C\u00e9dric Peyronnet<\/a> | kdi dctb 146 [e]<\/a><\/p>\n Issued in a silver case as part of Gruenrekorder\u2019s Field Recording Series, kdi dctb 146 [e] is a fifty-five-minute single-track work by sound artist C\u00e9dric Peyronnet. Though originally composed as four-channel piece, it\u2019s still effective when heard in the recording\u2019s standard stereo format. The work in question is the product of three years of sound recording in and around the Taurion river valley in France that allows the listener to vicariously experience the location. Natural sounds appear throughout, starting with an overhead plane, then birds chirps, cricket sounds, and buzzing flies, but\u2014more than anything else\u2014water, with some variations of it surfacing as burbling river sounds, drizzling rain, and crashing waves. […<\/a>]<\/p>\n <\/p>\n Andreas Bick<\/a> | Fire and Frost Pattern<\/a> <\/p>\n Various Artists | Playing with Words: an audio compilation<\/a><\/p>\n Playing with Words appears in not just the two guises covered here but in three, with the comprehensive portrait provided by the two-CD audio compilation and DVD completed by the anthology Playing with Words: the Spoken Word in Artistic Practice (Cornerhouse Books). The Gruenrekorder items alone prove to be more than enlightening, however, in their documentation of the sound poetry, text sound composition, and spoken word fields. The collective genre shows itself to be an incredibly fertile zone, and one that appears to have benefited greatly from the possibilities that electronic technologies have introduced in the past few decades. The rich wellspring of creativity, playfulness, and imagination catured on the CD set in particular is remarkable. […<\/a>]<\/p>\n <\/p>\n Various Artists | PLAYING WITH WORDS \u2013 LIVE<\/a><\/p>\n […<\/a>] The greatest portion of the DVD is given to Blonk in a wide-ranging performance where he\u2019s seen slipping in and out of multiple languages; he gives a seeming master class in vocal techniques by at times wailing like an animal and simulating a gremlin and sputtering machine engine, his face and body elastically pulling in multiple directions as he does so. But the DVD\u2019s high point is Sianed Jones\u2019 mesmerizing twenty-minute performance. Armed with a violin, she begins with four minutes of wordless vocalizing that\u2019s reminiscent at times of folk chant\u2014joyous and celebratory, with an undercurrent of mournful lament\u2014before bringing the instrument\u2019s plucks into the mix and then bowing, the violin\u2019s tones a contrasting harmonic complement to her incredibly versatile vocalizing.<\/p>\n <\/p>\n <\/p>\n Review | By Dan Warburton \/ Paris Transatlantic Magazine<\/a><\/strong> […<\/a>] What Sharp plays is unashamedly tonal, even the way she tunes up on track four \u2013 The Clearing was written as a homage to John Martyn\u2019s „Small Hours“, another idyllic open-air recording of note on 1977\u2032s One World \u2013 and wouldn\u2019t, I suppose, be out of place in the new age bin along with the whale songs, but don\u2019t let that put you off. You may well find yourself listening, as she puts it nicely, „with a certain reverence, a feeling of being let into a secret, albeit a poorly-kept one that happens every day. This is bird-business and will happen whether we are here or not.“\u2013DW<\/p>\n <\/p>\n <\/p>\n Gruenrekorder <\/strong>on Facebook:<\/strong> <\/p>\n <\/p>\n Review | By Josh Landry \/ Musique Machine<\/a><\/strong><\/p>\n SUSPICION BREEDS CONFIDENCE<\/a> | THE FAUNA AND FLORA OF THE VATICAN CITY<\/a><\/p>\n [\u2026<\/a>] I found „The Fauna and Flora of the Vatican City“ to be an intensely enjoyable and unique album that perfectly skirts the thin line between thematic consistency and diversity, not to mention the lines between a great many genres of electronic music.\u00a0 The imperfect, unstructured nature of the rhythms will certainly put off some listeners, but it shouldn\u2019t come off as random to anyone.\u00a0 Whether you need something to provide a mood-enhancing backdrop while you do work at the computer, or crave some new work of sonic architecture to analyze and listen to deeply, this record should satisfy.<\/p>\n <\/p>\n <\/p>\n Reviews | By Brian Olewnick \/ Just outside<\/a><\/strong><\/p>\n Andreas Bick<\/a> | Fire and Frost Pattern<\/a><\/p>\n […<\/a>] The pieces are clearly assembled and strike me as having something of the character of your standard magnetic tape works of the 60s, i.e., more concerned with contrast between blocks of sound, timbre and texture than structure (I\u2019m certainly being unfair both to those older composers and, likely, Bick). This can make for intriguing listening on one level but I come away, ultimately, unsated. I need more mystery, maybe.