![\"Sempervirent](\"https:\/\/www.gruenrekorder.de\/Photos\/gruen_111.jpg\" "\\"Sempervirent")
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Sempervirent\u00a0| Rodolphe ALEXIS<\/a><\/strong><\/p>\n Gruen 111| Audio CD > [Sold Out<\/span>] Reviews<\/a><\/p>\nngg_shortcode_0_placeholder\n <\/p>\n „Sempervirent“ is a stereo edit of a series of ’sequence-shots‘ where the quadraphonic microphone setup records all that passes by. Some are straight, untouched raw recordings, and others are slightly reworked, but there are no hydrophone, or parabolic recordings (except on track 05).<\/p>\n <\/p>\n I spent two months in protected areas of Costa Rica making multichannel field recordings of the different forest ecosystems of Central America. Armed with a quadraphonic setup (IRT cross), a parabolic microphone, a hydrophone, and a scientist’s passport, I went to nine main sites to record: the coastal evergreen forest, the tropical dry and deciduous forest, the mangroves, the wooded riverbanks and floodplains, and the forests altered in cultivated areas. The recordings were made at the Santa Rosa National Park, Ca\u00f1o Negro National Wildlife Refuge, Tortuguero National Park, Sarapiqui (private reserve), Tapanti National Park, La Amistad International Park, Marino Ballenas National Park, Bahia Drake (private reserve) and the Corcovado National Park. An edited version of these recordings exists as a multichannel sound installation and as a live spatialised diffusion : Dry, Wet, Evergreen.<\/p>\n <\/p>\n Located on the Mesoamerican Biological Corridor, The Costa Rica is a biodiversity hotspot. Territory refuge for many neotropical species in danger of extinction, the country has moved in just 40 years, from a critical state of deforestation to a radical awareness of environmental issues.<\/p>\n <\/p>\n 01 Altamira sunset – a bat & a motmot – 4’06 03 the call, the gathering, the storm – mantled howler monkey, orange-fronted parakeet, white-fronted parrot, yellow-naped amazon – 11’43 04 walking palm’s wet wood – 2’31 06 breakfast on tin roofs – scarlet macaw – 2’17 07 outside Sirena station – 7’27 <\/p>\n 10 Tracks (55\u203220\u2033) <\/p>\n Identified recorded species: <\/p>\n Photo credits: Rodolphe Alexis<\/p>\n Field Recording Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n MASSIMO RICCI | TOUCHING EXTREMES<\/a><\/strong> <\/p>\n You can easily read anything about Alexis\u2019 activity as the conceiver of critically acclaimed installations, or check for yourselves the list of animals, natural sources and technical means utilized for composing this gorgeous suite in the heart of Costa Rica\u2019s protected areas; databasing what is manifest in a review is quite futile. Instead, try and approach the record as a concerto: overtures, interludes, main themes, virtuoso soloists, impressive crescendos and quieter segments. In the sphere of principled listening, there is much to acquire from hypothetically non-evolved species passing along signs of existence. A barely whispered awareness \u2013 usually departed during the verbal exchanges involving humans \u2013 defines echoes and silences, intensified by atmospheric changes or by the endless chant of insects. The qualities of the single voices, their sheer musicality, do the rest: people might be amused by a howler monkey\u2019s grumble and dog-like barks, or astonished by a recording clarity that nearly allows to sniff the forest\u2019s scents when a rainstorm breaks the constitutional calmness. But if forced to choose favorites, the laughing falcon is a creature that, at long last, could make us get the (aural) picture of lyrical synthesis, whereas tree frogs emit pseudo-synthetic signals of which Thomas Lehn would be envious. We feel richer with every new spin. <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> link<\/a><\/p>\n <\/p>\n <\/p>\n Curt Cuisine | skug – Journal f\u00fcr Musik<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Aurelio Cianciotta\u00a0| Neural<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Wonderful Wooden Reasons<\/a> Gruenrekorder have been kindly passing their wonderful array of field recordings my way for a little while now.\u00a0 They have for the most part been exceptional.