{"id":9122,"date":"2013-01-17T13:35:36","date_gmt":"2013-01-17T13:35:36","guid":{"rendered":"http:\/\/www.gruenrekorder.de\/?page_id=9122"},"modified":"2019-10-07T09:41:59","modified_gmt":"2019-10-07T09:41:59","slug":"gruenrekorder-2012","status":"publish","type":"page","link":"https:\/\/www.gruenrekorder.de\/?page_id=9122","title":{"rendered":"Gruenrekorder \u2013 2012"},"content":{"rendered":"
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New Distribution:<\/strong><\/p>\n

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Jonas Hummel<\/a> & Manfred Waffender<\/a>: \u201cPLACES_IN_TIME | Petersberg 2010 | The 4 Seasons<\/a>\u201d (GrD 24\/12)<\/p>\n

Field Recordings
\n4 Tracks (74\u203200\u2033)
\nDVD<\/p>\n

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Review | By Wonderful Wooden Reasons<\/a>
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Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

Subtitled, ‚6 acoustic portraits of Russia, Mongolia, China, South Korea and Japan‘, this set of atmospheric recordings represents field-recordings made between August & October of 2010.\u00a0 The 6 provide a documentation of life on the rail journey both through the sound of the transportation itself (on tracks 1 & 5), the stops along the way, the liquidity of the lake visited on ‚Portrait 3‘ and the ambiences of the travel itself; the amorphous clatters and clangs and the Frankenstein musicality of machinery in use. […<\/a>]<\/p>\n

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framework radio<\/a> | #402<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley<\/p>\n

Sebastiane Hegarty<\/a> | Southerlies<\/a><\/p>\n

is being featured in the next edition of framework<\/p>\n

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Review | By Denis Boyer \/ FEARDROP<\/a>
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ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

Peu de musiciens du milieu ont atteint la ma\u00eetrise et l\u2019\u00e9quilibre que montre \u00e0 chacune de ses (trop rares) publications Slavek Kwi alias Artificial Memory Trace. D\u2019un trait de pens\u00e9e, on arrive aux \u0153uvres mod\u00e8les de Francisco L\u00f3pez ou de C\u00e9dric Peyronnet, sans que celles-ci se ressemblent pour autant, pas plus qu\u2019\u00e0 celle de Slavek Kwi. Comme th\u00e8me un lieu ou encore un \u00eatre, un groupe d\u2019\u00eatres, une activit\u00e9, enfin quelque chose qui peut se donner pour image non sonore avant m\u00eame de commencer d\u2019en d\u00e9voiler le chant. […<\/a>]<\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Sebastiane<\/a><\/p>\n

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Sebastiane Hegarty<\/a>: \u201cSoutherlies<\/a>\u201d (GrDl 118\/12)
\nField Recordings
\n8 Tracks (55\u203202\u2033)
\nMP3\/FLAC <\/a><\/p>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

In\u00a0this 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. […<\/a>]<\/p>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

The Mekong river is among the longest in Asia. It starts in Tibet and runs through Thailand, China’s Yunnan province, Burma, Laos, Vietnam and finally Cambodia. Both in Lao and Thai languages the name Ma\u00e8 Nam Khong refers etymologically to the ancestral „mother“, the origin of every feeling and thing. Eva P\u00f6pplein and Janko Hanushevsky undertook an adventurous pilgrimage along the river, developing field recordings before reworking the sounds in post-production. […<\/a>]<\/p>\n

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Review | By Aurelio Cianciotta \/ Neural<\/a><\/strong><\/p>\n

Ernst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

The reasons why a sound-artist might specifically limit the locations where sound is captured are numerous. In this case Ernst Karel has chosen the many transport systems typical of a mountain as the subject of a meticulous investigation. Ski lifts, chair lifts and cable cars, chosen for their particular and varied characteristics (age of construction and design etc) have been carefully researched, with all locations limited to within Switzerland. […<\/a>]<\/p>\n

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Review | By H\u00e9ctor Cabrero \/ Le son du grisli<\/a>
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David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

Enregistrer dans un abattoir de l\u2019Alabama rurale, c’est l\u2019id\u00e9e qu\u2019a eue David Michael. L\u2019Am\u00e9rique des rednecks comme si vous y \u00e9tiez ? Pas aussi simple\u2026
\nIl faut d\u2019abord \u00e0 Michael arriver jusqu\u2019\u00e0 l\u2019abattoir. Sur le chemin des oiseaux sifflent, des insectes bourdonnent, on entend le trafic routier au loin, un transformateur, deux hommes qui parlent fort. Le micro de Michael ne l\u00e2chera plus sa proie : l\u2019abatteur \u00e0 l\u2019ancienne, c’est-\u00e0-dire \u00e0 la dure (qui confiera un peu plus loin, je traduis : \u00ab C\u2019est pas un boulot pour les peureux ou les l\u00e2ches. \u00bb). L\u2019Am\u00e9rique rurale au micro de l\u2019Am\u00e9rique\u2026 \u00e9clair\u00e9e ? […<\/a>]<\/p>\n

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Review | By Pierre C\u00e9cile \/ Le son du grisli<\/a>
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Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

Russie, Mongolie, Chine, Cor\u00e9e du Sud et Japon : voil\u00e0 o\u00f9 nous emm\u00e8ne ce TransMongolian, une oeuvre de field recordings que l\u2019Allemand Roland Etzin a \u00e9crite pour la manifestation \u00ab Via Mongolia \u00bb en 2010. Dans l\u2019ordre des pays cit\u00e9s, la musique du r\u00e9el recompose le voyage au point de brouiller les cartes. En effet : le r\u00e9seau ferroviaire russe sort-il vraiment du grand hangar dans lequel, au d\u00e9but du CD, r\u00e9sonnent des voix et de la ferraille ? Qu\u2019importe ! En train, en marche, en route ! […<\/a>]<\/p>\n

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Review | By Wonderful Wooden Reasons<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

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. The 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. […<\/a>]<\/p>\n

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framework radio<\/a> | #398<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley
\nErnst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

Gilles Aubry<\/a> & St\u00e9phane Montavon<\/a> | les \u00e9coutis le caire<\/a><\/p>\n

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Review | By maeror3 \/ livejournal<\/a>
\n<\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a>
\n\u0412\u0441\u0435-\u0442\u0430\u043a\u0438 \u043d\u0435\u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u00ab\u044d\u043a\u0441\u043f\u0438\u0440\u0438\u0435\u043d\u0441\u044b\u00bb \u043b\u0443\u0447\u0448\u0435 \u0434\u043e\u0432\u0435\u0440\u0438\u0442\u044c \u0434\u0440\u0443\u0433\u0438\u043c \u043b\u044e\u0434\u044f\u043c. \u041b\u0438\u0447\u043d\u043e \u044f, \u0441\u0442\u043e\u0438\u0442 \u043c\u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u043e\u043a\u0430\u0437\u0430\u0442\u044c\u0441\u044f \u0432 \u043f\u043e\u0435\u0437\u0434\u0435 \u0434\u0430\u043b\u044c\u043d\u0435\u0433\u043e \u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f, \u043d\u0430\u0447\u0438\u043d\u0430\u044e \u0433\u0440\u0435\u0437\u0438\u0442\u044c \u043e \u0440\u043e\u043c\u0430\u043d\u0442\u0438\u0447\u043d\u043e\u0439 \u043f\u0440\u043e\u0444\u0435\u0441\u0441\u0438\u0438 \u043f\u0440\u043e\u0432\u043e\u0434\u043d\u0438\u043a\u0430 \u2013 \u043f\u0440\u0430\u0432\u0434\u0430, \u0443\u0436\u0435 \u0441\u043f\u0443\u0441\u0442\u044f \u0441\u0443\u0442\u043a\u0438 \u044f \u0434\u0438\u043a\u043e \u0436\u0430\u043b\u0435\u044e, \u0447\u0442\u043e \u043e\u043a\u0430\u0437\u0430\u043b\u0441\u044f \u043d\u0430 \u044d\u0442\u0438\u0445 \u0436\u0435\u0441\u0442\u043a\u0438\u0445 \u043f\u043e\u043b\u043a\u0430\u0445 \u0432\u043e\u0437\u043b\u0435 \u043c\u0435\u0442\u0430\u043b\u043b\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0441\u0442\u043e\u043b\u0430 \u043d\u0430 \u043e\u0434\u043d\u043e\u0439 \u043d\u043e\u0436\u043a\u0435, \u043d\u0430 \u043a\u043e\u0442\u043e\u0440\u043e\u043c \u0434\u0440\u0435\u0431\u0435\u0437\u0436\u0430\u0442 \u0432\u0435\u0447\u043d\u044b\u0435 \u0441\u0442\u0430\u043a\u0430\u043d\u044b \u0432 \u043f\u043e\u0434\u0441\u0442\u0430\u043a\u0430\u043d\u043d\u0438\u043a\u0430\u0445. […<\/a>]<\/p>\n

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Review | By Cheryl Tipp \/ The Field Reporter<\/a>
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Roland Etzin<\/a> | TransMongolian<\/a>
\nRoland Etzin\u2019s \u2018TransMongolian\u2019 is a series of acoustic portraits recorded during a three month journey across Russia, China, Mongolia, South Korea and Japan. Given the sheer distance covered by Etzin during the summer-autumn of 2010 and his encounters with such a diverse range of cultures and associated ways of life, I imagine he would have ended his travels with a recorder brimming with field recordings. For \u2018TransMongolian\u2019 however, Etzin decided to bring together just six recordings that, to his ear, represented the countries through which he had travelled and, most importantly, listened to. […<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a>
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David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

Hailing from Birmingham, Alabama, David Michael is a sound recordist who works in the fields of biology and technology.
\nIn 2005, he earned a Master in evolutionary and adaptive systems from the University of Sussex, and later began working with simulated bioacoustics and field recordings.
\nOutside of Alabama, about an hour from Birmingham there is a slaughterhouse. It is a family business where the meat is processed on a small scale, one animal at a time. They are custom jobs. A man and his son managed the place. […<\/a>]<\/p>\n

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KLANG \u2013 DAS ETHNOLOGSICHE ECHO<\/a><\/strong> | 28.November.2012, 7 PM – 10 PM
\nThe Sounding Museum: Listening to Culture
\nSpeaker | Hein Schoer<\/a> (Fontys School of the Arts | Maastricht University<\/p>\n

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Gruenrekorder @ Vernissage Labor Opelvillen<\/strong>
\nClaudia Wolf – Roland Etzin | „Ein anderer Weg“ – „TransMongolian“
\nSunday 2.December.2012, 5 PM, Stiftung Opelvillen, Zentrum f\u00fcr Kunst
\nLudwig-D\u00f6rfler-Allee 9, 65428 R\u00fcsselsheim<\/p>\n

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Review | By Richard Pinnell \/ The Watchful Ear<\/a>
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Angus Carlyle<\/a> & Rupert Cox<\/a> | AIR PRESSURE<\/a><\/p>\n

Why do so many albums of field recordings come attached to books of writing about their creation? What is it about this area of music that seems to attract long texts to accompany the audio? Perhaps the current trend for aligning field recording with the pointless descriptor \u201csound art\u201d leads to such developments. In my experience however, the more lavish the book, the longer the texts, the less interesting the music seems to be. However one release I have been playing quite a bit over the past few weeks on the Gruenrekorder label seems to defy such a rule. Angus Carlyle and Rupert Cox\u2019s new collection of recordings from rural Japan, entitled Air Pressure comes with a sixty-two page booklet of notes, blogpost transcriptions and photographs on the recordings. […<\/a>]<\/p>\n

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Review | By Martin P \/ Musique Machine<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

Pietro Riparbelli spent three days recording in the remote Sanctuary of La Verna, a monastery on a mountaintop in Tuscany. With a simple mic and field recorder set-up, he documented the sounds of the Sanctuary, inside and out; as well as the life that goes on within its boundaries. He took these sounds and constructed the six tracks found on this album – whilst also making the original recordings available from the label website. These original recordings are often beautiful, which does lead to the obvious question: why not leave them to stand as they are? […<\/a>]<\/p>\n

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Gruenrekorder @ Mobile Radio BSP<\/a> \u2013 live from the 30th S\u00e3o Paulo Bienal<\/strong><\/p>\n

Fr, 30. November, 9 PM \u2013 Sa, 1. December, 11 AM<\/p>\n

Mobile Radio BSP is a temporary radio art station transmitting 24 hours a day from the 3rd Sept \u2013 9th Dec 2012 at the 30th S\u00e3o Paulo Bienal (read more<\/a>).<\/p>\n

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Review | By maeror3 \/ livejournal<\/a>
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Angus Carlyle<\/a> & Rupert Cox<\/a> | AIR PRESSURE<\/a><\/p>\n