<\/p>\n <\/p>\n C\u00e9dric Peyronnet<\/a> | kdi dctb 146 [e]<\/a> <\/p>\n Various Artists | Playing with Words: an audio compilation<\/a> <\/p>\n Various Artists | PLAYING WITH WORDS \u2013 LIVE<\/a><\/p>\n […<\/a>] There\u2019s also an accompanying DVD from the 2009 festival with six performances, the only non-aggravating one, for my taste, again courtesy Sianed Jones who delivers an outstanding, lengthier example of her vocal\/violin stylings\u2013really good. In fairness, Jaap Blonk fans, of which I am not one, will enjoy his outing as well.<\/p>\n <\/p>\n Bettina Wenzel<\/a> | Mumbai Diary<\/a><\/p>\n In which Wenzel deploys site recordings from Mumbai which are perfectly enjoyable, ranging from street sounds to musical ceremonies, but insists on threading them with her vocals which, generally speaking, are somewhere in Shelley Hirsch territory, admittedly not a destination I find very appealing. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Reviews | By Oreshkin Sergey \/ maeror3.livejournal <\/a><\/strong><\/p>\n Bettina Wenzel<\/a> | Mumbai Diary<\/a><\/p>\n \u041a\u0442\u043e-\u0442\u043e \u043f\u0440\u0438\u0432\u043e\u0437\u0438\u0442 \u0438\u0437 \u043f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0439 \u043c\u043d\u043e\u0436\u0435\u0441\u0442\u0432\u043e \u0444\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0439, \u0447\u0442\u043e\u0431\u044b \u043f\u043e\u0442\u043e\u043c \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u0442\u044c \u0438\u0445 \u0438 \u0432\u0441\u043f\u043e\u043c\u0438\u043d\u0430\u0442\u044c \u043e \u0434\u0438\u0432\u043d\u044b\u0445 (\u0432\u043f\u0440\u043e\u0447\u0435\u043c, \u0442\u0443\u0442 \u043a\u043e\u043c\u0443 \u043a\u0430\u043a \u043f\u043e\u0432\u0435\u0437\u043b\u043e) \u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0438\u044f\u0445. \u041a\u0442\u043e-\u0442\u043e \u043f\u0440\u0438\u0432\u043e\u0437\u0438\u0442 \u043c\u044b\u0441\u043b\u0438 \u0438 \u0432\u043f\u0435\u0447\u0430\u0442\u043b\u0435\u043d\u0438\u044f, \u0447\u0442\u043e\u0431\u044b \u0434\u043e\u0432\u0435\u0440\u0438\u0442\u044c \u0438\u0445 \u0431\u0443\u043c\u0430\u0433\u0435 \u0438\u043b\u0438 \u043a\u043b\u0430\u0432\u0438\u0430\u0442\u0443\u0440\u0435 \u043a\u043e\u043c\u043f\u044c\u044e\u0442\u0435\u0440\u0430. \u041d\u0435\u043c\u043d\u043e\u0433\u0438\u0435 \u043b\u044e\u0434\u0438, \u0432\u043e\u0441\u043f\u0440\u0438\u043d\u0438\u043c\u0430\u044e\u0449\u0438\u0435 \u043e\u043a\u0440\u0443\u0436\u0430\u044e\u0449\u0438\u0439 \u043c\u0438\u0440 \u0441\u043a\u043e\u0440\u0435\u0435 \u043e\u0440\u0433\u0430\u043d\u0430\u043c\u0438 \u0441\u043b\u0443\u0445\u0430, \u043d\u0435\u0436\u0435\u043b\u0438 \u0437\u0440\u0435\u043d\u0438\u044f, \u043f\u0440\u0438\u0432\u043e\u0437\u044f\u0442 \u043c\u043d\u043e\u0433\u043e\u0447\u0430\u0441\u043e\u0432\u044b\u0435 \u0430\u0443\u0434\u0438\u043e\u0437\u0430\u043f\u0438\u0441\u0438, \u0441\u0434\u0435\u043b\u0430\u043d\u043d\u044b\u0435 \u0438\u043c\u0438 \u043d\u0430 \u043f\u0440\u043e\u0442\u044f\u0436\u0435\u043d\u0438\u0438 \u0432\u0441\u0435\u0433\u043e \u043c\u0430\u0440\u0448\u0440\u0443\u0442\u0430, \u0447\u0442\u043e\u0431\u044b \u043f\u043e\u0442\u043e\u043c, \u043f\u0440\u043e\u0441\u043b\u0443\u0448\u0438\u0432\u0430\u044f \u0438\u0445 \u0441\u043d\u043e\u0432\u0430 \u0438 \u0441\u043d\u043e\u0432\u0430, \u0432\u043e\u0441\u0441\u043e\u0437\u0434\u0430\u0432\u0430\u0442\u044c \u0437\u0432\u0443\u043a\u043e\u0432\u0443\u044e \u0430\u0442\u043c\u043e\u0441\u0444\u0435\u0440\u0443 \u0434\u0430\u043b\u0435\u043a\u0438\u0445 \u043c\u0435\u0441\u0442 \u0443 \u0441\u0435\u0431\u044f \u0434\u043e\u043c\u0430. […<\/a>]<\/p>\n <\/p>\n Andreas Bick<\/a> | Fire and Frost Pattern<\/a><\/p>\n \u041e\u0433\u043e\u043d\u044c \u0438 \u043b\u0451\u0434\u2026\u0438\u0434\u0435\u0430\u043b\u044c\u043d\u044b\u0435 \u043e\u0431\u044a\u0435\u043a\u0442\u044b \u0434\u043b\u044f \u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0441\u043a\u0438\u0445 \u043c\u0435\u0442\u0430\u0444\u043e\u0440 \u0438 \u0440\u0430\u0437\u043c\u044b\u0448\u043b\u0435\u043d\u0438\u0439 \u043d\u0430 \u0442\u0435\u043c\u0443 \u043d\u0435\u0441\u043e\u0432\u043c\u0435\u0441\u0442\u0438\u043c\u044b\u0445 \u0432\u0435\u0449\u0435\u0439, \u0441\u043e\u0435\u0434\u0438\u043d\u0435\u043d\u0438\u0435 \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043c\u043e\u0436\u0435\u0442 \u043f\u043e\u0440\u043e\u0434\u0438\u0442\u044c \u0432\u0437\u0440\u044b\u0432 \u0438 \u043c\u0433\u043d\u043e\u0432\u0435\u043d\u043d\u043e\u0435 \u0440\u0430\u0437\u0440\u0443\u0448\u0435\u043d\u0438\u0435. \u0415\u0441\u043b\u0438 \u043e\u043d\u0438 \u0438 \u0441\u043e\u0435\u0434\u0438\u043d\u044f\u044e\u0442\u0441\u044f, \u0442\u043e \u0442\u043e\u043b\u044c\u043a\u043e \u0441 \u043f\u043e\u043c\u043e\u0449\u044c\u044e \u0442\u0430\u043a\u0438\u0445 \u043b\u044e\u0434\u0435\u0439, \u043a\u0430\u043a \u0410\u043d\u0434\u0440\u0435\u0430\u0441 \u0411\u0438\u043a, \u043a\u043e\u0442\u043e\u0440\u044b\u0439 \u0441\u043e\u0431\u0440\u0430\u043b \u0438\u0437 \u0437\u0432\u0443\u043a\u043e\u0432, \u043f\u043e\u0440\u043e\u0436\u0434\u0430\u0435\u043c\u044b\u0445 \u043e\u0433\u043d\u0435\u043c \u0438 \u0445\u043e\u043b\u043e\u0434\u043e\u043c \u0434\u0432\u0435 \u043f\u0440\u043e\u0434\u043e\u043b\u0436\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u0435 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0438, \u0443\u0434\u043e\u0441\u0442\u043e\u0435\u043d\u043d\u044b\u0435 \u043d\u0430\u0433\u0440\u0430\u0434 \u043d\u0430 \u0444\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u044f\u0445 \u044d\u043b\u0435\u043a\u0442\u0440\u043e\u0430\u043a\u0443\u0441\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0438 \u044d\u043a\u0441\u043f\u0435\u0440\u0438\u043c\u0435\u043d\u0442\u0430\u043b\u044c\u043d\u043e\u0439 \u043c\u0443\u0437\u044b\u043a\u0438. […<\/a>]<\/p>\n <\/p>\n <\/p>\n <\/p>\n Andreas Bick\u2019s<\/a> recording of the phenomenon of dispersion of sound waves in ice sheets<\/em>.<\/strong><\/p>\n Free download > [here<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Tina Manske \/ CULTurMAG<\/a><\/strong><\/p>\n Andreas Bick<\/a>\u00a0 | Fire and Frost Pattern<\/a><\/p>\n […<\/a>] Bick gelingt es, auf k\u00fcnstlerischem Weg die in Feuer und Eis enthaltene \u2018Musik\u2019 h\u00f6rbar zu machen. Unter den Ph\u00e4nomenen, die man hier zu Geh\u00f6r bekommt, finden sich singende Eisberge (eingeschlossenes Wasser, das mit Hochdruck durch Hohlr\u00e4ume gedr\u00fcckt wird, erzeugt Oszillation und damit die singenden T\u00f6ne), singende Flammen (ein Ph\u00e4nomen, das bereits im 19. Jahrhundert von Fr\u00e9d\u00e9ric Kastner entdeckt wurde), die Ger\u00e4usche, die Berliner Seen w\u00e4hrend Temperaturver\u00e4nderungen in den fr\u00fchen Morgen- und sp\u00e4ten Abendstunden von sich geben und das Entz\u00fcnden von Alkohol in Flakons. Den Fall von Schnee h\u00f6rbar zu machen, d\u00fcrfte zum Schwersten geh\u00f6ren, dessen man sich als Klangk\u00fcnstler annehmen kann. Bick gelingt das Kunstwerk, indem er die Kristalle auf Alufolie fallen l\u00e4sst, die wiederum direkt an ein Mikrofon angeschlossen ist. Der einzige Sound auf der CD, der nicht von den Elementen selbst herr\u00fchrt, ist der leise Ruf einer Robbe von unter dem Eis. Romantisch.<\/p>\n <\/p>\n <\/p>\n Reviews | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n Various Artists | Playing with Words: an audio compilation<\/a><\/p>\n […<\/a>] The double CD seems connected to a book of the same name, and has music that has been made with the use voice, leading to sound poetry, speeches, narratives, abstract pieces, solo and multiple voices. Forty one relatively short pieces by people who have a reputation to keep up in this field such as Sten Hanson, Pamela Z, Brandon LaBelle, Alessandro Bosetti, Jaap Blonk, Barry Truax, Jorg Piringer, Trevor Wishart, Julien Ottavi, Lina Lapelyte, Leigh Landy, Lars Gunnar Bodin, Paul Lansky and Iris Garrelfs. […<\/a>]<\/p>\n <\/p>\n Various Artists | PLAYING WITH WORDS \u2013 LIVE<\/a><\/p>\n […<\/a>] Piringer has a nice piece of rhythmic sounds from the mouth and computer animation. Biswas plays without words for a while, and then starts singing (?), Huelstrunk uses a bit of electronics. Jones plays a bit of violin and also \u2018sings\u2019 and at times comes closer to traditional music, whereas Parry is more narrative but very funny and very short. Jaap Blonk closes the (long!) evening and proofs to be the master of the genre of sound\/text\/voice\/poetry, a class actor at that. So this is what sound poetry looks like. Curious.