\u00a0 This one continues that run with a set recorded in the national parks, wildlife refuges and private reserves of Costa Rica. link<\/a><\/p>\n <\/p>\n Guillermo Escudero | LOOP<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Jean Dezert | Les ma\u00eetres fous<\/a><\/strong><\/p>\n La richesse sonore de la for\u00eat tropicale a fascin\u00e9 les artistes et les audio-naturalistes au point de susciter nombre d’enregistrements. Dans une histoire qui laisserait de c\u00f4t\u00e9 les disques purement opportunistes, il faudrait citer les incontournables Sounds of a Tropical Rain Forest in America (\u00e9dit\u00e9 en 1952 chez Folkways), Ambiances de Papouasie de Jean C. Roch\u00e9 (1993), Viva La Selva! de Natasha Barrett (1999), La Selva de Francisco L\u00f3pez (1999) ou encore les Rainforest Soundwalks de Steven Feld (2002). A cette liste non exhaustive o\u00f9 se c\u00f4toient compositions \u00e0 la limite de l’abstraction et restitutions d’ambiances, on peut d\u00e9sormais ajouter le tout r\u00e9cent Sempervirent du Fran\u00e7ais Rodolphe Alexis<\/a>, paru chez Gruenrekorder.<\/p>\n <\/p>\n En novembre et d\u00e9cembre 2011, l’artiste a travaill\u00e9 dans diff\u00e9rentes zones prot\u00e9g\u00e9es du Costa Rica afin d’y capter images et sons de la for\u00eat. Sur les dix pistes qui composent l’album, Alexis se fait passeur. Son intervention se r\u00e9sume en effet \u00e0 un travail d’\u00e9dition minimal. L’essentiel s’est pass\u00e9 sur le terrain o\u00f9 le preneur de sons a r\u00e9ussi \u00e0 surprendre le maelstr\u00f6m biologique si bien d\u00e9crit par Edward O. Wilson dans son essai Biophilie (dont on publiait un extrait ici<\/a>). Dans le cas pr\u00e9cis de Sempervirent, maelstr\u00f6m ne sous-entend pas pour autant vacarme. Rodolphe Alexis a en effet privil\u00e9gi\u00e9 des ambiances plut\u00f4t apais\u00e9es o\u00f9 les chants d’amphibiens, cris de singes hurleurs et de perroquets alternent avec qui\u00e9tude malgr\u00e9 la mont\u00e9e en puissance d’un orage. Sempervirent est un terme de botanique qui signifie ‚toujours vert‘ et d\u00e9signe donc des for\u00eats aux arbres toujours couverts de feuilles. On appr\u00e9cie cette id\u00e9e de permanence que communique l’\u00e9coute du disque. Durant la derni\u00e8re piste, un vent l\u00e9ger \u00e9volue tandis que des cigales \u00e9mettent leur chant nocturne. Ces quelque cinq minutes garantissent ainsi un engourdissement que l’on voudrait prolonger. Les photographies ci-dessus sont \u00e9galement issues de la mission de Rodolphe Alexis.<\/p>\n link<\/a><\/p>\n <\/p>\n textura<\/a><\/strong><\/p>\n Born in France in 1975, Rodolphe Alexis brings a pronounced environmental focus to his work, specifically with respect to how the environment is affected by human activity. He’s a man of many projects: not only does his own work encompass field recordings, electro-acoustic composition, radio pieces, and site-specific installations, he’s also one-half of OttoannA, a sound performance duo with Val\u00e9rie Vivancos (whose debut album is set for imminent release), and a co-founder (with Vivancos) of Double-Entendre, a non-profit organization that has to date published the work of forty-two international sound artists. Sempervirent, Alexis’s contribution to Gruenrekorder’s Field Recording Series, melds both untouched and slightly reworked field recordings into a series of \u2018sequence-shots‘ of Costa Rica’s forest ecosystems. Nine main sites, by name Santa Rosa National Park, Ca\u00f1o Negro National Wildlife Refuge, Tortuguero National Park, Sarapiqui (private reserve), Tapanti National Park, La Amistad International Park, Marino Ballenas National Park, Bahia Drake (private reserve) and the Corcovado National Park), were visited in order to document activity within various forests (coastal evergreen, tropical dry, and deciduous), mangroves, and wooded riverbanks and floodplains.<\/p>\n <\/p>\n The fifty-five-minute recording is ultimately more a portrait of the species inhabiting the sites than the sites themselves (even if clear changes in weather are sometimes apparent). Every one of its ten settings is earmarked by a distinctive cry or call, whether it be a mantled howler monkey, olive tree frog, scarlet macaw, or greater white-lined bat. Alexis has sequenced the recordings so that they span a full day from an Altamira sunset and riverside dawn to a Santa Rosa night. The sound of footsteps creates the impression of a recorder moving from one location to another, experiencing the different species at each of the sites. As two representative examples, \u201cAt Dawn Among the River\u201d and \u201cThe Call, the Gathering, the Storm\u201d feature contrasting vocalizations that are striking (the mantled howler monkey’s especially), and the constant flow of grunts, calls, barks, whistles, and chirps evokes a remarkable sense of place for the listener. In the latter piece, thunder and rain temporarily silence the creatures‘ chatter (presumably they’ve all taken shelter or run for cover), but that’s a rare occurrence on a recording that largely positions them front and center. For listeners so inclined, the recording’s an educational listen, too. \u201cParabolic Amphibian Mix,\u201d for example, offers a single-handed lesson in tree