\u041d\u0443\u0436\u043d\u043e \u043e\u0431\u0440\u0430\u0442\u0438\u0442\u044c\u0441\u044f \u043a \u0418\u0441\u0442\u043e\u0440\u0438\u0438, \u0447\u0442\u043e\u0431\u044b \u043f\u043e\u043d\u044f\u0442\u044c \u0437\u0430\u0434\u0430\u0447\u0438, \u043f\u043e\u0441\u0442\u0430\u0432\u043b\u0435\u043d\u043d\u044b\u0435 \u043f\u0435\u0440\u0435\u0434 \u0430\u0432\u0442\u043e\u0440\u0430\u043c\u0438 \u00abAir Pressure\u00bb, \u0410\u043d\u0433\u0443\u0441\u043e\u043c \u041a\u0430\u0440\u043b\u0430\u0439\u043b\u043e\u043c \u0438 \u0420\u0443\u043f\u0435\u0440\u0442\u043e\u043c \u041a\u043e\u043a\u0441\u043e\u043c. \u0418\u0441\u0442\u043e\u0440\u0438\u044f \u044d\u0442\u0430 \u043f\u0440\u043e\u0438\u0437\u043e\u0448\u043b\u0430 \u0432 \u042f\u043f\u043e\u043d\u0438\u0438, \u043d\u043e, \u0435\u0435 \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u044c \u0442\u0430\u043a\u043e\u0432\u0430, \u0447\u0442\u043e \u0441\u043b\u0443\u0447\u0438\u0442\u0441\u044f \u043e\u043d\u0430 \u043c\u043e\u0433\u043b\u0430 (\u0438 \u0441 \u0431\u043e\u043b\u044c\u0448\u043e\u0439 \u0432\u0435\u0440\u043e\u044f\u0442\u043d\u043e\u0441\u0442\u044c\u044e \u0441\u043b\u0443\u0447\u0430\u043b\u0430\u0441\u044c \u043d\u0435 \u0440\u0430\u0437) \u0432 \u043b\u044e\u0431\u043e\u0439 \u0441\u0442\u0440\u0430\u043d\u0435 \u043c\u0438\u0440\u0430, \u043c\u043d\u0435 \u0434\u0430\u0436\u0435 \u0441\u0434\u0430\u0435\u0442\u0441\u044f, \u0447\u0442\u043e \u0432 \u043d\u0430\u0448\u0435\u0439 \u0440\u043e\u0434\u043d\u043e\u0439 \u0420\u043e\u0441\u0441\u0438\u0438 \u0435\u0435 \u0431\u044b \u0438 \u0437\u0430 \u0418\u0441\u0442\u043e\u0440\u0438\u044e \u0441 \u0431\u043e\u043b\u044c\u0448\u043e\u0439 \u0431\u0443\u043a\u0432\u044b \u043d\u0435 \u043f\u0440\u0438\u043d\u044f\u043b\u0438. […<\/a>]<\/p>\n

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\"SONIC<\/a><\/p>\n

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The Guesthouse presents :: SONIC VIGIL 7<\/strong><\/p>\n

Curated by Mick O\u2019Shea and Danny McCarthy
\nIn association with Quiet Music Ensemble and St. Anne\u2019s Church<\/p>\n

24 November 2012, 3pm \u2013 9pm<\/p>\n

St. Anne\u2019s Church, Shandon, Cork | Admission \u20ac5<\/p>\n

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For the seventh year running, The Guesthouse presents SONIC VIGIL, a marathon of new and improvised music, sound art, live electronics, installations and more.
\nSONIC VIGIL is curated by Cork-based artists Danny McCarthy and Mick O\u2019Shea, who are internationally renowned both for their visual work and their ground-breaking sonic explorations as duo the Quiet Club. Their invited guests include prominent solos and collectives from the Republic, including Harry Moore, Katie O\u2019Looney, Karen Power, Jesse Ronneau, Tony Langlois, Paul Hegarty and Anthony Kelly plus Gruenrekorder artist Tobias Schmitt (Frankfurt).<\/p>\n

The Vigil features Ireland\u2019s unique Experimental Music group, Quiet Music Ensemble, which will be giving world premieres of 8 new pieces by up and coming composers from Ireland, Scotland and the USA: Andrea Bonino, Francis Heery, Alexander Hunter, Donal Mac Erlaine, Rachel Ni Chuinn, Robin Parmar, Conal Ryan, Charlie Sdraulig.<\/p>\n

Hosting the Vigil this year is St. Anne\u2019s Church, Shandon, which is renowned as home of the \u2018Shandon Bells\u2019, the trademark sound of the city. The Vigil includes a brand new piece for the bells by composer\/improviser David Stalling.<\/p>\n

Cork City has one of Europe\u2019s hottest improvisation scenes, and the Sonic Vigil is the climax of the year\u2019s events. This is an event of extraordinary sounds, incredible diversity and cutting-edge creativity. There\u2019s nothing else like it in Ireland!<\/p>\n

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www.quietmusicensemble.com<\/a>
\nwww.theguesthouse.ie<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Quiet Music Ensemble appears courtesy of funding from the Arts Council of Ireland. Tobias Schmitt is funded by the Goethe Institute.<\/p>\n

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Phonophon<\/a> | 22 November 2012 | 8:30 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* Franck VIGROUX (F)<\/p>\n

www.franckvigroux.com<\/a><\/p>\n

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* Martin Fuhs (D)<\/p>\n

www.martinfuhs.com<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Ephemeral Sustainability Conference<\/a> \/ Pictures<\/a><\/strong>
\nA conference about presenting, documenting, collecting and archiving sound based contemporary art. Lectures and panel talks with leading conveyers, artists, curators and thinkers within the field.<\/p>\n

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Gruenrekorder @ Field Recording by Alexandre Galand<\/a><\/strong>
\nL\u2019usage sonore du monde en 100 albums
\nISBN : 978-2-36054-070-9 | 312 pages<\/p>\n

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Gruenrekorder @ shut up and listen! 2012<\/a><\/strong>
\nInterdisciplinary Festival for Music and Sound Art<\/p>\n

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Far Out \u2013 Listening Room<\/a> | Nov. 30th – Dec 1st, 2012<\/p>\n

Works by: Andreas Bick (D), Mark Lorenz Kysela (D), Danny Mc Carthy (IR) und Craig Vear (GB)<\/p>\n

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Review | By Jack Chuter \/ ATTN:Magazine<\/a>
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Angus Carlyle<\/a> & Rupert Cox<\/a> | AIR PRESSURE<\/a><\/p>\n

Farmland and airport collide in a record that delves into political conflict and sound\u2019s psychological effects.<\/p>\n

While it\u2019s been 32 years since the Japanese government played their \u201ccheckmate\u201d in a 12-year struggle against the farmers of Sanrizuka and Toho \u2013 conquering countless protests and demonstrations to open a new airport over a large portion of their farming land \u2013 the tension and opposition between the two sides has continued to exist in the resultant soundscape. Air Pressure comprises entirely of two sessions of recordings from the farms in question (once during harvest 2010 and then during the sowing season of 2011). […<\/a>]<\/p>\n

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Review | By Eric Serva \/ radio france<\/a>
\n<\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a>
\n„Roland Etzin est un artiste allemand qui, comme de nombreux musiciens, \u00e9crivains, po\u00e8tes, cin\u00e9astes et grands voyageurs devant l\u2019\u00c9ternel se sont embarqu\u00e9s sur le l\u00e9gendaire Transib\u00e9rien. Plus pr\u00e9cis\u00e9ment, en ce qui concerne Roland Etzin, sur le Transmongolien. Car si le Transib\u00e9rien, qui traverse l’ancien union sovi\u00e9tique de Moscou \u00e0 Vladivostock, est un train de l\u00e9gende, deux autres lignes ferronni\u00e8res empruntent une partie son parcours mais bifurquent apr\u00e8s le lac Ba\u00efkal pour rejoindre P\u00e9kin, l’une traverse la Manchourie (Le Transmanchourien), l’autre la Mongolie. […<\/a>]<\/p>\n

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Gruenrekorder @ Arterritory.com<\/a><\/strong>
\nArterritory.com is an art and culture website in Latvian, Russian, and English, which focuses on Baltic, Scandinavian, and Russian art and its manifestations elsewhere in the world.<\/p>\n

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Gruenrekorder @\u00a0textura \/ TEN FAVOURITE LABELS 2012<\/a><\/strong>
\nEvery November since 2005, textura has selected ten labels whose output dazzled us during the year. And every time out, we’ve opted to select ten new labels rather than choose one or more that have already been so honoured. This year, however, we decided to wipe the slate clean and once again open up the playing field to all contenders. To that end, we posed a simple question as a way of making the selections: „Which labels‘ material excited us most during 2012?“ Naturally, there are many labels in addition to the ten below whose releases had that effect on us, but these ten sprang to mind right away:<\/p>\n

 <\/p>\n

GIZEH<\/a> \u2022 GRUENREKORDER<\/a> \u2022 HUBRO<\/a> \u2022 INFINE<\/a> \u2022 INNOVA<\/a> \u2022 KITCHEN.<\/a> \u2022 KRANKY<\/a> \u2022 MACRO<\/a> \u2022 NEW AMSTERDAM RECORDS<\/a> \u2022 SCHOLE <\/a><\/p>\n

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

Angus Carlyle<\/a> & Rupert Cox<\/a> | AIR PRESSURE<\/a><\/p>\n

Air Pressure, a collaboration between anthropologist Rupert Cox and sound artist Angus Carlyle, is as much a book- as sound-based project, given the elaborate textual dimension that accompanies the CD (the project has also been publicly presented as a gallery-installed sound installation and film). Replete with photos, conversation excerpts, blog extracts, and in-depth track details, the booklet is a full-fledged project unto itself that holds up as a stand-alone sans the sound component. The release as a whole testifies to the integrity Gruenrekorder demonstrates in treating its projects with so much attention and care. […<\/a>]<\/p>\n

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

Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

[…] By comparison, Roland Etzin’s TransMongolian is rather straightforward in its presentation of six acoustic portraits of Russia, Mongolia, China, South Korea, and Japan. Little textual detail accompanies the release, making it one to experience almost solely on sonic grounds alone. Also issued as part of Gruenrekorder’s Field Recording Series, the fifty-three-minute release, which originally was broadcast on Deutschlandradio Kultur in March of 2012, comes with a lovely little booklet that displays illustrative renderings of landscapes by Katrin Hoedemacker. Etzin, an audio artist and Gruenrekorder co-founder, collected unprocessed field recordings for the project as he made his way through Russia, along Lake Baikal, through Mongolia, China, and South Korea to Japan. […<\/a>]<\/p>\n

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

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

Let’s be honest: it was only a matter of time before a field recordings-based set materialized based on what goes on inside a slaughterhouse. To his credit, Tarrytown, New York-based David Michael adopts a documentarian’s MO and resists exploiting the material in any overly macabre manner. And certainly there’s no reason why a field recordings release must always be something on the order of species‘ sounds captured along the Amazon River or from deep within a South American forest. Having said that, The Slaughterhouse’s material in its presented form can’t help but disturb, given the subject matter involved. […<\/a>]<\/p>\n

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Westentaschenlabor #3 | 27 October 2012 | 3:30 PM<\/strong><\/p>\n

Circuitnoise – soundcloud.com\/circuitnoise<\/a><\/p>\n

Autumn Appreciation Society – label.acrylnimbus.de\/album\/octember<\/a><\/p>\n

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Position: googel\/maps<\/a>
\nEvent: facebook.com\/events<\/a><\/p>\n

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Interview with Heike Vester \/ By Beat Hebeisen | YouTube<\/a><\/strong>
\nHeike Vester<\/a> | Marine Mammals and Fish of Lofoten and Vester\u00e5len<\/a><\/p>\n

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Review | By Jack Chuter \/ ATTN:Magazine<\/a>
\n<\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

I\u2019ve not been to any of the places that feature on Roland Etzin\u2019s TransMongolian. Nonetheless, hearing or reading the words \u201cChina\u201d, \u201cRussia\u201d or \u201cJapan\u201d instantly conjures a wealth of mental visual, derived largely from photographs and documentaries seen in magazines, on the Internet or on television \u2013 all of these amount to what I\u2019d consider to be rather generic (perhaps stereotypical) depictions of these places, momentarily diluting China into swooping, intricate architecture and the tottering stone ribbon of The Great Wall. […<\/a>]<\/p>\n

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Phonophon<\/a> | 02 November 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

 <\/p>\n

* Prszr (AT)<\/p>\n

www.pure.test.at<\/a><\/p>\n

www.youtube.com<\/a><\/p>\n

www.heartchamberorchestra.org<\/a><\/p>\n

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* Guido Braun (D)<\/p>\n

www.facebook.com<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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The Field Reporter Radio #13<\/a> | By Alan Smithee
\n<\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

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Review | By Tina Manske \/ CULTurMAG<\/a>
\n<\/strong>Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a>
\nEin H\u00f6rst\u00fcck von Inke Arns und Dieter Daniels widmet sich dem bekanntesten Werk von John Cage \u2013 seinem silent piece \u201e4\u201833\u2018\u2018\u201c, einer Komposition in drei S\u00e4tzen mit kompletter Stille. Es feiert in diesem Jahr ebenfalls einen runden Geburtstag. Bei der Urauff\u00fchrung im August 1952 markierte der Pianist David Tudor die Anf\u00e4nge und Endpunkte der S\u00e4tze mit dem Anheben und Schlie\u00dfen die Klavierdeckels. Seitdem haben unz\u00e4hlige Musiker und Orchester ihre eigene Interpretation des St\u00fcckes vorgelegt. Aber Cage war nicht der erste, der sich mit Stille als Sound besch\u00e4ftigte. […<\/a>]<\/p>\n

