\nBukarest | Bucure?ti \u2013 fragmente<\/a> | Greta Hoheisel & Norbert Lang<\/a><\/p>\n
Man glaubt es kaum, was in diesem kleinen, quadratischen B\u00fcchlein alles drinsteckt. Nicht nur Bilder und Texte, auch T\u00f6ne. Gut, die sind eine Beigabe auf CD. Aber h\u00f6rt man sie, w\u00e4hrend man durch die Bildstrecken bl\u00e4ttert und sich da und dort in einer der nebenstehenden Notizen festliest, f\u00e4llt es leicht, sich in Bukarest zu imaginieren, sei\u2019s im Zentrum der Stadt in mitten des ausufernden Hupkonzerts w\u00e4hrend der Rushhour, sei\u2019s in der Vorstadt, deren Ruhe nur das Gebell der Hunde st\u00f6rt.
\nEin Jahr lang haben die Fotografin Greta Hoheisel und der Klangk\u00fcnstler Norbert Lang, jeder auf seine Weise, mit dem Fotoapparat und dem Tonband,das Leben in der Hauptstadt des neuen EU-Mitgliedslandes Rum\u00e4nien dokumentiert. 20 raffinierte Klangaufnahmen f\u00fcgen sich im Buch zu 20 Kapiteln, in denen je eine kleine literarische Skizze die melancholischen Farbfotografien einer menschenleeren Stadt begleitet. […]<\/p>\n
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Review | By Stephen Fruitman \/ sonomu<\/a><\/strong> Prank? Dadaist commentary on other recordings of empty spaces? Two wasted hours of my life I will never get back?<\/p>\n Punctuated by the regular „click“ of an outmoded cassette tape recorder going round and round – whose tape hiss is all that is actually „recorded“ – there is as good as nothing going on, and I mean that in every acoustic sense. […]<\/p>\n <\/p>\n <\/p>\n Review | By Andrea Vercesi \/ Chain D.L.K.<\/a><\/strong>\u00a0<\/a><\/p>\n THE FAUNA AND FLORA OF THE VATICAN CITY<\/a> | SUSPICION BREEDS CONFIDENCE<\/a><\/p>\n It took me some time to get used to it. The majority of this album is downtempo\/illbient, featuring some experimental bits, some UK-influenced electronica and even some middle-eastern percussions and freaky sitar loops. Now, even if my references are obvious, do not think to Confidence Breeeds Suspicion as another useless 90s revival, as all the above mentioned styles are re-elaborated with a personal touch and this record belongs to 2008. The structure of the songs on this one is unpredictable, so expect swift style changes in the same track but not in the overall mood. I must say that I didn’t like the Squarepusher-like bursts on „A Million Birds Should Know Somethint About Modesty“ at all, as they don’t fit with the other tracks, but maybe it was made on purpose. An interesting album, it may appeal to those into Residents more eclectic works.<\/p>\n <\/p>\n <\/p>\n Review | By John F. Barber<\/a> \/ Digital Te<\/strong>chnology and Culture \/ Washington State University Vancouver<\/strong><\/p>\n Autumn Leaves<\/a> | Field Recording and Soundscape Compilation<\/p>\n The paucity of language to describe acoustic phenomena is noted immediately in the introduction to Autumn Leaves: Sound and the Environment in Artistic Practice. This slipperiness of language as a reflection of the richness of sound in space is preferred, says editor Angus Carlyle, and, as played out through the essays in this collection, becomes a celebration of „the complexity of sound’s movements to and fro and of the wonders of our ears and minds“ (5).