frog varieties, with the sabinal, tink, tungara, Mexican white-lipped, olive tree, canal zone, and volcan barba all making appearances. Mention also should be made of Gruenrekorder’s elaborate packaging, in particular the twelve-page booklet whose colour photographs complement the aural content by providing images of the various species, including the mantled howler monkey and scarlet macaw. There’s a subtle ecological dimension to the recording as well, given that the Costa Rica sites are now territory refuges for many neo-tropical species in danger of extinction. Sempervirent teems with life in a way that enhances one’s awareness of how invaluable such sites can be to the preservation of endangered wildlife.<\/p>\n link<\/a><\/p>\n <\/p>\n maeror3 | livejournal<\/a><\/strong><\/p>\n \u041a\u043e\u043d\u0435\u0447\u043d\u043e, \u044d\u0442\u043e\u0442 \u0430\u043b\u044c\u0431\u043e\u043c \u2013 \u043d\u0435 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0435, \u044d\u0442\u043e \u0444\u0438\u043a\u0441\u0430\u0446\u0438\u044f \u0437\u0432\u0443\u043a\u043e\u0432 \u043e\u043a\u0440\u0443\u0436\u0430\u044e\u0449\u0435\u0433\u043e \u043d\u0430\u0441 \u043c\u0438\u0440\u0430, \u043f\u0440\u0438\u0437\u0432\u0430\u043d\u043d\u0430\u044f, \u0432 \u0434\u0430\u043d\u043d\u043e\u043c \u0441\u043b\u0443\u0447\u0430\u0435, \u043f\u043e\u043a\u0430\u0437\u0430\u0442\u044c \u043d\u0430\u043c \u043d\u0435\u043e\u043f\u0438\u0441\u0443\u0435\u043c\u043e\u0435 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\u043c\u0435\u0441\u0442\u043d\u043e\u0441\u0442\u0438, \u0434\u0438\u0441\u043a \u00abSempervirent\u00bb \u0434\u043e\u043f\u043e\u043b\u043d\u0435\u043d \u043a\u0440\u0430\u0441\u043e\u0447\u043d\u044b\u043c \u0431\u0443\u043a\u043b\u0435\u0442\u043e\u043c, \u0441\u043e\u0434\u0435\u0440\u0436\u0430\u0449\u0438\u043c \u0444\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0438 \u043c\u043d\u043e\u0436\u0435\u0441\u0442\u0432\u0430 \u0436\u0438\u0432\u043e\u0442\u043d\u044b\u0445, \u0440\u0435\u043f\u0442\u0438\u043b\u0438\u0439 \u0438 \u043d\u0430\u0441\u0435\u043a\u043e\u043c\u044b\u0445, \u0433\u043e\u043b\u043e\u0441\u0430 \u043a\u043e\u0442\u043e\u0440\u044b\u0445 \u043c\u044b \u0441\u043b\u044b\u0448\u0438\u043c \u0437\u0434\u0435\u0441\u044c \u0432 \u0440\u0430\u0437\u043d\u044b\u0445 \u043e\u0431\u0441\u0442\u043e\u044f\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430\u0445: \u043d\u0430 \u0437\u0435\u043c\u043b\u0435, \u043f\u043e\u0434 \u0432\u043e\u0434\u043e\u0439, 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\u0440\u0430\u0437\u0433\u043b\u044f\u0434\u044b\u0432\u0430\u0442\u044c \u044d\u0442\u0438 \u0441\u043d\u0438\u043c\u043a\u0438 \u2013 \u043e\u0449\u0443\u0449\u0435\u043d\u0438\u0435 \u043f\u0440\u0438\u0441\u0443\u0442\u0441\u0442\u0432\u0438\u044f (\u0438 \u0431\u0435\u0437 \u0442\u043e\u0433\u043e \u0443\u0441\u0438\u043b\u0435\u043d\u043d\u043e\u0435 \u043e\u0431\u044a\u0435\u043c\u043d\u044b\u043c, \u00ab\u0442\u0440\u0435\u0445\u043c\u0435\u0440\u043d\u044b\u043c\u00bb, \u043f\u043e\u043b\u043d\u043e\u0441\u0442\u044c\u044e \u043f\u043e\u0433\u0440\u0443\u0436\u0430\u044e\u0449\u0438\u043c \u0432 \u0441\u0435\u0431\u044f \u0437\u0432\u0443\u0447\u0430\u043d\u0438\u0435\u043c \u044d\u0442\u043e\u0433\u043e \u0440\u0435\u043b\u0438\u0437\u0430) \u0431\u0443\u0434\u0435\u0442 \u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0438 \u043f\u043e\u043b\u043d\u044b\u043c. \u0410 \u043a\u0440\u0438\u043a\u0438 \u043e\u0431\u0435\u0437\u044c\u044f\u043d, \u043f\u0435\u043d\u0438\u0435 \u044f\u0440\u043a\u0438\u0445 \u043f\u043e\u043f\u0443\u0433\u0430\u0435\u0432 \u0438 \u0441\u043e\u0442\u0435\u043d \u0434\u0440\u0443\u0433\u0438\u0445 \u043f\u0442\u0438\u0446, \u043a\u0432\u0430\u043a\u0430\u043d\u044c\u0435 \u043b\u044f\u0433\u0443\u0448\u0435\u043a, \u0441\u0442\u0440\u0435\u043a\u043e\u0442 \u043d\u0430\u0441\u0435\u043a\u043e\u043c\u044b\u0445, \u043e\u043a\u0430\u0437\u044b\u0432\u0430\u0435\u0442\u0441\u044f, \u043c\u043e\u0436\u0435\u0442 \u0431\u044b\u0442\u044c \u043e\u0447\u0435\u043d\u044c \u0440\u0430\u0437\u043d\u043e\u043e\u0431\u0440\u0430\u0437\u043d\u044b\u043c\u0438 \u0438 \u0438\u043d\u0442\u0435\u0440\u0435\u0441\u043d\u044b\u043c\u0438, \u043f\u043e\u0440\u043e\u0439 \u0431\u0440\u0430\u0442\u044c\u044f \u043c\u0435\u043d\u044c\u0448\u0438\u0435 \u0441\u043f\u043e\u0441\u043e\u0431\u043d\u044b \u0438\u0437\u0434\u0430\u0432\u0430\u0442\u044c \u0437\u0432\u0443\u043a\u0438 \u0437\u0430 \u0433\u0440\u0430\u043d\u044c\u044e \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u0435\u0439 \u043d\u0430\u0448\u0435\u0433\u043e \u0441\u043b\u0443\u0445\u0430 \u0438 \u0432\u043e\u0441\u043f\u0440\u043e\u0438\u0437\u0432\u043e\u0434\u044f\u0449\u0435\u0439 \u0430\u043f\u043f\u0430\u0440\u0430\u0442\u0443\u0440\u044b. \u0411\u0443\u0434\u0435\u0442 \u0436\u0430\u043b\u044c, \u0435\u0441\u043b\u0438 \u0432\u0441\u0435 \u044d\u0442\u043e \u043e\u0434\u043d\u0430\u0436\u0434\u044b \u0438\u0441\u0447\u0435\u0437\u043d\u0435\u0442 \u2013 \u043b\u0443\u0447\u0448\u0435 \u0443\u0436 \u043f\u0443\u0441\u0442\u044c \u044d\u0442\u043e\u0442 \u0434\u0438\u0441\u043a \u0441\u043e \u0432\u0440\u0435\u043c\u0435\u043d\u0435\u043c \u043d\u0435 \u043f\u0440\u0438\u043e\u0431\u0440\u0435\u0442\u0435\u0442 \u043d\u0430\u0443\u0447\u043d\u043e\u0439 \u0446\u0435\u043d\u043d\u043e\u0441\u0442\u0438, \u043a\u0430\u043a \u00ab\u0441\u043e\u0434\u0435\u0440\u0436\u0430\u0449\u0438\u0439 \u0441\u0432\u0438\u0434\u0435\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430 \u0441\u0443\u0449\u0435\u0441\u0442\u0432\u043e\u0432\u0430\u043d\u0438\u044f \u043d\u044b\u043d\u0435 \u043f\u043e\u043b\u043d\u043e\u0441\u0442\u044c\u044e \u0432\u044b\u043c\u0435\u0440\u0448\u0438\u0445 \u0432\u0438\u0434\u043e\u0432\u00bb, \u0437\u0430\u0442\u043e \u043c\u0438\u0440 \u0431\u0443\u0434\u0435\u0442 \u043e\u0442\u043a\u0440\u044b\u0442 \u043d\u0430\u043c \u0432\u043e \u0432\u0441\u0435\u043c \u0441\u0432\u043e\u0435\u043c \u043c\u043d\u043e\u0433\u043e\u043e\u0431\u0440\u0430\u0437\u0438\u0438, \u043a\u043e\u0442\u043e\u0440\u043e\u0435 \u043c\u043e\u0436\u043d\u043e \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u043f\u043e\u0441\u043b\u0443\u0448\u0430\u0442\u044c, \u043d\u043e \u0438 \u0443\u0432\u0438\u0434\u0435\u0442\u044c \u0432\u0436\u0438\u0432\u0443\u044e.<\/p>\n link<\/a><\/p>\n <\/p>\n H\u00e9ctor Cabrero | Le son du grisli<\/a><\/strong><\/p>\n Au dos de la carte postale sonore, je lis le nom du pays d\u2019o\u00f9 elle m\u2019arrive, le Costa Rica, et le nom de son exp\u00e9diteur, Rodolphe Alexis. Lui a pass\u00e9 deux mois l\u00e0-bas \u00e0 enregistrer et photographier la faune et la flore (\u00e0 chaque bruit de Sempervirent, le livret permet d\u2019associer une forme et un nom). Moi qui ignore tout de la nature qui m\u2019entoure, me voici plong\u00e9 dans celle qui vit \u00e0 plusieurs milliers de kilom\u00e8tres (le site de Gruenrekorder en offre en aper\u00e7u en noms et en images, en plus d’extraits de l’enregistrement).<\/p>\n <\/p>\n J\u2019en \u00e9prouve moins de g\u00eane \u00e0 ignorer le nom des oiseaux, singes, quadrup\u00e8des, plantes, arbres, que j\u2019entends sur le CD. Ils viennent pourtant bouleverser mon quotidien. Pr\u00e8s d\u2019une rivi\u00e8re, dans une mangrove ou dans la for\u00eat tropicale, micro parabolique en main, Rodolphe Alexis a attrap\u00e9 tout un petit monde, en r\u00e9alit\u00e9 tout un univers. Il suit une ligne de conduite qui va d\u00e9s\u00e9paississant et qui r\u00e9siste \u00e0 l\u2019orage, aux pluies diluviennes, au tonnerre, au m\u00eame titre que les messages cod\u00e9s d\u2019une nature merveilleuse. Qui respire pr\u00e8s de moi, qui suis pourtant \u00e0 plusieurs milliers de kilom\u00e8tres.<\/p>\n link<\/a><\/p>\n <\/p>\n Dan Warburton | Paris Transatlantic Magazine<\/a><\/strong><\/p>\n Listening to field recordings is like looking at someone else’s holiday photographs; they may be very pretty but they’ll never mean as much to you as they do to the person who took them. If acoustic ecology is your thing, though, you’ll probably like these dispatches from the dry, wet and evergreen forests of Costa Rica. Personally, while in the past I’ve enjoyed hydrophone recordings of beasties lurking under Antarctic icebergs and bugs bubbling in Irish bogs, I wonder what grunting, farting mantled howler monkeys (alouatta palliata, in case you’re interested \u2013 I’m not) and a tree full of peeping frogs are doing here in the middle of Paris. I can find other tropical rainforests here too if I scout about. I’ve still got a copy of La Selva somewhere, and I don’t listen to that very much either.<\/p>\n <\/p>\n „A stereo edit of a series of ’sequence-shots‘ where the quadrophonic microphone setup records all that passes by. Some are straight, untouched raw recordings, and others are slightly reworked,“ is how French sound artist Rodolphe Alexis describes his work, but there are more interesting things on offer over at his website http:\/\/www.rodolphe-alexis.info\/<\/a>, my favourite being an installation called Growl’s Growlth, in which he records what happens when a handful of maggots are locked inside a perspex box with 300g of meat and allowed get on with it, buzzing their life away. Mercifully, the excerpt lasts just under two minutes, which is about the right duration for stuff like this. Ask Chris Watson.