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Review | By maeror3 \/ livejournal<\/a>
\n<\/strong>Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a>
\n\u0415\u0441\u043b\u0438 \u00ab\u0427\u0435\u0440\u043d\u044b\u0439 \u043a\u0432\u0430\u0434\u0440\u0430\u0442\u00bb \u041c\u0430\u043b\u0435\u0432\u0438\u0447\u0430 \u043c\u043e\u0436\u043d\u043e \u043d\u0430\u0437\u0432\u0430\u0442\u044c \u0430\u0431\u0441\u043e\u043b\u044e\u0442\u043d\u043e\u0439 \u0433\u0440\u0430\u043d\u0438\u0446\u0435\u0439 \u0436\u0438\u0432\u043e\u043f\u0438\u0441\u0438 \u0432 \u0447\u0430\u0441\u0442\u043d\u043e\u0441\u0442\u0438 \u0438 \u0432\u0441\u0435\u0433\u043e \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 \u0432 \u0446\u0435\u043b\u043e\u043c, \u0437\u0430 \u043a\u043e\u0442\u043e\u0440\u043e\u0439 \u043d\u0438\u0447\u0435\u0433\u043e \u043d\u0435\u0442, \u043a\u0440\u043e\u043c\u0435 \u043f\u0443\u0441\u0442\u043e\u0442\u044b \u0438 \u0434\u0437\u0435\u043d\u0430, \u0442\u043e \u043f\u044c\u0435\u0441\u0430 \u00ab4\u201933\u2019\u2019\u00bb \u0414\u0436\u043e\u043d\u0430 \u041a\u0435\u0439\u0434\u0436\u0430 \u0432\u044b\u043f\u043e\u043b\u043d\u044f\u0435\u0442 \u043f\u043e\u0434\u043e\u0431\u043d\u0443\u044e \u0440\u043e\u043b\u044c \u0432 \u043c\u0443\u0437\u044b\u043a\u0435, \u043e\u0442\u043a\u0440\u044b\u0432\u0430\u044f \u043d\u043e\u0432\u044b\u0435 \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u0438 \u0432\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u044f \u0438 \u043f\u043e\u0434\u0432\u043e\u0434\u044f \u043a\u0430\u0442\u0435\u0433\u043e\u0440\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0438\u0442\u043e\u0433 \u0432\u0441\u0435\u043c\u0443 \u0442\u043e\u043c\u0443, \u0447\u0442\u043e \u0431\u044b\u043b\u043e \u0434\u043e \u044d\u0442\u043e\u0433\u043e.\u00a0[…<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a>
\n<\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

Slavek Kwi is a sound artist, composer and researcher whose main focus is on the phenomenon of perception as a determinant of the relationship with reality. „Ultrealith“ explores the sounds that exist on the periphery of human perception, such as underwater recordings (eg, fish songs, crustaceans, etc.), ultrasound (sonar of bats, dolphins and insects), electromagnetic signals among others. These recordings are from the Amazonian rainforest, Africa, Canadian Newfoundland, northern Australia and in various parts of Europe. […<\/a>]<\/p>\n

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Review | By Zipo \/ aufabwegen<\/a>
\n<\/strong><\/p>\n

Various Artists | Playing with Words: an audio compilation<\/a><\/p>\n

Stimme ist momentan das gro\u00dfe Thema. Von James Blake bis hin zu den Untiefen der Avantgarde stellt man sich die Frage, wie der Zentralperspektive der Popularmusik mit Kniffen und Tricks zu Leibe ger\u00fcckt werden kann. Die von Cathy Lane herausgegebene Doppel-CD (die eine Art Gegenst\u00fcck zu einem Buch von Lane formt) befasst sich mit der k\u00fcnstlerischen Forschung zum Thema Stimme, mit jenen Acts und Projekten, die Sound Poetry, Stimm-Manipulation und \u00e4hnliches als Hauptaufgabe bew\u00e4ltigen. […<\/a>]<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

Angus Carlyle<\/a> & Rupert Cox<\/a> | AIR PRESSURE<\/a><\/p>\n

[…]\u00a0The first time I arrived in Japan, I flew into Narita airport and looking out of the window of the airplane, I thought about hills, farms and how it perhaps would look a bit like Austria. I may not have realized there might be people living there, but I guess you never do when you arrive after a 11 hour journey. Below there at Narita Airport is the farm of the family Shimamura and that\u2019s part of the extensive project \u2018Air Pressure\u2019 of which this CD and very extended booklet with stories about a farm below the runway of Narita airport. […<\/a>]<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

[…]\u00a0On \u2018TransMongolian\u2019 we follow the journey of Etzin through Russia, China, Lake Baikal, Mongolia, South Korea and Japan. He was accompanied by Katrin Hoedemacker who did the drawings in the booklet. As the title suggest, all of these pieces seem to be dealing with the sound of transport, the means thereof. Trains mostly, but also a boat in Lake Baikal. Long pieces here, always around seven to twelve minutes of what seems to me a single sound event lifted from the journey, and also quite an abstract one. […<\/a>]<\/p>\n

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Interview with David Michael \/ By Chris Whitehead | The Field Reporter<\/a><\/strong>
\n<\/strong><\/p>\n

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

\u2018The slaughter house\u2019 is a controversial phonographic release composed by sound artist David Michael and published by german label Gruenrekorder. On this work the artist captured sounds on a slaughterhouse in Alabama which on an initial sight could be a rather difficult subject to address in terms of the ethical and moral aspects involved. Intrigued by this release, our editor Chris Whitehead interviewed the artist about this work and here we have the answers. [Read more<\/a>]<\/p>\n

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Review | By Tina Manske \/ CULTurMAG<\/a>
\n<\/strong><\/p>\n

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

Vogelzwitschern und Bolzenschuss
\n(TM) Diese Feldaufnahmen geh\u00f6ren zu denjenigen, die ich, ein bekennender Fan von Feldaufnahmen, mir nicht anh\u00f6ren kann. Denn zu h\u00f6ren ist genau das, was der Titel \u2018verspricht\u2019: ein Tag im Schlachthof. Allerdings nicht in einem der ber\u00fcchtigten industriellen Gro\u00dfkomplexe, sondern in einem idyllisch gelegenen, famili\u00e4r betriebenen Hof in Alabama. David Michael hat dort einen Tag verbracht und rigoros hingeh\u00f6rt \u2013 vom friedlichen Vogelzwitschern am Morgen bis hin zum Rindertod durch Bolzenschuss, dem Abziehen der Haut, dem Abschneiden der Vorderl\u00e4ufe etc. pp. ist alles dabei. […<\/a>]<\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a>
\n<\/strong>Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a><\/p>\n

\u2018Sounds Like Silence\u2019 is a straight lift from a radio program broadcast via Deutschlandradio Kultur on the 24th of August this year. In case you were unaware 2012 sees the hundredth anniversary of John Cage\u2019s birth and there\u2019s been various performances, exhibitions and radio programs to help celebrate this fact [I spent last Saturday night catching up with the various Radio 3 broadcasts devoted to Cage and enjoyed pretty much all of it but discovered only after the fact that Nyoukis and Constance were part of the Proms tribute to the man – bugger]. […<\/a>]<\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a>
\n<\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

[…<\/a>] My only regret [and I think I\u2019ve voiced this before with Gruenrekorder releases] is that I don\u2019t have the reproduction equipment to match the quality of these recordings. These are some of the most vibrant, exotic and delightful sounds I\u2019ve come across in many a year. I sincerely hope that one day I come across one of Kwi\u2019s installations. I shall walk and listen in open wonder at his fine achievements.<\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a>
\n<\/strong><\/p>\n

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

Those of you expecting to be traumatized by David Michael\u2019s \u2018The Slaughter House\u2019 will be relieved to hear that this was and never will be PETA fodder or a campaigning hammer for animal activists. Mainly because for the most part, this is two people going about their job as hired slaughtermen, in a very matter of fact way, with very little in the way of histrionics or uneasiness. […<\/a>]<\/p>\n

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Review | By maeror3 \/ livejournal<\/a>
\n<\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

\u00abUltrealith\u00bb – \u0441\u0431\u043e\u0440\u043d\u0438\u043a \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0439, \u043f\u043e\u0434\u0433\u043e\u0442\u043e\u0432\u043b\u0435\u043d\u043d\u044b\u0435 \u0434\u043b\u044f \u0440\u0430\u0437\u043b\u0438\u0447\u043d\u044b\u0445 \u0438\u043d\u0441\u0442\u0430\u043b\u043b\u044f\u0446\u0438\u0439, \u0430 \u0442\u0430\u043a\u0436\u0435 \u0441\u043e\u043b\u044c\u043d\u044b\u0435 \u0440\u0430\u0431\u043e\u0442\u044b \u00abArtificial Memory Trace\u00bb, \u0441\u043e\u0437\u0434\u0430\u043d\u043d\u044b\u0435 \u043f\u0440\u0430\u043a\u0442\u0438\u0447\u0435\u0441\u043a\u0438 \u043d\u0430 \u00ab\u043f\u043e\u0434\u043d\u043e\u0436\u043d\u043e\u043c\u00bb \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u0435, \u043a\u043e\u0442\u043e\u0440\u044b\u0439 \u043a\u0430\u0436\u0434\u044b\u0439 \u0438\u0437 \u043d\u0430\u0441 \u043c\u043e\u0436\u0435\u0442 \u043d\u0430\u0439\u0442\u0438, \u0443\u0432\u0438\u0434\u0435\u0442\u044c \u0438 \u0443\u0441\u043b\u044b\u0448\u0430\u0442\u044c \u0432 \u043b\u044e\u0431\u043e\u0439 \u043c\u043e\u043c\u0435\u043d\u0442, \u043d\u043e \u0432\u043e\u0442 \u043f\u043e\u0447\u0435\u043c\u0443-\u0442\u043e \u043c\u0430\u0441\u0441\u0430 \u044d\u0442\u0438\u0445 \u0437\u0432\u0443\u043a\u043e\u0432 \u0442\u0430\u043a \u0438 \u043e\u0441\u0442\u0430\u0435\u0442\u0441\u044f \u043d\u0435\u0437\u0430\u043c\u0435\u0447\u0435\u043d\u043d\u043e\u0439, \u043f\u043e\u043a\u0430 \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043d\u0430 \u043d\u0438\u0445 \u043d\u0435 \u043e\u0431\u0440\u0430\u0442\u044f\u0442 \u0442\u0430\u043a\u0438\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u0442\u0435\u043b\u0438, \u043a\u0430\u043a \u0421\u043b\u0430\u0432\u0435\u043a \u041a\u0432\u0438. […<\/a>]<\/p>\n

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Review | By Brian Olewnick \/ Just outside<\/a>
\n<\/strong><\/p>\n

Roland Etzin<\/a> | TransMongolian<\/a><\/p>\n

In this case, the recordings (as near as I can tell\u2013I could be wrong) are untreated. They\u2019re not travelog-ish, no train engines or whooshing winds, more moments that happened along and\/or were chosen afterwards by Etzin (though the one from Lake Baikal is\u2026watery). So you\u2019re more than usually cognizant of the choice factor: why this and not that. And, by and large, Etzin\u2019s choices are reasonably engaging, often obscurely sourced, bearing textures that are sharply drawn, the sonic equivalent of a silver gel print form the Adams (Ansel) school). […<\/a>]<\/p>\n

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Review | By Brian Olewnick \/ Just outside<\/a>
\n<\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

Quite recently, I was having a conversation with a musician of some renown. We were discussing field recordings, the plethora thereof, many of which find there way to my abode. \u201cIf I were running things\u201d, he said, \u201cthere would be certain sounds you\u2019d simply not be allowed to use: water, birds, traffic sounds, church bells, airplane engines, wind. I\u2019d make it really, really hard to be able to construct a good recording from the field.\u201d I couldn\u2019t help but take his point. […<\/a>]<\/p>\n

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Review | By Brian Olewnick \/ Just outside<\/a>
\n<\/strong>Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a><\/p>\n

A quite crowded and noisy compilation of many performances of 4\u201933\u2033.<\/p>\n

It\u2019s an odd melange, incorporating many announcements (from the radio, for the most part, I think), in German and English, about the piece. The first of the six tracks, indeed, consists of virtually nothing but these announcements, including contributions from Cage himself (once between 103rd and 104th Sts. at 3rd Avenue, an intersection I know pretty well) and a sarcastic news reporter at Harvard Square. […<\/a>]<\/p>\n

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Gruenrekorder @ Ephemeral Sustainability<\/a><\/strong>
\n31. October – 03. November 2012 | Bergen\/Norway
\nA conference about presenting, documenting, collecting and archiving sound art.
\nWith Christina Kubisch, David Toop, Christoph Cox, etc…<\/p>\n

www.oestre.no<\/a><\/p>\n

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

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\"Angus<\/a><\/p>\n

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Angus Carlyle<\/a> & Rupert Cox<\/a>: \u201cAIR PRESSURE<\/a>\u201d (Gruen 094\/12)
\nField Recordings
\n10 Tracks (61\u203255\u2033)
\nCD (+Book) (1000 copies)<\/p>\n

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

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\"Roland<\/a><\/p>\n

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Roland Etzin<\/a>: \u201cTransMongolian<\/a>\u201d (Gruen 103\/12)
\nField Recordings
\n6 Tracks (52\u203254\u2033)
\nCD (500 copies)<\/p>\n

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Review | By Jack Chuter \/ ATTN:Magazine<\/a>
\n<\/strong><\/p>\n

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

The Slaughterhouse isn\u2019t the tirade of rattling cages and screaming animals that I anticipated it to be. Of course, David Michael could have chosen to have focused solely on the gorier, more blatantly harrowing processes that occur in a working slaughterhouse (admittedly, I came into the work expecting an hour of torturous machinery and severed flesh), but his decision to patiently document the happenings of an entire day arguably renders the experience even more disturbing. […<\/a>]<\/p>\n

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Review | By Dave X \/ Musique Machine<\/a>
\n<\/strong><\/p>\n

Ross Adams \u2013 The Compass Series<\/a> | Nord Rute<\/a><\/p>\n

Well-respected field recording and sound art publisher Gruenrekorder adds another fine release to their already-essential Compass Series catalog with sound recordist and designer Ross Adams – „Nord Rute“.
\nCombining interviews with S\u00e1mi herding families in Northern Norway with field recordings and music, Adams creates a mesmerizing portrait of the S\u00e1mi people, their land, and oral history. Particularly fascinating are poet \u00c1nde Somby’s haunting reflections on S\u00e1mi mythology, reminding the listener of the harsh natural environment that had a hand in fashioning such ideas. Perhaps best about „Nord Rute“ is the total absorption and realization of field recordings as a musical form, […<\/a>]<\/p>\n