<\/p>\n The celebration is rich and wonderful as composers, artists, and engineers discuss projects and performances designed to capture or create the movement of sound through a conductive medium, whether solid, gaseous, or liquid, so as to extend its vitality and extend its meanings. […]<\/p>\n <\/p>\n <\/p>\n Review | By Tobias Bolt \/ quietnoise<\/a><\/strong><\/p>\n Bukarest | Bucure?ti \u2013 fragmente<\/a> | Greta Hoheisel & Norbert Lang<\/a><\/p>\n F\u00fcr ein Jahr begaben sich die Fotografin Greta Hoheisel und der Klangk\u00fcnstler Norbert Lang nach Bukarest und hielten ihre Eindr\u00fccke von Rum\u00e4niens Hauptstadt in Bild und Ton fest. Die Ergebnisse dieser Stadtbeobachtungen werden nun einerseits in der aktuell laufenden Wanderausstellung Bucharest – fragments in a box vorgestellt wie auch mittels vorliegender Ver\u00f6ffentlichung, Buch plus CD, auf Gruenrekorder dokumentiert. In dieser verbinden sich, vielleicht als eine Art erweiterter Ausstellungskatalog zu verstehen, ausgew\u00e4hlte Fotografien und Field Recordings mit pr\u00e4zise kommentierender Kurzprosa zu einem vielschichtigen, freilich bewusst l\u00fcckenhaft gehaltenen, Portrait einer Stadt im Wandel. […]<\/p>\n <\/p>\n <\/p>\n The Unstable Domestic Elite: This Tranquil Haven Of Democracy (d-i-net)<\/strong><\/p>\n 1\u00a0\u00a0\u00a0 Interpalme The Unstable Domestic Elite is a project of Tobias Schmitt (Germany) and Cordell Klier (USA). Download this EP here: Cordell Klier: www.doctsect.com<\/a> <\/p>\n <\/p>\n Bukarest | Bucure?ti \u2013 fragmente | Greta Hoheisel & Norbert Lang<\/strong> <\/p>\n <\/p>\n Review | By Jez riley French \/ ‚in-place‘<\/a><\/strong><\/p>\n Bukarest | Bucure?ti \u2013 fragmente<\/a> | Greta Hoheisel & Norbert Lang<\/a><\/p>\n <\/p>\n <\/p>\n Reviews | By Ron Schepper \/ textura<\/a><\/strong><\/p>\n paradis paysan<\/a> | feu follet<\/a> <\/p>\n <\/p>\n Review | By Tobias Bolt \/ quietnoise<\/a><\/strong><\/p>\n Marker<\/a> | Jeremy Bible & Jason Henry<\/a><\/p>\n <\/p>\n <\/p>\n 15 Questions to Budhaditya Chattopadhyay<\/a> \/ By Tobias Fischer To many listeners and composers alike, field recordings and unprocessed sound are just building blocks for compositions, which need to be grouped and organised. To Budhaditya, they are demanding attention, whispering secrets, telling stories. If his music is a conscious effort of challenging the supremacy of the visual in our medial landscape, then it is mainly because he believes that acoustic environments allow for equally exciting narratives and that an increased awareness of the sonic potential all too often lost underneath our radar of perception could lead us to a better understanding of the world. As abstract as some of this may sound, Chattopadhyay’s work is anything but overly conceptional. Rather it is filled with a strong sense of immediacy, even delineating a political dimension, as on his recent release with German label Gruenrekorder. On „Landscape in metamorphoses“, he embarks on an audio documentary analysing the impact of the commercial exploitation of commodities on nature, peoples, traditions and cultural memory. […]<\/p>\n link<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n Autumn Appreciation Society<\/strong><\/p>\n Old Gutnish \/ Radio X \/ 12.10.2008 (live) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Frank Rowenta<\/a>: \u201cRaumstudien #03<\/a>\u201d (Gr 058\/08) <\/p>\n <\/p>\n Reviews | By Tobias Bolt \/ quietnoise<\/a><\/strong><\/p>\n Landscape in Metamorphoses<\/a> | Budhaditya Chattopadhyay<\/a> <\/p>\n <\/p>\n Review | By Stephen Fruitman \/ sonomu<\/a><\/strong> <\/p>\n <\/p>\n Review | By textura<\/a><\/strong> <\/p>\n <\/p>\n Verein zur F\u00f6rderung von Phonographie und experimenteller Musik \u00b0<\/strong><\/p>\n Erstes Treffen \/ Jede(r) ist herzlich eingeladen – nicht nur f\u00fcr Mitglieder<\/p>\n Am Freitag den 10.10.2008 um 17 Uhr im „Caf\u00e9 im Kunstverein“<\/p>\n www.fkv.de<\/a><\/p>\n Wir freuen uns auf Euch!