<\/p>\n link<\/a><\/p>\n <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong><\/p>\n Having not seen a cloud for a week it was a bit of a disappointment to land at Manchester Airport to find that every raincloud in the northern hemisphere had decided to have an outing in the north of England. Driving home in torrential rain over Saddleworth Moor, in an old car, with damp points, at a speed the Victorians would have considered cautious soon had me wondering if I\u2019d hallucinated the 35C heat I\u2019d felt on my skin only a few hours previously.<\/p>\n <\/p>\n For our yearly trip to the sunny isle I took with me, for the benefit of my edification, Simon Reynold\u2019s new book \u2018Retromania\u2019 and the recent translation of Gunter Grass\u2019s \u2018The Tin Drum\u2019 [a book I\u2019d read in my teens and one I\u2019ve been wanting to revisit for a while now]. The recent R4 adaptation of James Joyce\u2019s Ulysses was on the ipod as was Robert Wyatt\u2019s 1997 release \u2018Shleep\u2019 an album I\u2019ve been curiously drawn to of late. Has luck would have it appeared in one of those most serendipitous moments courtesy of the shuffle function whilst crossing the waters from Corfu to Paxos all tired and warm and undulating and with a great feeling of knowing that in the not too distant future I\u2018d be sat outside a welcoming taverna with a well chilled liter of wine to go at.<\/p>\n <\/p>\n At home the week previous the idea struck me that it would be a good idea to take some Gruenrekorder along with me. The long, listless afternoons are perfect for soaking up field recording vibes and so it proved. My only problem was that without a serious pair of noise cancelation headphones I discovered that the outside world found a way of creeping in on my own preferred Gruenrekorder one. With these outside sounds consisting of nothing more than cicadas and the odd passing vehicle it wasn\u2019t as if I was competing with a radio pumping rebetika and a neighbor blaring eurotrash through a bust up stereo.<\/p>\n <\/p>\n Cicadas are all over Rodolphe Alexis\u2019s \u2018Sempervirent\u2019, at least they sound like cicadas. After spending what must have been two uncomfortable months with a quadraphonic parabolic recorder in the heart of the Costa Rican jungle Rodolphie returned to appear with 55 minutes worth here and an installation called \u2018Dry, Wet, Evergreen\u2019 which I think showed in France earlier this year. Consisting of a series of \u2018sequence shots\u2019, where Alexis edits his quad recordings down to stereo [and on track five mixes in some amphibian sounds with the aid of a hydrophone] Sempervirent proves to be an extraordinary listen. Even whilst indulging on I-suppose-it\u2019ll-have-to-do MP3 the vibrant sounds of the indigenous wildlife burst into my shell-likes with an ability to transport me from the dusty olive groves of Paxos to the lush interiors of the Costa Rican jungle. Everything from birds, to monkeys to frogs and insects are captured, as are Alexi\u2019s own footsteps and the sound of rain hitting a tin roof from where he shelters. Perhaps most remarkable of all is the sound of the mantled howler monkey declaring his presence to a new day with naught but a barely discernible hum of insects and the slowly awakening chatter of birds for company – a sound that goes to show that nature can delight the ears as much as any man-made sound – all this on track three, the longest on offer at 11 minutes and one that ends with a terrific thunderstorm. Listening to this through state of the art reproduction equipment must be an even more remarkable experience [just don\u2019t ask me to go and hear all this first hand, I like my comfort too much].<\/p>\n <\/p>\n Works like \u2018Sempervirent\u2019 [meaning verdant] not only show how diverse a wildlife we have in such places they act as markers for the future. With natural habitat disappearing at ever faster rates it\u2019d be interesting to compare a recording made ten years hence with what Alexis has recorded here. Besides being incredible listening experience Sempervirent exists as hard evidence for naturalists and eco campaigners alike.<\/p>\n <\/p>\n Field recordings made in jungles aren\u2019t anything new of course, Gruenrekorder have further examples in their catalogue [and David Tudor even went so far as to create his own] but none on Autumn Leaves another release that tumbled in and out of my consciousness over a long hot week. Or maybe there was? I have to admit to having the odd nod whilst listening to these 33 tracks and three plus hours worth of sounds but what I heard I enjoyed –\u00a0 as I did the last Gruenrekorder comp that came this way [Playing With Words].