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Phonophon<\/a> | 29 September 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* CONTAGIOUS ORGASM (JP)<\/p>\n

full discography:
\nwww.discogs.com\/artist\/contagious+orgasm<\/a><\/p>\n

contagious orgasm websites:
\nwww.myspace.com\/contagiousorgasm06<\/a>
\nwww.geocities.jp\/coolanatomy<\/a>
\nwww.facebook.com\/pages\/contagious-orgasm\/108077802553390<\/a><\/p>\n

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* Tzii (F)<\/p>\n

www.tzii.tk<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Review | By Jochen Mei\u00dfner \/ FUNKKORRESPONDENZ<\/a>
\n<\/strong><\/p>\n

Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a><\/p>\n

Subversiv, kritisch und aufregend
\nDieser Tage j\u00e4hren sich gleich drei Jubil\u00e4en: der 100. Geburtstag von John Cage am 5. September, sein 20. Todestag am 12. August und der 60. Jahrestag der Urauff\u00fchrung seiner ber\u00fchmtesten Komposition: der dreis\u00e4tzigen Generalpause \u201e4\u201933\u201c\u201c, die am 29. August 1952 ihre Premiere hatte. Mit ihrem Feature \u201eSounds like Silence\u201c haben die Kuratorin Inke Arns und der Medientheoretiker und Kunsthistoriker Dieter Daniels die von ihnen konzipierte gleichnamige Ausstellung im Hartware MedienKunstVerein Dortmund (HMKV) er\u00f6ffnet. Wohl auch deshalb ist ihre Sendung St\u00fcck in insgesamt sechs \u201eR\u00e4ume\u201c unterteilt.\u00a0[…<\/a>]<\/p>\n

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Lasse-Marc Riek \/ Gruenrekorder @ MOOZAK FESTIVAL<\/strong><\/p>\n

September 21st\/22nd, 2012 – Media Opera (AT)<\/p>\n

Live audio stream (128 kbps MP3, 8pm-4am):<\/p>\n

Campusradio St. P\u00f6lten 94.4 Livestream<\/a><\/p>\n

www.moozak.org<\/a><\/p>\n

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Lasse-Marc Riek<\/a> | Helgoland @ The Wire Tapper 30<\/a><\/strong>
\nCD out on Gruenrekorder in November 2012<\/p>\n

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Phonophon<\/a> | 22 September 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* JIKUUUUUUUUUUU\u6642\u7a7a (JP)
\nmariajiku.info<\/a><\/p>\n

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* Thomas Tilly (F)
\nthomas.tilly.free.fr<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Review | By Russell Cuzner \/ Musique Machine<\/a><\/strong>
\nErnst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

Well, as the saying goes, you wait around for ages for public transport field recordings and three turn up at the same time: first there was the Psychogeographical Commission\u2019s \u201cWiddershins\u201d, a disorientating trip on the Glasgow Subway system, followed a few months later by Chris Watson\u2019s glorious \u201cEl Tren Fantasma\u201d, providing compressed sonic highlights of a Mexican railway journey, and now Chicago-based composer Ernst Karel brings us a generous selection of sounds from Switzerland\u2019s mountainous vehicles. […<\/a>]<\/p>\n

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Review | By Chris Whitehead \/ The Field Reporter<\/a>
\n<\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

Let\u2019s deconstruct a rainforest and rebuild it as a sound object. Let\u2019s walk into it, experience it and find a point where fragments of the modern world bleed in.
\nA bell-like tone repeats and tethers \u2018Meadow\u2019, the first track of Slavek Kwi\u2019s \u2018Ultrealith\u2019 CD, firmly to the substrata of field-recording based composition. Gentle flutters or sudden bursts of unidentified noise invade the space, but natural sounds also drift in and remain in the background in various configurations, often before vanishing back forever into the ether. […<\/a>]<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

ARTIFICIAL MEMORY TRACE<\/a> | ULTREALITH<\/a><\/p>\n

[…] Now a CD by Slawek Kwi\u2019s Artificial Memory Trace you can always stick on as a piece of music. Build from field recordings but always \u2018treated\u2019 in some way. If I understand correctly, this new CD\u2019s main work are the five parts of the title piece, lasting forty-four minutes. Its bookended with two pieces before that and one after that, making a total of almost eighty minutes. The title piece was originally a four channel composition, mixed down to stereo. Lots of field recordings and as is usual with releases by Artificial Memory Trace, its all detailed on the cover. […<\/a>]<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

David Michael<\/a> | The Slaughterhouse<\/a><\/p>\n

\u2018The Slaughterhouse\u2019 is not the name of gruesome venue for harsh noise festivals, but, in fact, a slaughterhouse, in rural Alabama, just outside of Birmingham. Its run by a man and his son, processing meat of one animal at a time. David Micheal went there one day to record the day\u2019s proceedings, and this is what is documented on \u2018The Slaughterhouse\u2019. From the early morning outside waiting, the actual shot, skin separation, cutting off various body parts of the buffalo and all such like, until the next animal comes in and gets shot. […<\/a>]<\/p>\n

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

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\"Slavek<\/a><\/p>\n

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Slavek Kwi (Artificial Memory Trace)<\/a>: \u201cUltrealith<\/a>\u201d (Gruen 110\/12)
\nSoundscapes
\n8 Tracks (77\u203258\u2033)
\nCD (500 copies)<\/p>\n

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

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\"David<\/a><\/p>\n

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David Michael<\/a>: \u201cThe Slaughterhouse<\/a>\u201d (Gruen 104\/12)
\nField Recordings
\n12 Tracks (58\u203215\u2033)<\/p>\n

CD (500 copies)<\/p>\n

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Listen to Your City–Listening To Art :<\/strong>
\nA Tower Full of Sounds Etc.
\n@ Knippelsbro and around
\nCopenhagen Art Festival & Wundergrund Festival, Denmark
\n24.8.– 4.11.2012
\ndedicated to John Cage (1912–1992)<\/p>\n

www.gw.tonspur.at<\/a><\/p>\n

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With Tyler Adams, Sam Ashley, Uwe Bressnik, John Cage, Ang\u00e9lica Castell\u00f3, Teun de Lange, Diether de la Motte, Matthias Deumlich, Franz Graf, Peter Graham, Sabine Groschup, Gary Hill, Robert Jacobsen, Hilary Jeffery, Jacob Kirkegaard, Christoph Korn\/Lasse-Marc Riek, Daisuke Kosugi, Via Lewandowsky, Beno\u00eet Maubrey, Gordon Monahan, Ben Patterson, Lee Ranaldo, Reiner Ruthenbeck (with Henning Christiansen), Tomas Schmit, Sigtryggur Berg Sigmarsson, Timm Ulrichs, Maurice van Tellingen, Kris Vleeschouwer, Gerlinde Wurth; curated by Georg Weckwerth.<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

Various Artists | SOUNDS LIKE SILENCE \u2013 Cage\/4\u201933\u2033\/Stille \u2013 1912\u20131952\u20132012<\/a><\/p>\n

[…<\/a>] ‚Sounds Like Silence‘ is the first of these tributes and is dedicated to perhaps Cage’s most (in-)famous piece ‚4’33‘. Do I need to explain what that is about? I should hope not, even when there are a couple of interesting points to be made about it. I’d like to refer to Kyle Gann’s excellent book on this piece ‚No Such Thing As Silence‘. On this CD ‚Sounds Like Silence‘ we have a whole bunch of pieces that deal with the notion of silence, and was broadcasted as a radio program. Its also an exhibition and a book (hopefully one to review!) and on the CD we find pieces that deal with silence, mainly from previous releases. […<\/a>]<\/p>\n

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

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\"V.A.:<\/a><\/p>\n

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V.A.: \u201cSOUNDS LIKE SILENCE \u2013 Cage\/4\u201933″\/Stille \u2013 1912\u20131952\u20132012<\/a>\u201d (Gruen 116\/12)
\nSound Art
\n6 Tracks (48\u203250\u2033)
\nCD (500 copies)<\/p>\n

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Sounds Like Silence<\/a> | Opening<\/strong>
\nDortmunder U<\/a> | 6. Etage | 08\/24\/2012, 20:30 h<\/p>\n

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Gruenrekorder soundwalk | Frankfurt am Main – 23 August 2012<\/strong>
\nThanks to all participants from „art kaleidoscope<\/a>„.<\/p>\n

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More:<\/p>\n

Soundwalking | By Hildegard Westerkamp<\/a><\/p>\n

Autumn Leaves | Sound and Environment in Artistic Practice<\/a><\/p>\n

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Roland Etzin<\/a> | TransMongolian @ The Wire Tapper 29<\/a><\/strong>
\nCD out on Gruenrekorder in October 2012<\/p>\n

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Review | By Stephen Fruitman \/ Avant Music News<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a>
\nThe Mekong is one of the world\u00b4s mighty rivers, 4,000 km long, descending more than five thousand meters as it passes through seven Southeast Asian countries. Unfortunately, it has been historically burdened with memories of an ugly war. \u201cMekong Morning Glory\u201d is a heart of lightness to counterbalance the dark impression left in equal measure by that war and by Francis Ford Coppola\u00b4s \u201cApocalypse Now\u201d. German husband and wife soundscapers Janko Hanushevsky and Eva P\u00f6pplein travelled through Laos, Cambodia and Vietnam, waving a microphone in the air to capture sound from the river and its banks. […<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ LOOP<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

Rodolphe 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. In 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. Alexis spent two months in the protected areas of Costa Rica making multichannel field recordings in different forest ecosystems of Central America. […<\/a>]<\/p>\n

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Review | By Ed Pinsent \/ The Sound Projector<\/a>
\n<\/strong><\/p>\n

Eisuke Yanagisawa<\/a> | Ultrasonic Scapes<\/a><\/p>\n

[…<\/a>] Eisuke Yanagisawa (film-maker, researcher and field recordist) has used one to make the record Ultrasonic Scapes (GRUENREKORDER Gr081). He started off with bats right enough, but soon applied it to cicadas, and thence to all sorts of electrical devices found in the street \u2013 including automatic gates, street lights, TV sets\u2026in fine, just about anything that emits ultrasonic frequencies. Some of these sounds he blurts back at us are really intense and surprising, like particularly harsh forms of digital noise music, and even when not so intense they have a very compelling presence. […<\/a>]<\/p>\n

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Review | By Scott W \/ Musique Machine<\/a><\/strong><\/p>\n

Harald Guenter Kainer<\/a> | adolar<\/a><\/p>\n

Adolar, an album-length audio component of the \u2018Luftblicke\u2019 in October 2011 in Graz (Austria), marks the entrance of Austrian Harald Guenter Kainer onto the contemporary academic drone scene. Structured around data specifying distances between Earth and various stars, Adolar is an experiment in contrasting sonic representations of distance. At the exhibition, loops of varying length colluded in various combinations to assist the listener\u2019s attention toward contemplation of these vast spans of emptiness which lie between heavenly bodies. […<\/a>]<\/p>\n

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Field Notes<\/a>\u00a0#3: Traces | August 2012<\/strong><\/p>\n

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Articles:
\n1. Tom Lawrence:<\/p>\n

The Waterbeetles of Pollardstown Fen
\n2. Scott Sherk:<\/p>\n

Phonography: Art or Documentation?
\n3. Jim Cummings:<\/p>\n

My Ears will Never be the Same
\n4. Marcus K\u00fcrten et al.:<\/p>\n

\u2018Something Which Lasts Passes By\u2019 \u2013 A Collection of Hearing Memories
\n5. Hein Schoer:<\/p>\n

The Sounding Museum \u2013 Between Art and Science: Cultural Soundscapes in Museum Pedagogy
\n6. Budhaditya Chattopadhyay:<\/p>\n

Soundhunting in a City \u2013 Chronicles of an Urban Field Recording Expedition<\/p>\n

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Download<\/a><\/p>\n

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Review | By Jean Dezert \/ Les ma\u00eetres fous<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/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. […<\/a>]<\/p>\n

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Review | By textura<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/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. […<\/a>]<\/p>\n

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The Wire On Air<\/a> | Adventures In Sound And Music 5 July 2012<\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

Listen to ‚Adventures In Sound And Music 5 July 2012‘ (Stream)<\/a><\/p>\n

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Review | By maeror3 \/ livejournal<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/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 \u043a\u043e\u043b\u0438\u0447\u0435\u0441\u0442\u0432\u043e \u0444\u043e\u0440\u043c \u0436\u0438\u0437\u043d\u0438, \u043d\u0430\u0441\u0435\u043b\u044f\u044e\u0449\u0438\u0445 \u0442\u0435\u0440\u0440\u0438\u0442\u043e\u0440\u0438\u044e \u041a\u043e\u0441\u0442\u0430-\u0420\u0438\u043a\u0438, \u0438, \u0432 \u0442\u043e \u0436\u0435 \u0432\u0440\u0435\u043c\u044f, \u043f\u0440\u0438\u0432\u043b\u0435\u0447\u044c \u043d\u0430\u0448\u0435 \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043a \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430\u043c \u0432\u044b\u0440\u0443\u0431\u043a\u0438 \u0442\u0440\u043e\u043f\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u043b\u0435\u0441\u043e\u0432, \u0437\u0430\u0432\u043e\u0435\u0432\u0430\u043d\u0438\u044e \u0447\u0435\u043b\u043e\u0432\u0435\u043a\u043e\u043c \u043c\u0435\u0441\u0442\u0430 \u0443 \u043f\u0440\u0438\u0440\u043e\u0434\u044b, \u0432 \u0440\u0435\u0437\u0443\u043b\u044c\u0442\u0430\u0442\u0435 \u0447\u0435\u0433\u043e \u0433\u0438\u0431\u043d\u0443\u0442 \u043c\u043d\u043e\u0433\u0438\u0435 \u0432\u0438\u0434\u044b \u0440\u0430\u0441\u0442\u0435\u043d\u0438\u0439, \u0436\u0438\u0432\u043e\u0442\u043d\u044b\u0445 \u0438 \u043d\u0430\u0441\u0435\u043a\u043e\u043c\u044b\u0445.\u00a0[…<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n

