nagrania terenowe, cho\u0107 tym razem z USA, Chin czy Filipin (g\u0142\u00f3wnie s\u0105 to odg\u0142osy ptak\u00f3w, wiatru i szumu morza\/oceanu). […<\/a>]<\/p>\n<\/div>\n

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Review | By \u0141ukasz Kom\u0142a \/ Nowamuzyka.pl<\/a><\/strong>
\nszmt<\/a> | PARVENU<\/a>
\nTobias Schmitt kieruje projektami szmt oraz Suspicion Breeds Confidence. Jest r\u00f3wnie\u017c wsp\u00f3\u0142za\u0142o\u017cycielem inicjatywy pod nazw\u0105 Xerox Exotique<\/a> \u2013 wydarzenia w ramach tego przedsi\u0119wzi\u0119cia odbywaj\u0105 si\u0119 cyklicznie we Frankfurcie, ale zawsze w innym miejscu. Pozw\u00f3lcie, \u017ce przytocz\u0119 opis dzia\u0142ania XE w j\u0119zyku angielskim: \u201eA group of slightly deranged individuals with an interest in arson, arts & apple wine\u201d. \u201ePARVENU\u201d to przyk\u0142ad soundscape\u2019u rozbudzaj\u0105cego wyobra\u017ani\u0119. Schmitt miesza ze sob\u0105 zar\u00f3wno improwizacj\u0119, jak i kompozycj\u0119. Jego abstrakcyjny konceptualizm \u201ekaza\u0142\u201d mu w\u0142o\u017cy\u0107 rejestrator do \u015brodka trzech r\u00f3\u017cnych uli. […<\/a>]<\/p>\n<\/div>\n

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Review | By Duncan Simpson \/ Musique Machine<\/a><\/strong>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a>
\nRobert Schwarz‘ previous effort on Gruenrekorder, The Scale of Things, was a superlative amalgam of dense musique concrete, treated field recordings and modular synthesizer that conjured worlds of amplified natural processes and disquieting soundscapes. The beauty of that record was how it showcased a variety of techniques in such a way to produce a unified, highly composed, not-to-mention dramatic vision of avant-garde electronic composition. Like its predecessor, Double Negative features a cover that hints at what lies within the grooves of the record. The strange almost claustrophobic collage which adorned The Scale of Things gives way here to a seascape, on the horizon of which drifts the unmistakable geometric form of an iceberg, or could be a shark fin or even the prow of a sinking ship? The picture is almost abstract in its composition and finds kin among the similarly abstract and musically dissociated music on the record. […<\/a>]<\/p>\n<\/div>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong>
\nChristina Kubisch<\/a> & Annea Lockwood<\/a> | The secret life of the inaudible<\/a>
\nThese two ladies, grande dame each of them in the world of field recordings and sound installation first met in 1975 when Kubisch interviewed Lockwood for an Italian magazine, and since then off and on meet, but this is the first time they actually work together. They both like underwater sounds and Annea is interested in the force of nature influencing us, and Christina does the same with electromagnetic fields in our daily lives. They exchanged sound material together and worked on each other\u2019s sounds. However if I am not mistaken on each CD there is a solo piece. Annea Lockwood makes the inaudible audible, with ultra and infra sound frequencies, and it begins with \u201csolar oscillations recorded by the SOHO spacecraft, 40 days of solar oscillations sped up 42,000 times, and ends with ultrasound recorded from the interior of a Scots pine tree\u201d, and is a truly fascinating aural journey in space; or at least that\u2019s how I perceived it, like a free floating spaceship in a vast, endless, black surrounding, with sometimes intercepting transmissions from other life forms. […<\/a>]<\/p>\n<\/div>\n

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Review | By textura<\/a><\/strong>
\nRobert Schwarz<\/a> | DOUBLE NEGATIVE<\/a>
\nRobert Schwarz’s Double Negative is as enigmatic a recording as his previous Gruenrekorder outing The Scale of Things, but something tells me the Vienna-based sound artist wouldn’t have it any other way. Field recordings once again played an integral part in the sound design, with in this case Wonder Valley, Yangshuo, Fiskars, Palawan, Sandouping, and Overton providing reference points of audiophonic plunder, and modular synthesizers and electronic treatments of one kind or another also helped shape the album’s seven compositions into final form. But beyond that the material remains open to interpretation, with track titles such as \u201cYSY\u201d and \u201cFSK\u201d doing little to lessen the material’s abstract character. Not that the recording\u2019s opacity is a bad thing; if anything, it makes the pieces on the thirty-eight-minute vinyl release (300 copies) all the more fascinating as well as endearing. To be clear, the material isn\u2019t wholly abstract, as familiar sounds of twittering birds, wind, and water do emerge within the sound design. Yet Schwarz to a large degree counters that normalizing dimension by coupling it with electronic interventions that destabilize the recognizable elements by setting them adrift within the larger constructions. […<\/a>]<\/p>\n<\/div>\n

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