<\/p>\n <\/p>\n Here I reacquainted myself with Aki Onda, a Japanese artist resident in New York whose cassette recordings of the city form the basis of his ongoing \u2018Cassette Memories\u2019 project. I saw him last year at Colour Out Of Space in Brighton, one of the few highlights of the weekend – lots of bird sounds emerging from traffic, buskers, passing radios, something that John Levack Drever mirrors with his \u2018Phonographies of Glasgow\u2019.\u00a0 There\u2019s a ten minute interview with Chris Watson and some amazing sounds from Finland where pebbles are thrown across a frozen lake. John Wynne\u2019s track \u2018Someone Else Has Died\u2019 contains reminiscences of drug addicts matched to floating like synth sounds, a short work [an edit] that sounds remarkably similar in structure to the Delia Derbyshire\/Barry Bermagne\u2019s \u2018Dream\u2019 project for the BBC. Ethnography and field recordings sit comfortably over of aural entertainment and its all free. A perfect gateway to Gruenrekorder land.<\/p>\n link<\/a><\/p>\n <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> link<\/a><\/p>\n <\/p>\n Cheryl Tipp | The Field Reporter<\/a><\/strong><\/p>\n \u2018Sempervirent\u2019 is the result of fieldwork conducted in various protected areas of Costa Rica by French sound artist Rodolphe Alexis. The collection of 10 field recordings, gathered over a 2 month period, gives the listener a taste of the different natural soundscapes that exist within the forest ecosystems of Central America.<\/p>\n <\/p>\n Central and South American forests have been the inspiration behind many a publication. It seems almost natural though, that a field recordist would be drawn to these biomes which, all being well, are heaving with biodiversity both visually and\u00a0 aurally. Alexis, like many before him (and doubtless many after), saw the acoustic potential and headed to Costa Rica armed with a quadraphonic microphone array, a parabolic microphone, a hydrophone and, most importantly, a scientist\u2019s passport.<\/p>\n <\/p>\n Multichannel recordings were made in the field, but, for the purposes of this release, were transformed into standard stereo edits that provide a series of \u201csequence-shots\u201d from different wildlife refuges, parks and local reserves. The full effect of these recordings in their original form can be experienced through live performances and the multichannel installation Dry, Wet, Evergreen.<\/p>\n <\/p>\n It\u2019s difficult to choose, but one of the \u201cstand-out\u201d tracks has to be \u2018at dawn among the river\u2019. The stereo image created here is superb. Set against a backdrop of insects, birds and the gentle trickle of the nearby river, Mantled Howler Monkeys soon come into voice. At one point it feels as if a howler monkey is literally perched on your left shoulder, calling to others across the forest canopy.<\/p>\n <\/p>\n If I had to describe \u2018Sempervirent\u2019 in one word, it would be \u201ccalm\u201d. A definite feeling of tranquillity and peace is cast over the listener during the duration of this publication. The recordings are understated, though not in the least boring or devoid of interest. What I mean is that the listener is not thrown headfirst into a sea of sound, where bird, mammal, amphibian and insect voices all come together in what can be an amazing, but sometimes overwhelming, cacophony.<\/p>\n <\/p>\n Each track brings something new for the listener to enjoy; a crucial skill when it comes to compiling a selection of individual recordings. In addition to species recordings, \u2018Sempervirent\u2019 also points its microphone at the surrounding geophony. Towards the end of track 3, a chorus of parrots is gradually overshadowed by the approach of a thunderstorm. The patter of falling rain over the forest is accompanied by cracking thunderclaps and is a definite highlight for me.<\/p>\n <\/p>\n As is always the case with Gruenrekorder, the packaging and artwork is wonderful. The accompanying booklet features an assortment of photographs from the recording locations and provides a visual point of reference when listening to the soundscapes.<\/p>\n <\/p>\n As a lover of natural field recordings in their purest form, it\u2019s just wonderful for me to see this publication added to Gruenrekorder\u2019s growing catalogue. As with the recent Peter Caeldries offering, \u2018Jhirna Jali\u2019 (Gruenrekorder GrDI 107), \u2018Sempervirent\u2019 uses sound to celebrate some of our planet\u2019s remaining \u201cwild places\u201d. Here the ever-invading presence of the 21st century can be left behind, giving us as listeners the opportunity to experience soundscapes that have been in existence long before the dawn of humankind.<\/p>\n link<\/a><\/p>\n <\/p>\n Rodolphe ALEXIS | Sempervirent @ The Wire On Air<\/a> <\/strong><\/p>\n Adventures In Sound And Music 5 July 2012<\/p>\n