<\/p>\n www.phonographie.org<\/a><\/p>\n <\/p>\n <\/p>\n Reviews | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n Bukarest | Bucure?ti \u2013 fragmente<\/a> | Greta Hoheisel & Norbert Lang<\/a> <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Greta Hoheisel & Norbert Lang<\/a>: \u201cBukarest | Bucure?ti \u2013 fragmente<\/a>\u201d (Gruen 068\/08) <\/p>\n <\/p>\n Lokomotivphonie (mp3 Surround)<\/strong> | U. Briest \/ L.M. Riek \/ R. Etzin<\/p>\n Recorded at the Railway Museum<\/a>, Darmstadt-Kranichstein, Germany, 2008<\/p>\n <\/p>\n <\/p>\n -M3U-<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n www.inbukarest.com<\/a> <\/p>\n <\/p>\n Freedom soon will come (Offenbach)<\/strong> improvisation with electronic and biological material www.waldlust.org<\/a><\/p>\n Es spielen auch noch<\/p>\n www.myspace.com\/gastricfemalereflex<\/a><\/p>\n <\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n New Online Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Olivier Nijs<\/a>: „Nothing Satisfies<\/a>“ (Gr 061\/08) <\/p>\n <\/p>\n Review | By Tobias Bolt \/ quietNoise<\/a><\/strong><\/p>\n feu follet<\/a> | paradis paysan<\/a><\/p>\n Feu follet ist das Solo-Projekt von Tobias Fischer, Chefredakteur des tokafi<\/a>-Webzines und unter anderem Gr\u00fcnder des Einzeleinheit<\/a>-Labels, hier mit seiner ersten Ver\u00f6ffentlichung auf Gruenrekorder. Ein knapp vierzig Minuten langer Track findet sich darauf, lose in f\u00fcnf Segmente aufgeteilt. Den Beginn machen Field Recordings; geloopte Verkehrsger\u00e4usche wiederholen und verdichten sich, in ein feines Netz aus verhaltenem Ambientgefl\u00fcster eingesponnen, zu einer seltsamen, wundersch\u00f6nen Atmosph\u00e4re, irgendwo weit drau\u00dfen zwischen Organums \u00bbVacant Lights\u00ab und Biospheres \u00bbAutour de la Lune\u00ab. […]<\/p>\n <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n Budhaditya Chattopadhyay<\/a> | Landscape in Metamorphoses<\/a> <\/p>\n <\/p>\n Review | By Tobias Fischer \/ tokafi<\/a><\/strong><\/p>\n Budhaditya Chattopadhyay<\/a> | Landscape in Metamorphoses<\/a><\/p>\n Budhaditya Chattopadhyay: Documents a Landscape in Metamorphoses<\/p>\n „Audio Practitioner“ Budhaditya Chattopadhyay is drawing attention to the rapid social and geocultural transformation of his native India on his latest album. „Landscape in Metamorphoses“, a 26-minute collection of field recordings on German label Gruenrekorder, documents the stormy environmental changes taking place in Tumbani, „one of the busiest industrial belts at the Bengal-Bihar border“. Recorded between February and April of last year with little more than a simple MD recorder and a binaural microphone, „Landscape in Metamorphoses“ aims at delivering both a vivid sonic snapshot and a strong political statement: […]<\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Budhaditya Chattopadhyay<\/a>: „Landscape in Metamorphoses<\/a>“ (Gr 057\/08) <\/p>\n <\/p>\n Review | By <\/strong>Ron Schepper \/ textura<\/a><\/strong><\/p>\n Simon Whetham<\/a> | Landlocked<\/a><\/p>\n That the latter’s release is dominated by water sounds isn’t in itself so unusual but it is when one discovers that the material comes from recordings Whetham made during a 2006 visit to Mongolia, an arid country that, caught between Russia to the North and China to the south, is completely landlocked. The EP, part of Gruenrekorder’s Field Recording Series, presents a twenty-three-minute episodic piece that moves from pure water sounds to percussive episodes (created by droplets striking a metal windowsill) and from micro-sound passages to ones where water barrels forth with crushing force (sound sources include the holy spring in Dulaanhaan, water run-off at a Ulan Bataar power station, and ice floes). […]<\/p>\n <\/p>\n <\/p>\n Review | By Andrew Quitter \/ Heathen Harvest<\/a><\/strong> Genre:\u00a0 Field Recordings \/ Drone Ambient <\/p>\n <\/p>\n Review | By Andrew Quitter \/ Heathen Harvest<\/a><\/strong><\/p>\n tbc<\/a> | Pfalz II<\/a><\/p>\n Genre: Ambient Field Recordings \/ Phonography<\/p>\n This has been somewhat of a hard review to get started on in a few different ways. The first being the very little info available about the artist himself online. The best I can come up with is that this is the project of Thomas Best, who began his musical career in the early eighties with the harsher, cut-up styled project H 6 4, before discovering phonography (the art of taking field recordings, or „audio snapshots“) and changing his name to TBC in 1991. Besides his somewhat prolific output under the new name, he has also been involved with a slew of side projects, collaborations, and the running of several labels over the years. […]<\/p>\n <\/p>\n <\/p>\n Gruenrekorder on radio framework \/07\/08<\/strong><\/p>\n phonography\/field recording; contextual and decontextualized sound activity www.resonancefm.com\/framework<\/a> <\/p>\n <\/p>\n Kesselschlacht<\/strong> kesselschlacht.se14.de<\/a><\/p>\n tinyurl.com\/3onw9y<\/a><\/p>\n <\/p>\n <\/p>\n 1.-5. 07.2008 | Tuned City – Zwischen Klang- und Raumspekulation<\/strong> 4.07.2008<\/p>\n das kleine field recordings festival<\/a><\/p>\n <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a> <\/p>\n <\/p>\n New Distribution:<\/strong><\/p>\n <\/p>\n <\/p>\n V.A.: „elffriede: soundrawing<\/a>“ (GrD 04\/07) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Simon Whetham<\/a>: „landlocked<\/a>“ (Gr 056\/08) <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n Roland Etzin<\/a> | Indicator<\/a><\/p>\n The name Roland Etzin we have heard before, mainly through compilations on Gruenrekorder, where he was noticed for the some more noisy end of field recording. On ‚Indicator‘, which is one track in eight parts, the field recordings seem to merely serve as pieces in between the parts, when Etzin moves through various stages of highly processed electronic signals. Those might have found their origins also in field recordings, but then Etzin knows how to hide that. It’s not music that moves me, but what I do like about it, is that it’s something that you don’t hear very often: the combination of field recordings with noise elements. It needs further shaping but it’s quite nice. (FdW)<\/p>\n <\/p>\n <\/p>\n 27.6.08 | 22:00 Uhr |\u00a0 theater rampe stuttgart<\/strong><\/p>\n Gruenrekorder (Roland Etzin & Lasse-Marc Riek)<\/a><\/p>\n www.theaterrampe.de<\/a><\/p>\n <\/p>\n <\/p>\n Review | By BLEED \/ DE:BUG<\/a><\/strong> Diese Platte macht einem das Review ziemlich einfach. Man muss nur die Tracktitel aufz\u00e4hlen. „Mit einem lasziven Hauchen entmystifizierte sie den Holzweg“. Oder „Vom Nutzen und Nachteil der tabellarischen Darstellung von Komfort“. Auch gut: „Schwimmstunden der arbeitslosen japanischen Prostituierten (keine Kleiderordnung)“. Was will man noch mehr sagen? Das nimmt einem jedes Wort aus dem Mund. Das h\u00f6rt sich auch, ich schw\u00f6re, genau so an. Eine Schallplatte ohne die man sich gar nicht in den Diskurs trauen sollte. Ich bin begeistert.