Ross Adams \u2013 The Compass Series<\/a> | Nord Rute<\/a><\/p>\n

‚Nord Rute‘ has as a central isue the S\u00e1mi indigenous people who live in Lapland, a region stretching across northern Norway, Sweden, Finland and the Kola Peninsula, northwest Russia. In the Compass Series production for The Soundscape Series by Gruenrekorder collaborate sound artist Ross Adams alongwith composer of electronic music Ed Handley, S\u00e1mi poets Synn\u00f8ve Persen and Ande Somby with Joiking and drums by Ingor Antte Ailu Gaup. ‚Nord Rute‘ is one of the four sound environments projects based on literary works, drawings and soundscapes of S\u00e1mi multi-instrumentalist Nils Aslak Valkeap\u00e4\u00e4. […<\/a>]<\/p>\n

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Review | By\u00a0Ron Schepper \/\u00a0textura<\/a><\/strong><\/p>\n

Peter Caeldries<\/a> | Jhirna Jali<\/a><\/p>\n

Some sound artists use field recordings as raw material in the service of some further musical concept, whereas others approach the field recordings genre with a more documentary-like mindset, believing that the material should be left in its purest, unadulterated form. Jhirna Jali, a collection of field recordings gathered from the Northern India jungles, suggests that Peter Caeldries is a member of the latter group. The Brussels, Belgium-based sound artist brings his background in anthropology and sound engineering training, among other areas of interest, to this hour-long collection, which he recorded during a field trip to the Corbett Tiger Reserve, Uttarakhand, Garhwal and Nainital Districts, Northern India during the spring of 2009. […<\/a>]<\/p>\n

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Der Garten ruft!<\/strong> \/ The Garden is Calling! – Open Call Datscha-Radio<\/strong><\/p>\n

A garden is more than a metaphor: Bridging architecture to nature, it is a living space for visions and encounters, for work and leisure. The garden has been a companion to mankind in all cultures since the beginning of civilization. With the onslaught of technologies of daily life, the topic of gardening has continually gained attention in terms of aesthetics, history and ecology. The true potential of the garden, though, lies within its rich multitudes. A garden is not just one place, it is many places; not just one system, but many systems. To create a garden for listening and international cooperation which appeals to all of the senses \u2013 this is the aim of Datscha-Radio. For 7 days, 24 hours, from 24th to 31st of August, we will be broadcasting directly from a typical Berlin garden patch. Rain or shine!<\/p>\n

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Deadline: Please submit until the 10th of August 2012
\nwww.datscharadio.de<\/a><\/p>\n

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Review | By Leandro Pisano \/ Blow Up<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nIl lavoro condotto da qualche anno dal filosofo e sound artist Pietro Riparbelli, rivela una serie di elementi particolarmente significativi nell’indagine dei fenomeni della percezione spaziale e della dicotomia tra visibile ed invisibile all’interno del paesaggio sonoro. E‘ una ricerca che, passata attraverso una serie di lavori concettualmente molto forti – come l’indagine condotta con una videocamera attraverso dei segnali ad onde corte di un manicomio e dell’opera di un suo paziente – si arricchisce di ulteriori elementi nell’album in oggetto. […<\/a>]<\/p>\n

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Review | By H\u00e9ctor Cabrero \/ Le son du grisli<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/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).\u00a0[…<\/a>]<\/p>\n

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Review | By Dan Warburton \/ Paris Transatlantic Magazine<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/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. […<\/a>]<\/p>\n

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Gruenrekorder @\u00a0<\/strong>h\u00f6r!spiel!art.mix: Ferne I-IV \/ Bayern 2<\/strong><\/a><\/p>\n

Ferne I: Weltraum – Fr, 03.08.2012 \/ 21:03<\/a>
\nFerne II: Fremde – Fr, 10.08.2012 \/ 21:03<\/a>
\nFerne III: Vergangenheit – Fr, 17.08.2012 \/ 21:03<\/a>
\nFerne IV: N\u00e4he – Fr, 24.08.2012 \/ 21:03<\/a><\/p>\n

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Review | By Darby Mullins \/ DARBY\u2019S CHRONICS<\/a><\/strong>
\nPeter Caeldries<\/a> | Jhirna Jali<\/a><\/p>\n

A short time ago I discovered the Japanese concept mono-no-aware, expression that Takeshi Umehara had attempted to translate by : feeling of the affecting melancholic beauty of things or aesthetic melancholy in view of the things \u00b9. I was very touched by this idea, and this reading left me think about a lot of things but idea-sounds are never so far…. Listened field recordings with this idea it’s just fairly obvious. Moving space, winds and leafs noises, birds and bugs songs, dropes and waters games. […<\/a>]<\/p>\n

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Review | By PvdG \/ PROGRESS REPORT<\/a><\/strong><\/p>\n

Heike Vester<\/a> | Marine Mammals and Fish of Lofoten and Vester\u00e5len<\/a>
\nLofoten is a remote group of islands located at Norway\u2019s northern coast and besides of a lot of fish, they also seem to attract musicians and scientists to register impressions of nature. Remember Stapleton & Potter spending some time at the islands resulting in multiple hours of an enigmatic mixture of field recordings, manipulated sounds and other sonic debris, creating mental pictures of this tiny spot on the globe. Gruenrekorder\u2019s take is somewhat different. […<\/a>]<\/p>\n

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Review | By\u00a0 Stephen Fruitman \/ Igloo Magazine<\/a><\/strong><\/p>\n

St\u00e9phane Garin<\/a> & Sylvestre Gobart<\/a> | Gurs. Drancy. Gare de Bobigny. Auschwitz. Birkenau. Chelmo-Kulmhof. Majdaneck. Sobibor. Treblinka<\/a><\/p>\n

One of the many things that made Claude Lanzmann\u2019s nine-hour \u201cShoah\u201d (1985), so memorable was the fact that for the first time in a documentary about the Holocaust, no historical footage was used to illustrate the gruesome tale. Instead, Lanzmann talked to victims, bystanders and perpetrators in their homes, places of business, or returned with them to the killing grounds in the present day. […<\/a>]<\/p>\n

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Review | By Roger Batty \/ Musique Machine<\/a><\/strong>
\nPacho Apostolo<\/a> | Wallmapu<\/a><\/p>\n

Have you ever been on one of those history rides?. You known the type that you find at historic places of interest such as Rome or York. You climb on board a open carriage to stand, or sit down in a leisurely rolla-coaster type car, then you go on a trip back in time via recreated smells, sounds &\u00a0 displays of posed dummies dressed up in costumes of the past .. well \u201cWallmapu\u201d is sort of a sonic historic ride for the Mapuche nation- a group of indigenous inhabitants that have lived for a thousands years in south-central Chile and south-western Argentina. […<\/a>]<\/p>\n

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Gruenrekorder @ The Global Composition<\/strong><\/p>\n

World Soundscape Conference 2012, Hochschule Darmstadt, July 25 \u2013 28, 2012<\/p>\n

Program: link<\/a> | pdf<\/a><\/p>\n

Registration: link<\/a><\/p>\n

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Eric Leonardson @ Phonophon<\/strong><\/p>\n

Solo Springboard performance for the Association for the Advancement of Phonography and Experimental Music at the Institute for New Media. Recorded live on July 21, 2012 in Frankfurt, Germany.<\/p>\n

Listen: www.soundcloud.com<\/a><\/p>\n

www.ericleonardson.org<\/a><\/p>\n

www.phonographie.org<\/a><\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a><\/strong><\/p>\n

Various Artists | Autumn Leaves<\/a><\/p>\n

[…<\/a>] 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. […<\/a>]<\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a><\/strong>
\nRodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

[…<\/a>] 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. […<\/a>]<\/p>\n

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framework radio<\/a> | #382<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley
\nJez riley French<\/a> | Estonian Strings<\/a><\/p>\n

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Netlabels and democratization of the recording industry<\/a>| By Patryk Galuszka<\/strong>
\nFirst Monday<\/a>, Volume 17, Number 7 – 2 July 2012
\nThis paper is licensed under a Creative Commons Attribution\u2013NonCommercial\u2013NoDerivs 3.0 Unported Licens<\/a>e.<\/p>\n

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SoundFjord<\/a> | Sunday 15 July 2012 | Performances (Special Event)<\/strong><\/p>\n

Softday and Gruenrekorder Label Showcase…\u00a0 Michael Trommer [AV]; Rodolphe Alexis, Budhaditya Chattopadhyay, Angus Carlyle + Lasse-Marc Riek; Softday (Sean Taylor and Mikael Fernstr\u00f6m)<\/p>\n

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4-6pm (Film) | Cinema Space + 6-10pm (Performances) | F2 Hall | \u00a37\/5conc | Tkts<\/p>\n

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Tonight performance will be a jam-packed showcase of the length and breadth of Gruenrekorder\u2019s musical spirit from artists that span the globe. Expect performances from Rodolphe Alexis, Budhaditya Chattopadhyay, Angus Carlyle and Lasse-Marc Riek. Joining them this evening will be Softday, the art-science collaboration of artist Sean Taylor and computer scientist Mikael Fernstr\u00f6m. N.B. Events will start early and head on into the evening!<\/p>\n

www.soundfjord.org<\/a><\/p>\n

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Phonophon<\/a> | 21 July 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* Eric Leonardson (US)
\nwww.ericleonardson.org<\/a><\/p>\n

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* Belma Be\u0161li\u0107-G\u00e1l (AT) & Bernhard G\u00e1l (AT) & Goran Stevanovic (D)
\nwww.belmabeslic.com<\/a>
\nwww.bernhardgal.com<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Gruenrekorder @ Journal Frankfurt<\/a> | Nr. 13 | 2012<\/strong><\/p>\n

Mo\u0308glichst weit weg vom Mainstream: Das Frankfurter Label ku\u0308mmert sich seit neun Jahren um Experimentelle Musik, Sound Art und Phonographie. […pdf<\/a>]<\/p>\n

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Review | By Cheryl Tipp \/ The Field Reporter<\/a>
\n<\/strong><\/p>\n

Rodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

[…<\/a>] 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

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

Rodolphe ALEXIS<\/a> | Sempervirent<\/a><\/p>\n

[…<\/a>] 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

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Review | By Emiliano Grigis \/ Sodapop<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nI lavori di Pietro Riparbelli\/K11 mi hanno sempre colpito anche per le forti capacit\u00e0 evocative degli ambienti in cui vengono registrati i suoni poi elaborati nei dischi: dopo avere ascoltato registrazioni della cattedrale di Assisi, dell’abbazia di Telema e del parco dei mostri di Bomarzo, in questo Three Days Of Silence il luogo prescelto \u00e8 stato il santuario della Verna, tra le colline della toscana. […<\/a>]<\/p>\n

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Review | By Denis Boyer \/ FEARDROP<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a>
\nLoin de nous d\u2019abord, le fleuve Mekong, tel que l\u2019ont r\u00e9invent\u00e9 Eva P\u00f6pplein et Janko Hanushevsky du duo allemand Merzouga. L\u2019album Mekong Morning Glory4 est, selon les propres termes des musiciens, une m\u00e9tamor- phose, celle des sons des lieux travers\u00e9s, et celle d\u2019un instrument de pr\u00e9dilection, la basse. L\u2019un comme l\u2019autre mat\u00e9riau sont tels \u00ab une argile \u00bb, que les musiciens ont model\u00e9e. Il est donc tout \u00e0 fait hors de question de rappor- ter des fragments du fleuve, des instantan\u00e9s, mais bien de refaire le paysage en l\u2019interpr\u00e9- tant. […<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n

Peter Caeldries<\/a> | Jhirna Jali<\/a><\/p>\n

Peter Caeldries is sound and recording artist who works out of Brussels, Belgium and focuses on field recordings, with an artistic, ecological and documental purposes. With a Master in sociology and anthropology also has a background in music production and sound engineering. \u2018Jhirna Jali\u2019 is a sound project that Peter Caeldries made during a trip to the Reserve Corbett Tigers, in the districts of Uttarakhand, Garhwal and Nainital, North India, between March and April 2009. […<\/a>]<\/p>\n

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

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\"Rodolphe<\/a><\/p>\n

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Rodolphe ALEXIS<\/a>: \u201cSempervirent<\/a>\u201d (Gruen 111\/12)
\nField Recordings
\n10 Tracks (55\u203220\u2033)
\nCD (500 copies)<\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Ross<\/a><\/p>\n

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Ross Adams – The Compass Series<\/a>: \u201cNord Rute<\/a>\u201d (GrDl 101\/12)
\nSoundscapes
\n3 Tracks (64\u203241\u2033)
\nMP3\/FLAC <\/a><\/p>\n

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Phonophon<\/a> | 15 June 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* 3 Banditos (S \/ D)
\nwww.reverbnation.com\/jairrohmparkerwells<\/a><\/p>\n

www.acrylnimbus.de<\/a><\/p>\n

www.buc-precious.com<\/a><\/p>\n

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* CIRCUITNOISE (D)
\nwww.circuitnoise.de<\/a><\/p>\n

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* LDX$40 (EU)<\/p>\n

www.kunstscheisse.net\/ldx40<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Review | By -Flavien Gilli\u00e9, translation by LAAG \/ The Field Reporter<\/a><\/strong>
\nJez riley French<\/a> | Estonian Strings<\/a>
\nWhile in Estonia on a residency , Jez Riley French discovered an untouched space subject to the elements. He spent some time just listening and then putting up his home-made microphones close to wires, railways and anything with an industrial mark, left away to attrition and rust. His practice of field-recording takes on a less naturalist turn here. The fields explored are those of ritual industrial music and, synth-based experiments such as Coil\u2019s \u2018Time machines\u2019 (one of Coil\u2019s numerous side-projects) come to mind first. […<\/a>]<\/p>\n