\nMP3 & FLAC > [order<\/a>]<\/p>\n
\n02 at dawn among the river – birds and monkeys – 8’15
\nMP3<\/a><\/p>\n
\nMP3<\/a><\/p>\n
\n05 parabolic amphibian mix (various tree frogs) – 5’52
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\n08 bats of la Casona – greater white-lined bat and others – 3,31
\n09 a quiet walk – laughing falcon, white-throated capuchin – 6’08
\n10 Santa Rosa\u2019s slightly windy night – 6’10<\/p>\n
\nCD (500 copies)<\/p>\n
\n01 blue-crowned motmot (momotus momota) 02 neotropioc cormorant (phalacrocorax brasilianus), northern jacana (jacana spinosa), little blue heron (egretta caerulea), mantled howler monkey (alouatta palliata) 03 orange-fronted parakeet (aratinga canicularis), white-fronted amazon (amazona albifrons), yellow-naped amazon (amazona auropalliata), thicket tinamou (crypturellus cinnamomeus)
\n04 granular poison frog (oophaga granulifera) 05 sabinal frog (leptodactylus melanonotus), tink frog (diasporus diastema), tungara frog (engystomops pustulosus) & Mexican white-lipped frog (leptodactylus fragilis), olive tree frog (scinax elaeochroa), canal zone treefrog (hypsiboas rufitelus), volcan barba tree frog (isthmohyla picadoi) 06 scarlet macaw (ara macao) 07 pantless treefrog (dendropsophus ebraccatus), Central American smilisca (smilisca phaeton), olive tree frog (scinax elaeochroa) 08 greater white-lined bat (saccopteryx bilinear) 09 laughing falcon (herpetotheres cachinnans), white-fronted capuchin (cebus albifrons).<\/p>\nngg_shortcode_1_placeholder\n
\nGermany \/ 2012 \/ Gruen 111 \/ LC 09488 \/ SACEM \/ EAN: 4050486070703<\/p>\n
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\nIt is not that arduous to separate the praiseworthy and the unserviceable in the world of location recordings. Rule of thumb: treat any environmental assemblage as an actual composition, and understand how it unfolds and works. The rest is explicated by a splendid phrase by Robert Lynd: \u201cin order to see birds it is necessary to become part of the silence.\u201d Substitute to \u201cbirds\u201d the word \u201clife\u201d, and you\u2019re pretty close to the feelings induced by Sempervirent, published in 2012 and retrieved by mere chance inside a box lying in Touching Extremes\u2019 dusty archives. The lone expression coming to mind after subjecting myself to three successive days with this marvel is a somewhat abused \u201cbalance of the self\u201d. I\u2019ll just leave it at that; words are not a requisite in most circumstances and I want to remain, first and foremost, one who learns rather than \u201cteaching\u201d; and, in this case, I did learn. A lot.<\/p>\n
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\nExcellent recordings of animal wildlife and the forest environs on Sempervirent (GRUENREKORDER GRUEN 111), made by the field recordist Rodolphe Alexis. He did it in various nature reserves and protected areas of the Costa Rica forests in Central America. His setup was such that he simply wanted to document whatever passed before his mics, but it so happens a large amount of wildlife was captured onto disk as well, and so a list of species has been provided in the package, along with rich colour photographs of same in the booklet. Monkeys, parrots, frogs and bats abound; all of this information was probably added after the recordings were made, but it adds a satisfying sense of completion to the work. Alexis remains justifiably proud of his decision to leave the recordings raw and unprocessed, and what we hear is as close to nature as technology can bring us. If I had to locate this within the broad spectrum of field recordings, I\u2019d venture to place it at the \u201cscientific investigation\u201d end rather than in the zone of \u201cart music\u201d, but it remains a vivid and fascinating listen. From 18 June 2012.<\/p>\n
\nAlles wie gehabt auf dem Gruenrekorder-Label. Auf \u00bbSempervirent\u00ab ging Fieldrecordings-Artist Rodolphe Alexis nach Costa Rica, um zwei Monate lang Klangsamples aus dem Regenwald aufzunehmen, \u00fcberwiegend Tierger\u00e4usche. Die Klangqualit\u00e4t ist hervorragend, die Auswahl stimmig (ich mag den \u00bbolive tree frog\u00ab und den \u00bblaughing falcon\u00ab) \u2013 und mehr gibt es dazu eigentlich nicht zu sagen. F\u00fcr nicht genreaffine H\u00f6rerInnen vielleicht zwei Einsteigertipps: Man kann \u00bbSempervirent\u00ab alleine in der Finsternis (m\u00f6glichst ohne st\u00f6renden L\u00e4rm) anh\u00f6ren. Dann wird das zu einem gro\u00dfartigen Lauschtrip durch den Regenwald. Oder man setzt sich zu einem Spielabend zusammen und versucht die Tierarten zu erraten. K\u00f6nnte auch witzig sein. Ein Gruenrekorder-Sampler w\u00e4re vielleicht sogar der Partyknaller.<\/p>\n