<\/p>\n <\/p>\n Bettina Wenzel<\/a> | Mumbai Diary<\/a><\/p>\n The third release using voice is by Bettina Wenzel. She was in Mumbai where she did some field recordings and played some sounds. These are a quite alright, but it eludes me why she wanted to add her abstract use of the voice to these, other than perhaps that just the field recordings and played sounds aren\u2019t the strongest in the world. But the addition of voice however adds an odd ball to these recordings, and doesn\u2019t say much about Mumbai itself. […<\/a>]<\/p>\n <\/p>\n Andreas Bick<\/a>\u00a0 | Fire and Frost Pattern<\/a><\/p>\n […<\/a>] This is some excellent piece of musique concrete in the best Luc Ferrari tradition. Its not easy to tell the pieces apart, but throughout the geyser explosions on the \u2018fire\u2019 piece sounded a bit more dynamic and the \u2018frost\u2019 piece more subdued. That might be just my perception, culled from daily life. In the winter time I always think its quieter outside than in the summertime. Two excellent pieces, well presented here, with extensive liner notes.<\/p>\n <\/p>\n C\u00e9dric Peyronnet<\/a> | kdi dctb 146 [e]<\/a><\/p>\n […<\/a>] The use of river sounds may work a bit on the bladder, but Peyronnet knows how to construct a fine piece of music and there is also the sounds of birds and insects. This too stands in the best Ferrari tradition of a natural soundscape, and Peyronnet brings an almost sunny feel to a grey day. I have no idea what the weather conditions were when these sounds were recorded, but it made me wanting to pack up my suitcase and go to a sunny place \u2013 and that is a rare thing! An excellent fifty-five minute piece of soundscaping.<\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Andreas Bick<\/a>: \u201cFire and Frost Pattern<\/a>\u201d (Gruen 074\/10) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n V.A.: \u201cPlaying with Words: an audio compilation<\/a>\u201d (Gruen 065\/10) <\/p>\n V.A.: \u201cPlaying with Words: an online compilation<\/a>\u201d (Gruen 065\/10)<\/p>\n Sound Art<\/p>\n Free Download<\/p>\n Format: MP3 (320 Kbps)<\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n V.A.: \u201cPlaying with Words \u2013 Live<\/a>\u201d (Gruen 083\/10) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Bettina Wenzel<\/a>: \u201cMumbai Diary<\/a>\u201d (Gruen 086\/10) <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n C\u00e9dric Peyronnet<\/a>: \u201ckdi dctb 146 [e]<\/a>\u201d (Gr 078\/10) <\/p>\n <\/p>\n Reviews | By Oreshkin Sergey \/ maeror3.livejournal<\/a><\/strong><\/p>\n Rebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n \u041f\u0440\u0438\u044f\u0442\u043d\u043e, \u043a\u043e\u0433\u0434\u0430 \u0443\u0432\u043b\u0435\u0447\u0435\u043d\u0438\u0435 \u043c\u0443\u0437\u044b\u043a\u043e\u0439 \u043f\u043e\u043c\u043e\u0433\u0430\u0435\u0442 \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0437\u0430\u043f\u043e\u043b\u043d\u0438\u0442\u044c \u043f\u043e\u043b\u043a\u0438 \u0438 \u043f\u0440\u043e\u0447\u0435\u0435 \u0436\u0438\u0437\u043d\u0435\u043d\u043d\u043e\u0435 \u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u043e \u043a\u043e\u0440\u043e\u0431\u043e\u0447\u043a\u0430\u043c\u0438 \u0441 \u0434\u0438\u0441\u043a\u0430\u043c\u0438, \u043d\u043e \u0435\u0449\u0435 \u0438 \u043a\u0430\u043a-\u0442\u043e \u0440\u0430\u0441\u0448\u0438\u0440\u0438\u0442\u044c \u0441\u0432\u043e\u0439 \u043a\u0440\u0443\u0433\u043e\u0437\u043e\u0440, \u0443\u0437\u043d\u0430\u0442\u044c \u043e \u0447\u0435\u043c-\u0442\u043e \u043d\u043e\u0432\u043e\u043c. \u0421\u0432\u0435\u0436\u0438\u0439 \u0440\u0435\u043b\u0438\u0437 \u043b\u0435\u0439\u0431\u043b\u0430 \u00abGruenrekorder\u00bb (CD-R \u0432 \u0441\u0442\u0438\u043b\u044c\u043d\u043e\u0439 \u043c\u0435\u0442\u0430\u043b\u043b\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u043a\u043e\u0440\u043e\u0431\u043a\u0435, \u043e\u0433\u0440\u0430\u043d\u0438\u0447\u0435\u043d\u043d\u044b\u0439 \u0442\u0438\u0440\u0430\u0436\u043e\u043c \u0432 50 \u0448\u0442\u0443\u043a) \u043f\u043e\u0432\u0435\u0434\u0430\u043b \u043c\u043d\u0435 \u043e \u043c\u0435\u0440\u043e\u043f\u0440\u0438\u044f\u0442\u0438\u0438, \u043a\u043e\u0442\u043e\u0440\u043e\u0435 \u043d\u0430\u0437\u044b\u0432\u0430\u0435\u0442\u0441\u044f \u00abInternational Dawn Chorus Day\u00bb, \u043f\u043e \u043d\u0430\u0448\u0435\u043c\u0443 \u0447\u0442\u043e-\u0442\u043e \u0432\u0440\u043e\u0434\u0435 \u00ab\u0412\u0441\u0435\u043c\u0438\u0440\u043d\u044b\u0439 \u0434\u0435\u043d\u044c \u0420\u0430\u0441\u0441\u0432\u0435\u0442\u043d\u043e\u0439 \u041f\u0435\u0441\u043d\u0438\u00bb. […<\/a>]<\/p>\n <\/p>\n Hein Schoer<\/a> | Two Weeks in Alert Bay<\/a><\/p>\n \u0420\u0430\u0431\u043e\u0442\u0430 \u0425\u0435\u0439\u043d\u0430 \u0428\u043e\u0435\u0440\u0430 \u043f\u043e\u0434 \u043d\u0430\u0437\u0432\u0430\u043d\u0438\u0435\u043c \u00abThe Sounding Museum: Two Weeks in Alert Bay\u00bb \u0431\u044b\u043b\u0430 \u0432\u044b\u043f\u0443\u0449\u0435\u043d\u0430 \u043f\u0440\u0438 \u043f\u043e\u0434\u0434\u0435\u0440\u0436\u043a\u0435, \u043d\u0438 \u043c\u043d\u043e\u0433\u043e, \u043d\u0438 \u043c\u0430\u043b\u043e, \u00ab\u042e\u043d\u0435\u0441\u043a\u043e\u00bb \u0432 \u0440\u0430\u043c\u043a\u0430\u0445 \u043f\u0440\u043e\u0435\u043a\u0442\u0430 \u00abSound Chamber \u2013 Acoustic Worlds of the Indigenous Peoples of North America\u00bb. \u0412\u0438\u0434\u0438\u043c\u043e, \u043e\u0442\u0441\u044e\u0434\u0430 \u0438 \u0432\u0435\u0441\u044c\u043c\u0430 \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0435 \u0438\u0437\u0434\u0430\u043d\u0438\u0435 \u2013 \u043b\u0430\u043a\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u044b\u0439 digipack \u0438 \u043c\u043d\u043e\u0433\u043e\u0441\u0442\u0440\u0430\u043d\u0438\u0447\u043d\u044b\u0439 \u0431\u0443\u043a\u043b\u0435\u0442 \u0441 \u0444\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u044f\u043c\u0438, \u0432 \u043a\u043e\u0442\u043e\u0440\u043e\u043c \u0441\u0430\u043c \u0430\u0432\u0442\u043e\u0440 \u0440\u0430\u0441\u0441\u043a\u0430\u0437\u044b\u0432\u0430\u0435\u0442 \u043e \u0441\u0432\u043e\u0438\u0445 \u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0438\u044f\u0445 \u043f\u043e \u0421\u0435\u0432\u0435\u0440\u043d\u043e\u0439 \u0410\u043c\u0435\u0440\u0438\u043a\u0435 \u0438 \u041a\u0430\u043d\u0430\u0434\u0435, \u0433\u0434\u0435, \u0432 \u0447\u0430\u0441\u0442\u043d\u043e\u0441\u0442\u0438, \u0438 \u0440\u043e\u0434\u0438\u043b\u0441\u044f \u043d\u0430 \u0441\u0432\u0435\u0442 \u044d\u0442\u043e\u0442 \u0430\u043b\u044c\u0431\u043e\u043c. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Phonophon<\/a> | 04.12.2010 | 20:00 | 5 Euro<\/strong> <\/p>\n <\/p>\n Pressrelease<\/a> (pdf)<\/p>\n <\/p>\n * Kolter (D) * Dirk HuelsTrunk (D)<\/p>\n www.soundslikepoetry.de<\/a><\/p>\n <\/p>\n Society for the Advancement of Phonography and Experimental Music (e.V.) <\/p>\n <\/p>\n Reviews | By Richard Pinnell \/ The Wire \u2013 Issue: #321<\/a><\/strong><\/p>\n Hein Schoer<\/a> | Two Weeks in Alert Bay<\/a> The German Gruenrekorder label explores phonography in many forms, extending their activities beyond their substantial catalogue of CDs into publications, events and lectures held on the subject of field recording, natural acoustic phenomena and the links with experimental music. These two recent releases, while both involving field recordings to some degree, illustrate the wide range of activity undertaken by the label. Hein Schoer\u2019s release is the end result of two weeks\u2019 recording in a remote coastal area in British Columbia. Some 35 hours of crystal clear recordings have been collated and compiled into a kind of audio diary of Schoer\u2019s visit. […<\/a>] Conversely, the Italian trio Petrolio bury any trace of field recordings deep in their electroacoustic soundworld. Partly improvised, but arranged into a predetermined three part structure, the trio worked with electronics, samplers and field recordings alongside drums, bass, clarinet and piano. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Articel | by Fritz Tr\u00fcmpi \/ Wiener Zeitung<\/a><\/strong> <\/p>\n <\/p>\n Reviews | By Brian Olewnick \/ Just outside<\/a><\/strong><\/p>\n Rebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n „Disarming“ is a word that comes to mind, perhaps. A simple enough idea, elegantly manifested\u2013record a harpist out in the environment, in this case bird-filled. The dangers are obvious and, I must say, my expectations were somewhat along Rhodri Davies lines as far as the likely music was concerned so that when I heard the decidedly melodic content and „standard“ technique employed, I feared that the result would be overly cloying. I might say that it comes close to that sometimes but by and large, skirts that particular danger and ends up as a very enjoyable release. […<\/a>]<\/p>\n <\/p>\n Craig Vear<\/a> | Aud Ralph Roas\u2019le<\/a><\/p>\n A set of six field recordings, I guessing layered in from various locations though I\u2019ve been wrong often enough about that before. They seem to be pure sounds, often aqueous in nature, with various manifestations of water churning against piers or boats or rocks or what-have-you. One often hears undercurrents of engines, low thrums that reverberate below the liquid, implying the earthen basin in which it lies. There\u2019s one violent track where, it appears, a massive storm erupts, overwhelming the recording equipment to a degree where distortion sets in. […<\/a>]<\/p>\n <\/p>\n PETROLIO<\/a> | End of Vision<\/a><\/p>\n Petrolio is Luca Robba (drums, voice, laptop, samplings), Michele Spanghero (double bass, live electronics, field recordings) and Ugo Boscain (contrabass clarinet, piano), with Allen Scrigner appearing on the