<\/p>\n BLEED \/ DE:BUG 122 – Mai ’08<\/p>\n <\/p>\n <\/p>\n FN #1: „Writings on Sound“ | Field Notes Magazine by Gruenrekorder Our first issue – published in May 2008 – features six articles, written by Costa Gr\u00f6hn, Tanja Hemm, Christoph Korn, Stefan Militzer, Marcus Obst (aka Dron\u00e6ment) & Aaron Ximm (aka Quiet American). <\/p>\n <\/p>\n <\/p>\n <\/p>\n Waldlust @ Radio X Fr\u00fchjahrsfest (Hafen 2\/OF)<\/strong><\/p>\n Samstag, 31. Mai 2008 ab 20 Uhr Waldlust improvisiert einen Live-Soundtrack zu Filmmaterial aus dem Wald des hessischen Taunus. Das Sound-Projekt „Waldust“, bestehend aus dem Frankfurter Duo Tobias Schmitt und Lasse-Marc Riek, entwickelt Klangwelten aus gefundenen und generierten Ger\u00e4uschen.Um den Grundton f\u00fcr ihre Auff\u00fchrungen zu finden, streifen die beiden K\u00fcnstler durch Wald und Flur. Im Feld werden Tonaufnahmen und Eindr\u00fccke gesammelt, welche zu einer Live-Komposition zusammengef\u00fchrt werden. Ihre Auff\u00fchrungen sind seit dem Jahre 2003 in Museen, Galerien und Off-Spaces in Deutschland und Finnland zu h\u00f6ren. Das komplette Programm gibt es unter <\/p>\n <\/p>\n Review | By Till<\/strong> \/ BLACK Magazin<\/a><\/strong><\/p>\n SUSPICION BREEDS CONFIDENCE<\/a> | THE FAUNA AND FLORA OF THE VATICAN CITY<\/a><\/p>\n TOBIAS SCHMITT ist ein Schichtarbeiter: Er w\u00fchlt sich durch unz\u00e4hlige Klangschichten, trepaniert digitale Krusten und schient zerbr\u00f6selte Rhythmik. Und das schon seit \u00fcber 10 Jahren. SBC-Alben sind immer wieder Schatzk\u00e4stlein: Electronica steht neben Elektro-Akustik, Plunderphonica neben Improvisation, IDM neben Feldaufnahme. Die Mannigfaltigkeit der Bez\u00fcge, die assoziative Kraft der Klangsplitter beult einem jedes Gehirn aus. Nicht zuletzt auch durch den SBC-typischen Wortwitz der Titel: „Mit einem lasziven Hauchen entmystifizierte sie den Holzweg“ oder „Schwimmstunden der arbeitslosen japanischen Prostituierten (Keine Kleiderordnung)“ treten den Synapsen mit Vergn\u00fcgen vors neuronale Schienbein. Die englischsprachige Welt sagt ja nicht umsonst „rich“ zu schwer Kost. […]<\/p>\n <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n feu follet<\/a> | paradis paysan<\/a><\/p>\n Tobias Fischer\u2019s Feu Follet project has so far a nice bunch of releases – or rather a bunch of nice releases on his own Einzeleinheit label, but also for others. Here, on Gruenrekorder, presented with a great, professional cover, he presents us one piece in five distinctive parts. Fischer belongs to the young and exciting new drone musicians from Germany, next to say Ex Ovo\/Mirko Uhlig. The way they handle their material is great. There is lots of space, sometimes in a literal way such as the opening bird sounds here, through carefully constructed drones, probably constructed on the computer, but there is always that bit of extra, like a looped cricket sound, a sorrowing organ, or even Asmus Tietchens\u2019 like sound processing. […]<\/p>\n <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n tbc<\/a> | Pfalz II<\/a><\/p>\n Thomas Beck has been around for a long time. I never knew he was behind H64, which I once called the loudest in Europe. He\u2019s also responsible for the Wachsender Prozess label, Odradek magazine and his own radio programm. These days his solo project is called TBC and as such he has done already a couple of releases. For Gruenrekorder he made a work that falls in the section of field recordings (the label works with various categories). We hear TBC mostly dealing with wind sounds, out there in North Germany\u2019s cold forest in one piece that lasts about thirty minutes or a bit less. Cleverly divided into smaller blocks with silence in between, this is almost like a Lopez like work and certainly the best work I ever heard coming out of his hands. […]<\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Feu Follet<\/a>: „Paradis Paysan<\/a>“ (Gr 055\/08) <\/p>\n <\/p>\n <\/p>\n S I N G W A R T E<\/strong> www.alulatonserien.de<\/a><\/p>\n <\/p>\n <\/p>\n Review | By Michael Thomas Jackson \/ Heathen Harvest<\/a><\/strong><\/p>\n SUSPICION BREEDS CONFIDENCE<\/a> | THE FAUNA AND FLORA OF THE VATICAN