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Phantom Circuit | Phantom Circuit #57<\/a><\/strong>
\nStrange and Wonderful Sound Waves
\nFeaturing a spooky live performance of radiophonic music by The Octopus Collective.<\/p>\n

Rebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a><\/p>\n

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Review | By Tina Manske \/ CULTurMAG<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nKlosterleben, weltlich erfahrbar
\n(TM) Im Mai 2011 verbrachte der Soundk\u00fcnstler Pietro Riparbelli drei Tage im Kloster von La Verna in der Toskana, gelegen auf einem H\u00fcgel, der sich \u2018Berg der Stigmata\u2019 nennt (der heilige Franz von Assisi soll hier seine Stigmata erhalten haben). Mit seinem Mikrofon machte Riparbelli Feldaufnahmen des Klosterlebens und der es umgebenden Natur. \u201cThree Days Of Silence\u201d ist, wie Riparbelli selbst sagt, eine \u201cph\u00e4nomenologische H\u00f6rerfahrung\u201d. […<\/a>]<\/p>\n

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KUSF IN EXILE \/ San Francisco Community Radio Archives<\/strong>
\n05.16.12 \/ 9-Midnight \/ Mein 20th Century \/ DJ Scott Hewicker<\/a><\/p>\n

Various Artists | Somewhere on the edge<\/a><\/p>\n

Mein Twentieth Century explores the far corners of composed sound from its early classical history to its modern experimental antecedents. Antique music, Serialism, Musique Concrete, Early Electronics, Minimalism, Sound Art, New Music, Drone, Independent as well as Non-Western and Outsider sensibilities are brought together in an enriching audio experience.<\/p>\n

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Deutschlandradio Kultur<\/strong><\/a>
\nSlouch Hat Comeback 1<\/a>
\nSam Auinger\/Bruce Odland, Budhaditya Chattopadhyay, Peter Cusack, Chantal Dumas, Stella Luncke\/Josef Maria Sch\u00e4fers, Hannes Strobl
\nH\u00d6RSPIEL UND FEATURE: KLANGKUNST | 18.05.2012 | 00:05<\/p>\n

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Deutschlandradio Kultur<\/strong><\/a>
\nKurzstrecke 2 \/ Terra Subf\u00f3nica<\/a> | By Daniel Blinkhorn
\nH\u00d6RSPIEL UND FEATURE: KLANGKUNST | 28.05.2012 | 00:05<\/p>\n

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Review | By H\u00e9ctor Cabrero \/ Le son du grisli<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nJ\u2019ai eu la chance de passer quelques heures au sanctuaire de la Verna, en Toscane. Les nuages \u00e9taient noirs et semblaient contenus par la for\u00eat et la roche qui donnent son caract\u00e8re au lieu. Pietro Riparbelli y a pass\u00e9 trois jours, lui, partageant la vie des moines, enregistrant les respirations de cette b\u00e2tisse fond\u00e9e par Saint-Fran\u00e7ois d\u2019Assise pour en faire ce CD, Three Days of Silence. […<\/a>]<\/p>\n

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Review | By Ross Baker \/ Musique Machine<\/a><\/strong>
\nTerje Paulsen<\/a> & \u00c1kos Garai<\/a> | Vertikale Skift<\/a><\/p>\n

Within experimental music, collaborative releases are common, and the results are often an intriguing chance to try and work out exactly where one artist’s input ends and the other begins; split releases, on the other hand, allow for a broad listening experience of two halves. For this release on Gruenrekorder, however, Terje Paulsen and \u00c1kos Garai have provided individual pieces which highlight the differences and contrasts between their own approaches, while retaining the track sequencing of a single album. […<\/a>]<\/p>\n

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Review | By Nausika \/ The Sound Projector<\/a><\/strong><\/p>\n

Rebecca Joy Sharp<\/a> & Simon Whetham<\/a> | The Clearing<\/a>
\nThe Clearing: gentle, meditative music that can be uplifting and joyful<\/em>
\nA very pleasant and relaxing recording of Rebecca Joy Sharp playing her Celtic harp in Sefton Park in Liverpool \u2013 that\u2019s Liverpool in the UK, not Liverpool in Sydney, Australia, which happens to be a few train-station stops from Sefton! \u2013 surrounded by a chorus of birds that engage in a call-and-response conversation with the musician. Sharp\u2019s approach is to be very minimal and spontaneous and to allow the birds and other creatures in the park plenty of opportunity to respond to and comment on her disarmingly simple, almost koto-like plucking. […<\/a>]<\/p>\n

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Review | By Richard Allen \/ a closer listen<\/a><\/strong><\/p>\n

Pietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

The monastic life remains inscrutable to those outside the conclaves.\u00a0 No matter how many films or books cover the subject, the internal, contemplative path can only be experienced through participation.\u00a0 In an effort to understand the isolated, yet strangely communal lifestyle of La Verna\u2019s monks, Pietro Riparbelli spent three days at Tuscany\u2019s \u201cmountain of the Stigmata\u201d listening and recording.\u00a0 As readers of this site know, the art of listening includes not only listening to apparent sounds, but suggested sounds, and not only to sound but to the profound nature of silence.\u00a0 And where better to encounter silence than a monastery? […<\/a>]<\/p>\n

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Review | By Cheryl Tipp<\/a> \/ Wildlife Sounds Curator at the British Library<\/strong>
\nJez riley French<\/a> | Estonian Strings<\/a>
\nJez riley French is well known for his work exploring sounds that are normally hidden from the general listener. His recordings bring forth new life into environments that are not actively forthcoming when it comes to sharing their acoustic qualities, thereby opening up new sound environments to explore. „Estonian Strings“ is the latest offering from French and takes the form of a 42 minute composition based on recordings made during his first trip to Estonia in the spring of 2009. With his constant desire to investigate new sonic sources, French applied his contact microphones to a variety of „found strings“. […<\/a>]<\/p>\n

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Review | By Richard Allen \/ a closer listen<\/a><\/strong>
\nVarious Artists | Somewhere on the edge<\/a>
\n47 tracks, 531 minutes and 34 seconds: nearly nine hours of field recordings and soundscapes fill every corner of Gruenrekorder\u2019s 100th release, a testament not only to the strength and diversity of the label, but to the number of friends it has made.\u00a0 Not only that \u2013 it\u2019s free.\u00a0 The level of excess displayed by such a project is so over-the-top, so ridiculous, that it induces a sense of awe.\u00a0 Where are the sponsors?\u00a0 Where\u2019s the profit?\u00a0 For once, it doesn\u2019t matter.\u00a0 Somewhere on the edge is the telephone book of field recordings; few people will play it from cover to cover, but many will refer to it again and again. […<\/a>] Hats off to Gruenrekorder for releasing such a bold effort.\u00a0 Over the course of nearly a decade, the label has helped to guide and shape the field recording industry and to bring it to its current level of popularity.\u00a0 We wish the label and its many artists every continued success.<\/p>\n

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Sound is Art<\/strong>
\nListen to field recordings, instruments, performances and organized noise Curated by Margaret Noble
\nAutumn Appreciation Society<\/a><\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Peter<\/a><\/p>\n

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Peter Caeldries<\/a>: \u201cJhirna Jali<\/a>\u201d (GrDl 107\/12)
\nField Recordings
\n9 Tracks (61\u203232\u2033)
\nMP3\/FLAC <\/a><\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nThree Days of Silence is described by its composer as being \u2018a phenomenological experience\u2019. \u2018Phenomenological\u2019 meaning: \u2018the detailed description of conscious experience, without recourse to explanation, metaphysical assumptions, and traditional philosophical questions\u2019. Pietro Ripabelli recorded his phenomenological experiences at the Sanctuary of La Verna, a remote church in Tuscany built on the site where St Francis of Assisi was reputed to have received the stigmata. […<\/a>]<\/p>\n

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Review | By JULIAN (Lord Yatesbury) \/ Head Heritage<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nTHREE DAYS OF SILENCE by Italy\u2019s Piero Riparbelli is another highly successful Gnostic journey through real time interfaces with cranky technology. And am I talking cranky or what, brothers\u2019n\u2019sisters. However, like the late \u201850s Tokyo school of musique concr\u00e8te, Riparbelli deploys his field recordings in such an exquisite manner that his new album makes for endless repeated listenings. […<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n

Jez riley French<\/a> | Estonian Strings<\/a>
\nJez riley French is an artist and composer who works with field recordings alongwith contact mics, hand madehydrophones, which has shown in his performances and sound installations. He has been in residence in Estonia, Belgium, France, Portugal, Latvia, Italy, Japan, Korea and Austria. \u2018Estonian Strings\u2019 is a composition that French created on his first trip to Estonia in April and May 2009, where he worked with unprocessed recordings of telephone wires, transmitter support cables, fence wires and different kinds of found strings. […<\/a>]<\/p>\n

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Interview by KLANGDIEB \/ Andr\u00e9 Klar
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Eckhard Kuchenbecker<\/a><\/p>\n

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Review | By RaF \/ kulturterrorismus<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

[…<\/a>] Aktuell geh\u00f6rt Pietro Riparbelli f\u00fcr mich zu bewegendsten Sounddesigener \u00fcberhaupt, das einmal mehr \u201cThree Days Of Silence\u201d unterstreicht \u2013 ein weiteres Meisterwerk im Backkatalog des Italieners, der mit seiner ph\u00e4nomenalen Tonkunst zu berauschen wie \u00fcberzeugen wei\u00df \u2013 meine absolute Topempfehlung! PS: Es besteht Kaufpflicht und nicht nur f\u00fcr ausgewiesene Pietro Riparbelli J\u00fcnger, sondern auch f\u00fcr alle Freunde von anspruchsvollem Dark Ambient\/ Ritual Industrial!<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nThis edition is part of the Soundscape Series of the German label Gruenrekorder and in this ocassion presents Pietro Riparbelli’s work, who is a philosopher, composer and sound artist living in Livorno, Tuscany. Riparbelli has released in several European and U.S. labels where he has also done performances and installations. Riparbelli’s work focuses on the phenomenon of spatial perception and the contrast between the visible and the invisible that is linked to the concept of soundscape. […<\/a>]<\/p>\n

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Review | By Ian | Wonderful Wooden Reasons<\/a><\/strong>
\nTom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a>
\nGruenrekorder continue their run of outstanding releases with this set of recordings made by Lawrence of the underwater denizens of Pollardstown Fen outside of Kildare in Ireland. The recordings are unadorned and, to a great extent, unprocessed with only sounds below the levels of human hearing brought up into our range. The array of sounds on display is simply astounding. At times it’s hard to credit that such a beautiful cacophony is natural. One forgets what is playing as dada-esque sound collages reminiscent of NWW or AMM tumble past. The complexity and the richness of the totality of the sounds lends it a compositional flavour that is then made all the stronger when one snaps back to reality and fully remembers what is playing. I’ve had this on repeat for the best part of two days now and am still finding depths and nuances I’d previously missed. Fantastic album on a fantastic label.<\/p>\n

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Review | By maeror3 \/ livejournal<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\n\u0412 1224 \u0433\u043e\u0434\u0443 \u043d\u0430 \u0433\u043e\u0440\u0435 \u041b\u0430 \u0412\u0435\u0440\u043d\u0430 \u0443 \u0421\u0432\u044f\u0442\u043e\u0433\u043e \u0424\u0440\u0430\u043d\u0446\u0438\u0441\u043a\u0430 \u0410\u0441\u0441\u0438\u0437\u0441\u043a\u043e\u0433\u043e \u043f\u0440\u043e\u044f\u0432\u0438\u043b\u0438\u0441\u044c \u0441\u0442\u0438\u0433\u043c\u0430\u0442\u044b, \u0441\u0434\u0435\u043b\u0430\u0432 \u0435\u0433\u043e \u0435\u0449\u0435 \u0431\u043b\u0438\u0436\u0435 \u043a \u043f\u0435\u0440\u0435\u0436\u0438\u0432\u0430\u043d\u0438\u044e \u0432\u0441\u0435\u0445 \u0441\u0442\u0440\u0430\u0441\u0442\u0435\u0439 \u0425\u0440\u0438\u0441\u0442\u043e\u0432\u044b\u0445. \u0412 \u0447\u0435\u0441\u0442\u044c \u044d\u0442\u043e\u0433\u043e \u0441\u043e\u0431\u044b\u0442\u0438\u044f \u043d\u0430 \u0441\u043a\u043b\u043e\u043d\u0435 \u0433\u043e\u0440\u044b (\u043f\u043e\u043b\u0443\u0447\u0438\u0432\u0448\u0435\u0439 \u043d\u0430\u0437\u0432\u0430\u043d\u0438\u0435 \u0413\u043e\u0440\u0430 \u0421\u0442\u0438\u0433\u043c\u0430\u0442\u043e\u0432) \u0431\u044b\u043b\u0430 \u043f\u043e\u0437\u0434\u043d\u0435\u0435 \u043e\u0440\u0433\u0430\u043d\u0438\u0437\u043e\u0432\u0430\u043d\u043d\u0430 \u043e\u0431\u0438\u0442\u0435\u043b\u044c, \u043d\u0435\u0431\u043e\u043b\u044c\u0448\u043e\u0439 \u0445\u0440\u0430\u043c \u0438 \u043c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u044c, \u0441\u0442\u0430\u0432\u0448\u0438\u0435 \u043f\u043e\u043f\u0443\u043b\u044f\u0440\u043d\u044b\u043c \u043c\u0435\u0441\u0442\u043e\u043c \u043f\u0430\u043b\u043e\u043c\u043d\u0438\u0447\u0435\u0441\u0442\u0432\u0430 \u0443 \u043a\u0430\u0442\u043e\u043b\u0438\u043a\u043e\u0432 \u0432\u0441\u0435\u0433\u043e \u043c\u0438\u0440\u0430. […<\/a>]<\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a>
\nWhen buried with a lot of releases to review for Vital Weekly, I sometimes wish to retreat to a monastery and not be interrupted by such mundane things as e-mail, telephone, shopping and just blend in with the tranquility of monastery life. Pietro Riparbelli did visit a sanctuary, Sanctuary of La Verna on top of a mountain in Tuscany, where Saint Francis of Assisi supposed to have gotten his stigmata and recorded life over there during three days. Here he has six pieces, three of them I believe are pure field recordings and three are compositions he created out of these basic sounds. […<\/a>]<\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n