first two tracks, wielding „samplings“. The music might be described as isolationist free improv in that a similar chill, bleak feel is in effect as was heard in more rockish contexts in the mid 90s (remember Scorn? Godflesh? God?). […<\/a>]<\/p>\n <\/p>\n Freefall<\/a> | Strongly Imploded<\/a><\/p>\n Yet another Italian trio, this time from Naples, with F. Gregoretti (drums), M. Gabola (reeds) and M. Argenziano (guitar, synth, electronics). After the claustrophobic feeling of Petrolio, the kind of scrabbling, old-timey (that is, reaching as far back as the 70s) approach heard herein feels open and, well, fun. Not that this sounds like a Bailey\/Parker\/Bennink trio\u2013there\u2019s much more bottom, more oblique nods to metal and other rockish forms (perhaps even Last Exit)\u2013but even at its darkest, there\u2019s a sense of the wide open. A severe grinding aspect is also often in play, the sounds seeming to be wrenched from the players\u2019 guts. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Bob Baker Fish \/ Cyclic Defrost<\/a><\/strong> […<\/a>] The electronics sound incredible, particularly when combined with the wind instruments, there\u2019s a real depth and presence to the sounds, yet also a kind of fusion where you\u2019re often not even sure what instruments you are hearing. As a live performance it\u2019s incredibly accomplished, particularly when you consider its improvisatory nature.<\/p>\n Yet there\u2019s also a coldness and bleakness to the music, that whilst being occasionally punctuated by isolated sweeter tones, only highlights the darkness and distance. It\u2019s very unsettling music.<\/p>\n The packaging however is amazing, coming in an incredibly elegant tin cd box that has to be seen to be believed. It\u2019s sleek and minimal and really adds to the feeling that this is strange and treasured artifact.<\/p>\n <\/p>\n <\/p>\n Review | By Ron Schepper \/ textura<\/a><\/strong> A new installment in Gruenrekorder\u2019s Field Recording Series, The Clearing is an hour-long document recorded by Simon Whetham of Rebecca Joy Sharp playing harp surrounded by sounds of wildlife at Liverpool\u2019s Sefton Park. The recording session began at daybreak on May 3rd, 2009 (also International Dawn Chorus Day) with the two meeting at 3:45 in the morning and recording for two hours at the center of the park. Rain complications forced the session to be cut short (the album\u2019s shortest piece appears to capture Sharp tuning up against a crackling backdrop of rain) so the two reconvened the next day at the same time and place, with the weather more cooperative the second time around. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Rebecca Joy Sharp & Simon Whetham \/ ‚The Clearing‘ Launch Event Part 2<\/strong> <\/p>\n With special guests <\/p>\n Wednesday 10th November <\/p>\n <\/p>\n Bettina Wenzel \/ Mumbai Diary<\/strong> <\/p>\n <\/p>\n <\/p>\n New Release:<\/strong><\/p>\n <\/p>\n <\/p>\n Rebecca Joy Sharp<\/a> & Simon Whetham<\/a>: \u201cThe Clearing<\/a>\u201d (Gr 077\/10) <\/p>\n <\/p>\n Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong> \u2018On this album you will Rebecca (Joy Sharp) and the wildlife of Sefton Park were conversing with one another \u2013 a truly beautiful experience \u2013 one I will always be thankful I was witness to, and able to record\u2019, writes Simon Wetham on the cover of this release. So just what did Whetham do here? Setting up a bunch of microphones (or perhaps even one?) and watch Sharp play the lever, which is a Celtic harp. It was recorded at the International Dawn Chorus day \u2013 3rd of May 2009 of which I never heard, but the dawn chorus is captured beautifully here. The birds sing great and Sharp\u2019s harp sings nicely in the morning light. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Ron Schepper \/ textura<\/a><\/strong> Luca Robba, Michele Spanghero, and Ugo Boscain bring radically different backgrounds to their PETROLIO project: Robba is a former punk rock drummer presently concentrating on electronic music and playing with David Toop\u2019s Unknown Devices Orchestra, double bass player Spanghero is currently focused on improvised and electronic music and works for three international contemporary art galleries, and multi-instrumentalist Boscain is an improviser who has become a specialist on the contrabass clarinet instrument. The group itself came together when Robba encountered the duo Mimesys featuring Spanghero on double bass and electronics and Boscain on clarinets at an experimental music festival in Italy. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Ron Schepper \/ textura<\/a><\/strong><\/p>\n Hein Schoer<\/a> | Two Weeks in Alert Bay<\/a><\/p>\n Hein Schoer, cultural soundscape producer and the prime mover behind the research project \u201cThe Sounding Museum,\u201d inaugurates the CD series with a captivating meditation on the Native community of Alert Bay, British Columbia. It’s more than a sound portrait of the physical activities in play on a given day\u2014construction work being done, children being taught, and so forth\u2014as it also focuses on the myths (about the raven and creator entity U’melth, for instance) and ritual dances and chants that are so much an inextricable part of the West Coast community’s culture. In one sense, the work documents the people’s ongoing attempt to strike a balance between the modern and traditional in their lives. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Joshua Meggitt \/ Cyclic Defrost<\/a><\/strong><\/p>\n Gilles Aubry<\/a> & St\u00e9phane Montavon<\/a> | les \u00e9coutis le caire<\/a><\/p>\n […<\/a>] Frequently the noise is overwhelming, not in the sense of harsh volume but of overcrowding, of there being too many elements to absorb. At other times it becomes music, cars swinging doppler effects like strings, voices taking on tonal form. Both works trail off into pleasingly bucolic finales, birdsong accompanying calm, spacious pockets of activity, possibly sourced from a suburban picnic, reminding listeners that it\u2019s not all go in Cairo. The packaging is particularly lavish, making for an attractive alternative travel guide for anyone visiting the city.<\/p>\n <\/p>\n <\/p>\n Review | By Mohammed Ashraf \/ The Silent Ballet<\/a><\/strong> […<\/a>] I\u2019ve lived in Cairo all my life, and initially thought that any attempt to capture the city\u2019s essence on tape would be destined to fail. Not to underestimate Aubry\u2019s abilities, but the amount of entangled sounds, noises of all forms coming from all surroundings, and\u00a0 sheer cacophony of the whole place is just too much to portray in an hour-long recording, not to mention making something meaningful out of it. Surprisingly enough, these artists were able to make it happen with their blend of music and accompanying text. They have been able to achieve an extremely difficult feat and portray the city in a manner that hasn\u2019t been done before. […<\/a>]<\/p>\n <\/p>\n <\/p>\n Review | By Fabrice Vanoverberg \/ Rifraf<\/strong> <\/p>\n <\/p>\n <\/p>\n Review | By Jan Denolet \/ Dark Entries<\/a><\/strong><\/p>\n Gilles Aubry<\/a> & St\u00e9phane Montavon<\/a> | les \u00e9coutis le caire<\/a> <\/p>\n <\/p>\n Reviews | By Ron Schepper \/ textura<\/a><\/strong><\/p>\n Packaged in gleaming silver cases (and black felt inside), these two new releases in Gruenrekorder’s Field Recording Series are radically different creatures (both in CD-R format and available in fifty copies). Presented as six pieces, Craig Vear’s Aud Ralph Roas’le\u00a0 is a relatively straightforward field recordings-based collection, while Marcus Obst’s one-track outing, Day in Dwarfs Capital, is as unusual as its title suggests.<\/p>\n <\/p>\n Craig Vear<\/a> | Aud Ralph Roas\u2019le<\/a><\/p>\n Aud Ralph Roas\u2019le\u00a0 captures sounds recorded at the North Yorkshire Moors National Park and coastline throughout 2007-8 when Vear was working alongside the Centre for Environmental and Marine Sciences (CEMS) at the University of Hull as an artist-in-residence and engenders a powerfully evocative sense of place through its up-close renderings of aural landscapes. In many of the pieces, identifiable natural elements\u2014the crash of waves, creak of a boat, chirp of birds, dribble of water\u2014help transport the listener into a specific geographical setting with relative ease. [
\n[…<\/a>] As a result, one hears the two pieces as compositions of an unusual sort that are in some strange way suggestive of classical form in their structural design. Equally fascinating are Bick\u2019s detailed descriptions (in the booklet that comes with the recording) where he writes about \u201csinging flames\u201d (within glass tubes, gas flames are tuned to specific notes), \u201cice sizzle\u201d (as glacial ice melts in the sea, bubbles of air create an explosive popping noise that becomes a multi-voiced sizzle), and the crackle of snowflakes and the creak of cracking ice. Ultimately, the two pieces on this fascinating recording unlock some of the sonic mysteries of the earth\u2019s primal elements by granting such an up-close perspective, and they also serve as a reminder of their indomitable status.<\/p>\n
\n
\nRebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n