CITY<\/a><\/p>\n <\/p>\n […] The result is a unique sort of IDM as if Steven Stapleton collaborated with Autechre only to be remixed by Carsten Nicolai. It’s consistently rhythmic in the most abstract sense with a blend of concrete and digital sounds in constant flux with a certain video-game sense of whimsy. Twenty-second century cartoon music for your children’s children’s children? Nope, this is far too here and now to be so prescient. This is music for our kids today granted they’ve been raised on Nurse With Wound, The Residents and Madlib at his most experimental. Yes it’s as fun as it is bizarre and when it grooves, it does so with a short attention span aesthetic that is less distractive than it is playful in an intelligent manner. No hyperactive disorder issues here, it’s all part of the plan…I think. […]<\/p>\n link<\/a><\/p>\n <\/p>\n <\/p>\n Review | By nicolas \/ www.void.gr\/absurd<\/a><\/strong><\/p>\n
\nRaumstudien # 03<\/a> | Frank Rowenta<\/a><\/p>\n
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\n2\u00a0\u00a0\u00a0 Name That Fruit!
\n3\u00a0\u00a0\u00a0 Holodomor Erotica
\n4\u00a0\u00a0\u00a0 Rest In Milk<\/p>\n
\nThe material derived from ping-ponging sounds, processings and ideas resulting in a digital bastard that unites the aesthetic approaches of both artists.<\/p>\n
\nwww.d-i-net.org\/diso007.html<\/a><\/p>\n
\nTobias Schmitt: www.acrylnimbus.de<\/a><\/p>\n
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\nwww.zeit.de<\/a><\/p>\n
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\nLandscape in Metamorphoses<\/a> | Budhaditya Chattopadhyay<\/a><\/p>\n
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\n![\"Autumn](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/autumn_appreciation_society.JPG\" "\\"Autumn")
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\n-M3U-<\/a><\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_058.jpg\")
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\nElectronica
\n2 Tracks (123\u203200\u2033)
\nDouble CD-R (50 copies)<\/p>\n
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\nLandlocked<\/a> | Simon Whetham<\/a><\/p>\n
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\nparadis paysan<\/a> | feu follet<\/a><\/p>\n
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\nMarker<\/a> | Jeremy Bible & Jason Henry<\/a><\/p>\n
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\nMarker<\/a> | Jeremy Bible & Jason Henry<\/a><\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_068.jpg\")
<\/a><\/p>\n
\nPhonography
\n20 Tracks (47\u203219\u2033)
\nCD (+Book) (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/eisenbahn.jpg\")
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\n![\"Bukarest](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/einladung_fragmente.jpg\" "\\"Bukarest")
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\nwww.stellwerkprogramm.de<\/a><\/p>\n
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\n27.09.2008 20Uhr
\nwww.myspace.com\/freedomsoonwillcome<\/a><\/p>\n
\nwaldlust aka tobias schmitt and lasse-marc riek from frankfurt upon the forest construct their acoustic mother soil while walking in the hills surrounding frankfurt and drinking at the promenade of bourgeois frankfurt. both are children of experimentation.
\narchive material from field recordings and (fragments of) scores are formed by means of improvisation.
\nlasse-marc riek, microphone musician, installations, performances, numerous actions and cd projects. co-organiser of pool for audio art: gruenrekorder.
\ntobias schmitt \/ sbc, experimental elektronic, numerous activies like releases, concerts, installations, concert organsisation etc.