Harald Guenter Kainer<\/a> | adolar<\/a>
\nThis is part of the German label Digital series which is dedicated to sound artists exploring field recordings and experimental electronics. Austrian Harald G\u00fcnter Kainer studied composition and music theory and graduated in electroacoustic composition at the University of Music and Dramatic Arts in Graz. His publications include instrumental and electronic compositions, sound and video installations, soundtracks and poetry. ‚Adolar‘ is a sound installation inspired by the night view at the sky and formed part of the exhibition ‚Luftblicke‘ held in Graz in 2011. […<\/a>]<\/p>\n

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Review | By Nausika \/ The Sound Projector<\/a><\/strong>
\nHein Schoer<\/a> | Two Weeks in Alert Bay<\/a><\/p>\n

Two Weeks in Alert Bay: spotlight on a traditional First Nations society in western Canada. I never know quite what to make of sound recordings like this one as I always feel I\u2019m only getting half of what soundscape musician Hein Schoer experienced: something like this document needs to be visual and to be seen along with the soundtrack. For me, this project would have been much better done as a combined DVD \/ CD package so that I can actually see the Alert Bay, Vancouver Island, environment where Schoer did his research. […<\/a>]<\/p>\n

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Review | By Joshua Meggitt \/ Cyclic Defrost<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a>
\nMekong Morning Glory takes Francisco Lopez\u2019s full-spectrum approach to field recording, editing sounds to extract their maximum sonic impact, while adding further processing and instrumental adornments to create a kind of personal audio postcard. Merzouga\u2019s Eva P\u00f6pplein & Janko Hanushevsky traveled through Laos, Cambodia and Vietnam on the Mekong capturing sounds which were then tinkered with. \u201cWe examine field-recordings in regard to their musical qualities \u2026 and fuse them with electronically processed electric bass sounds.\u201d […<\/a>]<\/p>\n

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Review | By DB \/ PROGRESS REPORT<\/a><\/strong><\/p>\n

Ernst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

This is one of Gruenrekorder\u2019s series of Field Recordings. Obviously from the title it\u2019s of Swiss Mountain Transport Systems. The 9 tracks were recorded between July 2008 and November 2008 by Ernst Karel who, to quote his website, works with analog electronics and with location recordings, sometimes separately, sometimes in combination, to create audio pieces that move between the abstract and the documentary. The pieces on this Cd are pure location recordings, no processing or manipulation has been used. […<\/a>]<\/p>\n

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Review | By MR \/ Paris Transatlantic Magazine<\/a><\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Those who think „Morning Glory“ is the third course of „Alan’s Psychedelic Breakfast“ on Atom Heart Mother might like to know that’s it’s also a tropical vegetable (aka water spinach) native to South East Asia, which influenced Eva P\u00f6pplein and Janko Hanushevsky (aka Merzouga) as they sailed down the Mekong river across Laos, Cambodia and Vietnam in 2008. As for the musical outcome, the voyage represents an interesting stab at combining field recordings and processed instruments, with a prepared bass guitar the lone extra-environmental source. […<\/a>]<\/p>\n

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Gruenrekorder @ Sounds of Europe<\/strong><\/p>\n

Somewhere on the edge | Various Artists<\/a><\/p>\n

www.soundsofeurope.eu<\/a><\/p>\n

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New Release:<\/strong>
\nFree download edition<\/p>\n

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\"Somewhere<\/a><\/p>\n

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Various Artists: \u201cSomewhere on the edge<\/a>\u201d (GrDl 100\/12)
\nField Recordings \/ Soundscapes
\n47 Tracks (531\u203234\u2033)
\nMP3\/FLAC<\/p>\n

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Phonophon<\/a> | 05 May 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* Die 7te Krawallerie (D)
\nwww.youtube.com<\/a><\/p>\n

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* Andreas Glauser (CH)
\nwww.brainhall.net<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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framework radio<\/a> | #373<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley
\nEisuke Yanagisawa<\/a> | Ultrasonic Scapes<\/a><\/p>\n

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moers festival – Concerts in the dark<\/strong>
\nSaturday May 26th \/ Sunday May 27th \/ 5:30 pm<\/p>\n

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This year\u2019s Concerts in the Dark are all about \u201chidden currents\u201d – sounds which come out of some shadowy place, whose origin is unclear. In some cases they explore the sounds generated on the sidelines of music – noises generally viewed as interference or audio by-products: the hiss of tapes that are slowly disintegrating or the buzz of an amplifier before the first note of an instrument is heard. In others they attempt to make audible sounds that are usually difficult for the human ear to hear, like those produced by bats in echolocation.<\/p>\n

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John Duncan (us, it)
\nRonnie Sundin (se)
\nK11\/Pietro Riparbelli (it)
\nLasse-Marc Riek (d)
\nSeth Nehil (us)<\/p>\n

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Curator of the concerts in the dark: Till Kniola\/aufabwegen<\/p>\n

Free Entry! | Venue: Studio des Schlosstheaters Moers, Kastell 6<\/p>\n

www.moers-festival.de<\/a><\/p>\n

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Review | By Brian Olewnick \/ Just outside<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

I admit to some degree of trepidation when Ripardelli, in the course of describing his work, derived from field recordings made at the Sanctuary of La Verna in Tuscany, says of the place that St. Francis of Assisi „is said to have received the stigmata here“. Could’ve used a tablespoon of skepticism, I guess. But the results are not bad of their type. Three pieces, the first a composition worked form the recordings, the next a pure field recordings and the last a „diary of the experience“, though I’m not sure exactly what that entailed. […<\/a>]<\/p>\n

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WFMU<\/a> 91.1 fm 90.1 fm \/ Playlist for John Allen<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

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Review | By Ron Schepper \/ textura<\/a><\/strong>
\nPietro Riparbelli<\/a> | Three days of silence<\/a><\/p>\n

Issued as part of Gruenrekorder’s Soundscape Series, Pietro Riparbelli’s Three Days of Silence – The Mountain of the Stigmata revisits the approach used on the 4 Churches recording the Livorno, Tuscany-based sound artist released in 2011 as part of Touch’s Spire series. In both cases, Riparbelli attempts to capture the reverberant space within church and cathedral settings by coupling the expected sounds of organ playing and choir singing with the less typically documented sounds that arise naturally within the spaces themselves\u2014the mundane and the transcendent rubbing shoulders, so to speak. […<\/a>]<\/p>\n

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Gruenrekorder @ Sounds of Europe<\/strong><\/p>\n

Phonophon \/ 21 July 2012 \/ Belma Be\u0161li\u0107-G\u00e1l \/ Bernhard G\u00e1l \/ Eric Leonardson<\/a><\/p>\n

www.soundsofeurope.eu<\/a><\/p>\n

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Gruenrekorder @ Sounds of Europe<\/strong><\/p>\n

The Global Composition \u2013 The Sounding Museum \u2013 Hein Schoer<\/a><\/p>\n

www.soundsofeurope.eu<\/a><\/p>\n

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Gruenrekorder @ Sounds of Europe<\/strong><\/p>\n

Manfred Waffender \/ \u201eThe Logbook of the Senses\u201c<\/a><\/p>\n

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\u2018Sounds of Europe\u2019 is a project that acknowledges and follows the increase of field recording activity in music, art and sciences in recent years. By field recording activity we mean an artistic practice working with the accidental sounds of our environment. Our aim is to draw up an overall picture of the many different ways of using field recordings, and to explore their signification and effect.
\nwww.soundsofeurope.eu<\/a><\/p>\n

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

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\"Pietro<\/a><\/p>\n

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Pietro Riparbelli<\/a>: \u201cThree Days of Silence<\/a>\u201d (Gruen 102\/12)
\nSoundscapes
\n6 Tracks (47\u203213\u2033)
\nCD (500 copies)<\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Jez<\/a><\/p>\n

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Jez riley French<\/a>: \u201cEstonian Strings<\/a>\u201d (GrDl 106\/12)
\nField Recordings
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Phonophon<\/a> | 13 April 2012 | 8 PM | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main<\/p>\n

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* ICH BIN DER WELT ABHANDEN GEKOMMEN – Karl May<\/p>\n

Oliver Augst \/ John Birke \/ Marcel Daemgen<\/p>\n

www.textxtnd.de<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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framework radio<\/a> | #369<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley
\nTerje Paulsen<\/a> & \u00c1kos Garai<\/a> | Vertikale Skift<\/a><\/p>\n

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Acousmain #28: 8 Positions for sound<\/strong>
\nThursday, 12.April.2012, 9 PM<\/p>\n

A Gruenrekorder night with Field Recordings and Soundscapes.
\nEtzin und Riek will present a selection of their current catalogue.<\/p>\n

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With pieces by Tom Lawrence, Manfred Waffender, Lasse-Marc Riek, Andreas Bick, Andrea Polli, Mick O\u2019Shea, Roland Etzin.<\/p>\n

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Free entrance
\nThe Acousmainbar will be opened before and after the performance.
\nMore information and teaser at: www.acousmain.de<\/a><\/p>\n

MP3<\/a><\/p>\n

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Atelierfrankfurt
\nVortragssaal 2. OG
\nHohenstaufenstr. 13 \u2013 25
\n60327 Frankfurt am Main<\/p>\n

www.atelierfrankfurt.de<\/a><\/p>\n

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Reviews | By Darby Mullins \/ DARBY’S CHRONICS<\/a><\/strong><\/p>\n

Various Artists | Autumn Leaves<\/a>
\n„In your land, there are no spirits. In mine, there are. That’s why it’s hard !“ Savelij Vasilev, Evenk shaman<\/p>\n

This world grows farther from us, we are more and more insensible to manifestations of vital forces of Nature, those which animate living beings, as the natural elements such stones or wind, those that make a singing frog can still hear in a pool of Chernobyl, or something like that … […<\/a>]<\/p>\n

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Various Artists | Playing with Words: an online compilation<\/a>
\nTo combine, arrange, and classify.\/\/To split, Organize, and mix\/\/To disperse, repeat and break\/\/
\nWords, and flood of words, free and rid of their meaning, detach and emancipate of language. Noises, creaking and slapping of mouth, tongue, & teeth. Decomposition of the vocal cords in an identifiable set of simultaneous notes. „Playing with words“ is an agreement between language and musical, a selection of 360 \u00b0 at the limlits (borders) of sense and sound.<\/p>\n

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Review | By Cheryl Tipp<\/a> \/ Wildlife Sounds Curator at the British Library<\/strong><\/p>\n

Lasse-Marc Riek<\/a> | Harbour<\/a><\/p>\n

\u2018Harbour\u2019 is an absorbing collection of unprocessed field recordings made over an eight-year period at various locations around Finland and Germany. Rather than provide the listener with standard harbour atmospheres, Lasse Marc Riek focuses on the almost microscopic detail of harbour acoustics. We\u2019re provided with a fascinating variety of sounds \u2013 the first track whet my aural appetite and I remained intrigued throughout. So many different sounds emerge over the course of the CD that the listener should never become bored. […<\/a>]<\/p>\n

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Review | By Cheryl Tipp<\/a> \/ Wildlife Sounds Curator at the British Library
\n<\/strong><\/p>\n

Heike Vester<\/a> | Marine Mammals and Fish of Lofoten and Vester\u00e5len<\/a><\/p>\n

\u2018Marine Mammals and Fish of Lofoten and Vester\u00e5len\u2019 is a collection that fits perfectly within the Gruenrekorder field recording series. The driving force behind this publication was Heike Vester, a marine biologist who in 2005 founded the organisation Ocean Sounds with the aim of encouraging a greater understanding and appreciation of marine animals. From 2005-2008, Vester recorded the sounds of species encountered by her team in Norwegian waters and presents a selection of these recordings here. […<\/a>]<\/p>\n

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Review | By Caity Kerr \/ The Field Reporter<\/a><\/strong><\/p>\n

Craig Vear<\/a> | Antarctica: Musical Images from the Frozen Continent<\/a><\/p>\n

Antarctica: Musical Images from the Frozen Continent is a fine thing to have in your possession. This dvd\/book\/cd release by Craig Vear is jam-packed with goodies, from field recordings to radio works to still images to musical compositions and archival footage. Vear\u2019s page at Gruenrekorder lists the contents in full.<\/p>\n

In this review I\u2019ve chosen to focus on the field recordings, presented on audio cd, though I\u2019ll also offer reflection on the music of 5 Antarctic Solitudes. […<\/a>]<\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Harald<\/a><\/p>\n

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Harald Guenter Kainer<\/a>: \u201cadolar<\/a>\u201d (GrDl 105\/12)
\nSound Art
\n1 Track (79\u203236\u2033)
\nMP3\/FLAC <\/a><\/p>\n

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Review | By Caity Kerr \/ The Field Reporter<\/a>
\n<\/strong><\/p>\n

Michael Trommer<\/a> | Edgelands<\/a><\/p>\n

[…<\/a>] Trommer has crafted something approaching a signature sound across all the tracks of this album \u2013 a heavy duty low frequency presence and a contrasting high frequency hiss, both of which might have been electronically generated, though given the information in the sleeve notes, it\u2019s more likely that he\u2019s remove the midrange from various field recordings and used the results as a primary layer in his compositions. This simple technique, taking out the midrange, still strikes me as very much from the elektronische tradition.\u00a0[…<\/a>]<\/p>\n