\nIn this release for Gruenrekorder, Rodolphe Alexis, a Parisian experimental sound artist and designer, accustomed to the manipulation of field recordings and meticulous editing, has created stereo sequences using parabolic quadraphonic microphones. These recordings were captured mainly in parks , forests and natural reserves in Costa Rica and surrounding Central American countries. They are sometimes left in their original state and sometimes processed. Besides being used for this album, other versions have been used to enrich multichannel sound installations or spatialized real time emissions. There is a strong biodiversity in the areas visited: a union of ecosystems rich in animal and plant species, some of them on the verge of extinction. Thus, the flow is dominated by a variety of natural sounds: crickets, screaming monkeys, exotic birds, frogs and insects. The artist has tuned in to the most unusual sounds, stressing the extreme richness and variety, and benefitting from the attention paid to environmental issues by the authorities of the countries involved. The habitats are still strongly impacted by human activities, but here this influence seems to disappear and the spotlight is on specific ecological niches. The ten recordings were collected in just two months and describe the passing of days in the passages of sounds and latitudes, making clear the quality and peculiarities of the contexts investigated.<\/p>\n
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\nThe recordings are, and I quote the sleeve here, \u2018a series of \u2018sequence shots\u2019 where the quadraphonic microphone setup records all that passes by\u2019.\u00a0 The soundworld captured is one of dizzying complexity and exotic mystery. Bats, parrots, monkeys, macaws, frogs and more are detailed in a variety of settings, some in as natural an environment as a reflexive observer can observe \u2013 \u2018At Dawn Among The River\u2019 \u2013 whilst others reflect the interplay of animals and humanity \u2013 the scarlet macaw eating his \u2018Breakfast on Tin Roofs\u2019.
\nIt is a sumptuous album.\u00a0 A soundworld quite literally filled with life.\u00a0 When it\u2019s done well I love this sort of unadorned field recording and here it\u2019s done very well indeed.<\/p>\n
\nRodolphe Alexis in a sound recordist, sound artist and designer form France who lives and works in Paris. His work is based on field recording, electroacoustic composition, radio pieces and site-specific installations or performances.
\nIn 2003, along with Val\u00e9rie Vivancos formed OttoannA with several sound works and performances in different parts of Europe. Their debut album ‚l’Arlesienne!‘ comprises 7 years of works.
\nAlexis spent two months in the protected areas of Costa Rica making multichannel field recordings in different forest ecosystems of Central America. He worked with a set quadraphonic (IRT cross), a parabolic microphone, hydrophone, holding a scientific passport. The sounds were recorded in the national parks of Santa Rosa, Tortuguero, Tapanti, Corcovado, Marino Ballenas, La Amistad International Park, Ca\u00f1o Negro National Wildlife Refuge, private reserves of Sarapiqui and Bah\u00eda Drake.
\nThis is a trip into the rainforest where thousands of birds and wildlife animals live in a different climatic environment: abundant and lush green, tropical dry forest, mangroves, wooded riverbanks, floodplains and the forests altered in cultivated areas.<\/p>\n
\nNot the first one to capture the rain forest in Costa Rica, I should think, and I never heard of Rodolphe Alexis. He records with a quadraphonic microphone which records everything that passes by. ‚Some are straight, untouched raw recordings, and others are slightly reworked, but there are no hydrophone, or parabolic recordings (except on track 05)‘. Perhaps Alexis moves in circles where such information is of vital interest, I don’t know. Like with many of such releases on Gruenrekorder, I have a hard time reviewing them. Perhaps because I find it hard to judge them purely on a musical level, which I realize more and more is my main interest. Collections with field recordings like this, of countries I haven’t visited, are things I can hear with interest, but hardly think of as great music – and yes, perhaps that doesn’t make me another John Cage, assuming each sound is interesting. I am sure each sound is interesting, but even more interesting if you do something with it. With releases like this, I like to take those sounds and do something with that, perhaps try and create some nice music out of it. I can hear that its all well recorded, and perhaps from a biologist view interesting, but I am not a biologist either.<\/p>\n