\n
\nwww.facebook.com\/gruenrekorder<\/a><\/p>\n
\n
\n
\nA multi-layered field recording done in and around water sources in the Taurion Valley in western France. Water indeed predominates, backed up heartily by birds, closed out by boat engines. There\u2019s more air in play than in the Bick which gets a thankful nod of appreciation from me as well as a more natural ebb and flow, largely with regard to dynamics. […<\/a>]<\/p>\n
\nAdmittedly, I found the prospect of a 2-CD set of avant vocal works to be daunting. Of the 41 artists represented here, I only recognized a handful of names and those (like Jaap Blonk, Paul Lansky, Pamela Z and Brandon Labelle) didn\u2019t exactly have my heart doing flip-flops. Still, I noted that the collection ended with a piece by Julien Ottavi, and I persevered. […<\/a>]<\/p>\n
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\n![\"Andreas](\"https:\/\/www.gruenrekorder.de\/gruenrekorder\/1\/dispersion_of_sound_waves_in_ice_sheets\/dispersion_cover.jpg\" "\\"Andreas")
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\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_074.jpg\")
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\nField Recordings
\n2 Tracks (52\u203252\u2033)
\nCD (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_065.jpg\")
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\nSound Art
\n41 Tracks (116\u203208\u2033)
\nDouble CD (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_083.jpg\")
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\nSound Art
\n6 Tracks (100\u203203\u2033)
\nDVD (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_086.jpg\")
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\nSoundscapes
\n9 Tracks (44\u203210\u2033)
\nCD (500 copies)<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_078.jpg\")
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\nField Recordings
\n1 Track (54\u203247\u2033)
\nGruen CD-R | Silver<\/a> (50 copies)<\/p>\n
\n
\n
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main
\nGermany<\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/phonophon.jpg\" "\\"\\"")
<\/a><\/p>\n
\nwww.myspace.com\/kolterrr<\/a><\/p>\n
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.produck.tk<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n
\n
\nPETROLIO<\/a> | End of Vision<\/a><\/p>\n
\n
\nDie Ger\u00e4usche der Geschichten
\nTonj\u00e4ger suchen nach Tierstimmen, Kl\u00e4ngen und Ger\u00e4uschen \u2013 Verwendung in Film und H\u00f6rspiel<\/p>\n
\n
\n
\nPETROLIO<\/a> | End of Vision<\/a><\/p>\n
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\nRebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n
\n
\nA live reimagining of harp and dawn chorus recordings released by Gruenrekorder October 2010.
\nwww.gruenrekorder.de\/?page_id=2874<\/a><\/p>\n
\nCotton & Rosey: a further collaboration of harp and electronics<\/p>\n
\nThe Arts House, Stokes Croft, Bristol
\nDoors: 7:30pm
\nCost: Free – Donations welcome<\/p>\n
\n
\nInstallation 13th – 16th November 2010
\nOut on Gruenrekorder \/ 01.12.2010<\/p>\n![\"Bettina](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/mail_wenzel_mumbai.jpg\" "\\"Bettina")
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\n![\"\"](\"https:\/\/www.gruenrekorder.de\/shop\/img\/covers\/Gruen_077.jpg\")
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\nField Recordings
\n6 Tracks (57\u203239\u2033)
\nGruen CD-R | Silver<\/a> (50 copies)<\/p>\n
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\nRebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n
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\nPETROLIO<\/a> | End of Vision<\/a><\/p>\n
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\nGilles Aubry<\/a> & St\u00e9phane Montavon<\/a> | les \u00e9coutis le caire<\/a><\/p>\n
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\nGilles Aubry<\/a> & St\u00e9phane Montavon<\/a> | les \u00e9coutis le caire<\/a><\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/aktuell\/flyer\/image-gilles.jpg\")
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\nDit hier is nog een knutselwerkje waarvan de som van de delen een prachtig totaalkunstwerk vormen. Eerst en vooral hebben we de eenvoudige maar in het oog springende -want atypische- rechthoekige kartonnen verpakking. Daarin vinden we naast de CD ook nog begeleidende po\u00ebzie, zonder verdere opsmuk gedrukt op groot posterformaat. Die po\u00ebzie is van de hand van Stephane Montavon en omschrijft -in het frans- diens beschouwingen over diens verblijf in Ca\u00efro. […<\/a>]<\/p>\n
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