\nwaldlust: see with your ears.<\/p>\n
\n![\"Gruenrekorder](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/flyer_V1.jpg\" "\\"Gruenrekorder")
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\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_062.jpg\")
<\/a><\/p>\n
\nJeremy Bible & Jason Henry<\/a>: „Marker<\/a>“ (Gr 062\/08)
\nSoundscapes
\n5 Tracks (62’48“)
\nCD-R (50 copies)<\/p>\n
\n![\"Am](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/aufkleber_staudinger_web.jpg\" "\\"Am")
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\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/gr061\/nothing_satisfies-klein.jpg\")
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\nListening session<\/p>\n
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\n<\/strong>Its never easy to judge field recordings, but things might be more difficult if the place that is subject is unknown to the reviewer. Such is the case with a place called Tumbai, ‚a landscape in change; from a greener pasture transforming into one of the busiest industrial belts of Bengal-Bihar border in India‘, so says Budhaditya Chattopadhyay on the cover of his piece ‚Landscape In Metamorphoses‘. Had we not known this, could we have told after hearing this? Always a though question, since simply we know now and yes, we can tell now. […]<\/p>\n
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<\/a><\/p>\n
\nPhonography
\n1 Track (26’02“)
\nCD-R (50 copies)<\/p>\n
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\nVarious Artists | Rhythm<\/a><\/p>\n
\nThis is a really cool little compilation with a focus on the use of field recordings that have strong natural rhythm. Artist from all over the world contribute 4-10 minute tracks with a wide range of atmosphere and subtlety. Due to the liner notes that briefly describe where the track was recorded, I get the feeling that these tracks are unedited and exactly how they sounded when they were caught on tape. Most of the tracks have a real strong percussion-like rhythm that brings to mind everything from musique concrete, to minimal electronica. […]<\/p>\n
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\npresented by patrick mcginley<\/p>\n
\nwww.soundtransit.nl<\/a>
\nwww.resonancefm.com<\/a><\/p>\n
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\n5.07.2008 – 18 Uhr
\nPlatz der Einheit, Frankfurt am Main<\/p>\n
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\nwww.tunedcity.de<\/a><\/p>\n
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\n<\/strong>Simon Whetham<\/a> | landlocked<\/a>
\n[…] Unlike Simon Whetham I’ve never been to Mongolia but I believe him when he says that this massive country hasn’t got much water. Wetham got struck by this and, oddly enough, all the recordings he made in Mongolia, only the water recordings survived. With these he recorded a pure soundscape piece of water flowing and various types of rain (or so it seems) and created a very nice, if not a bit short at twenty-three minutes, piece out of it. Silence, near silence and massive water sounds are mixed together into a soundpicture of a dry country. Quite nice at that, this Lopez like work. […]<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/GrD_04.jpg\")
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\nElectronica
\n34 Tracks (64’48“)
\nCD (+Book) (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_056.jpg\")
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\nPhonography
\n1 Track (23’04“)
\nCD-R (50 copies)<\/p>\n
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\nSUSPICION BREEDS CONFIDENCE<\/a> | THE FAUNA AND FLORA OF THE VATICAN CITY<\/a><\/p>\n
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\nwww.gruenrekorder.de\/fieldnotes<\/a><\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/FISCH.jpg\")
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\nRadio X Fr\u00fchjahrsfest
\nHAFEN 2 \/ Offenbach
\nwww.rotari.de\/hafen2<\/a><\/p>\n
\nwww.waldlust.org<\/a>
\nwww.acrylnimbus.de<\/a>
\nwww.lasse-marc-riek.de<\/a><\/p>\n
\nwww.radiox.de<\/a><\/p>\n
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\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_055.jpg\")
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\nAmbient
\n1 Track (39’09“)
\nCD-R (50 copies)<\/p>\n
\n![\"A](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/singwarte_camp_banner.jpg\" "\\"A")
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\nA Nature Sound Recording Camp
\nJuni, 2008
\nZeltplatz S\u00fcplingen (Sachsen-Anhalt)
\nWir freuen uns Euch das S I N G W A R T E – A Nature Sound Recording Camp
\nank\u00fcndigen zu k\u00f6nnen. Unser Programm richtet sich gr\u00f6\u00dftenteils nach dem Interesse
\nder TeilnehmerInnen, deshalb ist noch vieles offen und soll gemeinsam festgelegt werden.
\nBei Interesse bitte eine E-Mail an
\nalulatonserien [at] web.de<\/a>
\nbeste Gr\u00fc\u00dfe, das S I N G W A R T E Kollektiv<\/p>\n
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