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Review | By Axel Ganz \/ Jahrgangsger\u00e4usche<\/a><\/strong><\/p>\n

Michael Trommer<\/a> | Edgelands<\/a><\/p>\n

Die Welt wird zum Versuchslabor. Dabei scheinen die Randgebiete st\u00e4dtischer Agglomerationen alles zu bieten, was man f\u00fcr einen im besten Sinne offenen Experimentierbaukasten braucht. So, oder so \u00e4hnlich k\u00f6nnte sich die akustische Situation in den kulturellen \u00dcbergangszonen f\u00fcr den in Toronto lebenden Klangk\u00fcnstler Michael Trommer dargestellt haben, als er begann die Au\u00dfenbezirke st\u00e4dtischer Gro\u00dfr\u00e4ume auf ihre akustischen Eigenschaften hin zu untersuchen. […<\/a>]<\/p>\n

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Radio m50<\/a> | etc 2012.02.24fr 22:00-02:30 @ WNUR, Evanston-Chicago<\/strong>
\nSt\u00e9phane Garin<\/a> & Sylvestre Gobart<\/a> | Gurs. Drancy. Gare de Bobigny. Auschwitz. Birkenau. Chelmo-Kulmhof. Majdaneck. Sobibor. Treblinka<\/a><\/p>\n

Listen to ‚etc 2012.02.24fr 22:00-02:30 @ WNUR, Evanston-Chicago<\/a>‚ (Stream)<\/p>\n

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Review | By PvdG \/ PROGRESS REPORT<\/a>
\n<\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

[…<\/a>] Can you document as many as possible impressions from a landscape that stretches over nearly 4400 kilometers and some 7 different countries? I guess this is the wrong question to ask, meaning that this probably isn\u2019t what was aimed for at all. The impressive 49 minute-piece is however able to capture both the beauty, the calmness and the greatness and also how the river sometimes shows its unforgiving character followed by moments of perfect stillness, with further beauty waiting to become unveiled, but stripped in its essence the grand finale turns out to be nothing more than a desire to finally drain into the south Chinese sea, leaving countless impressions for those who want to hear. An epic work of art.<\/p>\n

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Review | By Eric Lanzillotta \/ BIXOBAL<\/a>
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Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

the duo of Eva P\u00f6pplein and Janko Hanushevsky traveled through Laos, Cambodia and Vietnam along the mighty Mekong River in autumn 2008.\u00a0 however, despite being in Gruenrekorder’s Soundscape Series, this is not a collection of straight field recordings.\u00a0 the river jungle sounds are re-edited, put through various effects and combined with other sound sources.\u00a0 the first addition is prepared bass guitar which does make for some nice experimental textures, but after this introduction the disc heads more in an ambient direction using solemn synth sounds with an increase in echo added to the voices of the Mekong. […<\/a>]<\/p>\n

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Review | By Zipo \/ aufabwegen<\/a><\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Das Duo Merzouga (Eva P\u00f6pplein & Janko Hanushevsky) ist den Spuren des Mekong gefolgt. Mekong Morning Glory intendiert dabei nicht in Nachfolge zu Annea Lockwood eine \u201cSound Map\u201d des Flusses zu zeichnen, sondern der m\u00e4chtige Strom fungiert als Inspirator und roter Erz\u00e4hlfaden f\u00fcr eine akustische Geschichte. Das Zitat aus Joseph Conrads gro\u00dfartiger Erz\u00e4hlung \u201cHerz der Finsternis\u201d, in der auch ein Flu\u00df eine wichtige Rolle spielt, scheint diese These zu unterstreichen. […<\/a>]<\/p>\n

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Review | By Stefan Drees \/ positionen.<\/a> #90<\/strong><\/p>\n

Various Artists | PLAYING WITH WORDS \u2013 LIVE<\/a><\/p>\n

[…<\/a>] Auch Dirk Huelstrunk kn\u00fcpft seinen Umgang mit der Stimme an die Situation des Nichtverstehens und erweitert die mit Mund, Nase, Kehle etc. erfolgende Lautformung durch den Einsatz von Elektronik. Sianed Jones wiederum vereint Violine und Stimme zu einem instrumental begleiteten, experimentellen Gesang, w\u00e4hrend Nye Parry ihre Auseinandersetzung mit Sprache im Dialog mit einem Ghettoblaster inszeniert. Jaab Blonk schlie\u00dflich schafft eine imagin\u00e4re Sprache, die sich \u2013 trotz Ankl\u00e4nge an bestimmte, emotional gepr\u00e4gte Sprachtonf\u00e4lle \u2013 als Vehikel ohne Inhalte erweist. […<\/a>]<\/p>\n

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Deutschlandradio Kultur<\/strong><\/a>
\nTransMongolian<\/a> | By Roland Etzin
\nH\u00d6RSPIEL UND FEATURE: KLANGKUNST | 09.03.2012 | 00:05<\/p>\n

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Gruenrekorder \/ call for contributions<\/strong><\/p>\n

About: Free download release – Gruen 100
\nTheme: Somewhere on the edge
\nRelation: Political, cultural, ecological or scientific
\nDeadline: 5 April 2012<\/p>\n

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1. 1 Field Recording or Soundscape Track (15 minutes, FLAC and MP3\/320kbps)
\n2. Description (+\/- 6 Sentences).
\n3. Pictures (+\/- 6 Pictures).
\n4. License: http:\/\/creativecommons.org\/licenses\/by-nc-nd\/2.0\/uk\/<\/p>\n

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Please send a zip file via dropbox, mydrive or wetransfer to: info@gruenrekorder.de
\nContacts: Lasse-Marc Riek and Roland Etzin<\/p>\n

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Phonophon<\/a> | 03.03.2012 | 20:00-22:00 | 5 Euro<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main
\nGermany<\/p>\n

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* Hi-fi\/Lo-noise (U.S.)<\/p>\n

www.piercewarnecke.com<\/a><\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.produck.tk<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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framework radio<\/a> | #364<\/a><\/strong>
\nphonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley
\nTerje Paulsen<\/a> & \u00c1kos Garai<\/a> | Vertikale Skift<\/a><\/p>\n

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Lasse-Marc Riek<\/a> @ Elektrominibarklingelton<\/a> | 01.03.2012 | 20:00<\/strong>
\n:gruener ton und soundscapes<\/p>\n

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stromraum\/studio
\nK\u00f6nig-Karl-Strasse 27
\nStuttgart-Bad Cannstatt
\nGermany<\/p>\n

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NATURE: The Water Boatman\u2019s Song<\/strong><\/p>\n

Tom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a><\/p>\n

BBC Radio 4
\nWriter Paul Evans accompanies sound recordist Tom Lawrence on a journey in sound across Pollardstown Fen to hear the extraordinary sounds of an underwater orchestra of aquatic insects.
\nAdditional sound recordings: Chris Watson, Producer Sarah Blunt
\nListen to \u2018The Water Boatman\u2019s Song\u2032<\/a><\/p>\n

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Review | By Guillermo Escudero \/ Loop<\/a><\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

This album belongs to the German label Gruenrekorder\u2019s Soundscape Series we have reviewed before as with the Digital Series.
\nEva P\u00f6pplein (computer) and Janko Hanushevsky (bass) from Germany have been working together since 2002 in music improvisation and composing music for radio, theater and film.
\nBoth in 2009 did a trip down the Mekong River through Laos, Cambodia and Vietnam in the Autumn of 2008 where they made field recordings of sounds of that subtropical place, its flora and fauna and the day to day life of the people living there. […<\/a>]<\/p>\n

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framework radio<\/a> | #363<\/strong><\/p>\n

phonography \/ field recording; contextual and decontextualized sound activity presented by patrick mcginley<\/p>\n

Tom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a><\/p>\n

another slow burn show this week with some amazing sounds from a few artists new to the show (vahram muradyan, mimosa | moize, kirill platonkin, des coulam), along with some long-time regulars (doug haire, sala, cedric anglaret). but first i feel i must pay homage to one of our new discoveries – it was several months ago that the great gruenrekorder label sent us this stunning album of underwater sounds recorded by the ireland-based artist and scholar, tom lawrence. we hadn’t encountered him before, which now seems surprising, having researched a bit his activities, and we’ve never been in direct contact with him. so it was only in the process of putting together this playlist, after the show containing tom’s sounds had aired, that we discovered the sad news that tom lawrence passed away unexpectedly in october 2011. it is clear that the recording community has lost an amazing artist, and from what we have read, a wonderful person. our thoughts are with his family and friends, and we are proud to be able to include his sounds in this edition of the show. link<\/a><\/p>\n

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New Release:<\/strong>
\nExclusive download edition<\/p>\n

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\"Michael<\/a><\/p>\n

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Michael Trommer<\/a>: \u201cEdgelands<\/a>\u201d (GrDl 098\/12)
\nField Recordings
\n7 Tracks (67\u203232\u2033)
\nMP3\/FLAC <\/a><\/p>\n

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

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Manfred Waffender<\/a>: \u201cPLACES_IN_TIME | lake > creek > ocean<\/a>\u201d (GrD 19\/12)
\nField Recordings
\n3 Tracks (126\u203200\u2033)
\nBluray<\/p>\n

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Manfred Waffender<\/a>: \u201cPLACES_IN_TIME | Tanzania\/Zanzibar<\/a>\u201d (GrD 20\/12)
\nField Recordings
\n10 Tracks (125\u203200\u2033)
\nDVD<\/p>\n

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\"\"<\/a><\/p>\n

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Manfred Waffender<\/a>: \u201cPLACES_IN_TIME | norwayfjords<\/a>\u201d (GrD 21\/12)
\nField Recordings
\n5 Tracks (145\u203200\u2033)
\nDVD<\/p>\n

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\"\"<\/a><\/p>\n

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Manfred Waffender<\/a>: \u201cPLACES_IN_TIME | Montepulciano<\/a>\u201d (GrD 22\/12)
\nField Recordings
\n8 Tracks (85\u203200\u2033)
\nDVD<\/p>\n

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Craig Vear<\/a>: \u201cAntarctica: Musical Images from the Frozen Continent<\/a>\u201d (GrD 23\/12)
\nSoundscapes
\n10 Tracks (102\u203232\u2033)
\nBook\/CD\/DVD (PAL)<\/p>\n

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Review | By Wyman Brantley \/ The Squid\u2019s Ear<\/a>
\n<\/strong><\/p>\n

Ernst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

With this release, phonographer\/musician Ernst Karel continues his series of magnificently detailed field recordings of fascinating subjects. With Heard Laboratories (and\/OAR 2010) his subjects were part of Big Science, while this time the locales are more municipal (or, perhaps, recreational). Once again, the recordings are more than mere sound catalogs or curiosities. Karel\u2019s ear for the aesthetic, the interesting, as well as matters compositional, is a crucial ingredient here. […<\/a>]<\/p>\n

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Review | By Lee Gardner \/ City Paper<\/a><\/strong><\/p>\n

Tom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a><\/p>\n

[…<\/a>] There is a sense of building to \u201cPoint of Gibraltar,\u201d from the first low, tectonic-sounding rumbles to a sort of sizzling static sound, punctuated by periodic oscillations, like an especially minimal pop hook. A new intermittent tone\u2014almost like an electronic whoop or shriek, far in the distance\u2014kicks the track into a higher key\/gear, shadowed by a varying croaking sound. You can practically picture the synth operator turning a knob, or maybe pawing at a laptop touchpad lightly. At last a buzzy drone, like an old analog dial tone, ushers out the five-minute-plus cut. […<\/a>]<\/p>\n

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Review | By Russell Cuzner \/ Musique Machine<\/a><\/strong>
\nAndreas Bick<\/a> | Fire and Frost Pattern<\/a><\/p>\n

When he\u2019s not composing music for German film, TV and radio, Berlin-based artist Andreas Bick can be found out and about recording the natural environment. Fire and Frost Pattern collects together two distinctly related works of his field recordings first composed (in 2006 and 2007 respectively) for Klangkunst, a weekly show on Deutschlandradio Kultur dedicated to sound art. Fire Pattern works very much as an exhibition exploiting the sound-producing properties of flames of different sizes found in active volcanoes, on training grounds for airport fireworkers and in small glass tubes and bottles. […<\/a>]<\/p>\n

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Sounds of Europe, a project that acknowledges and follows the increase of field recording activity in music, art and sciences, also continues in 2012.<\/strong><\/p>\n

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In the meantime the blog of our website www.soundsofeurope.eu <\/a>arrived in the UK after stops in Belgium and Spain. Next week the blog will travel to Italy. Each country\u00b4s particular context and practices with regards to field recording will be explored and presented in a personal way.<\/p>\n

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Sounds of Europe wants to create a platform for organisations and artists working in the domain of field recordings, feel free to sign up and join! If you organise specific field recording events, we would be happy to announce them on the website too.<\/p>\n

The events we’re organising ourselves this year focus on workshops and lectures. One project in particular, The City Rings, is looking for new partners in Europe who are are interested in exchanging through sound, and sound pedagogy. More information on this call on: www.soundsofeurope.eu\/event\/workshops-the-city-rings<\/a><\/p>\n

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Sounds of Europe is a European project on phonography, initiated by Q-O2 (Brussels) in collaboration with CRiSAP (London), IRZU (Ljubljana) and MTG\/Sons de Barcelona (Barcelona) with support of the Culture Programme of the European Commission.<\/p>\n

www.soundsofeurope.eu<\/a> | info@soundsofeurope.eu<\/p>\n

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Review | By Richard Allen \/ a closer listen<\/a><\/strong><\/p>\n

Terje Paulsen<\/a> & \u00c1kos Garai<\/a> | Vertikale Skift<\/a><\/p>\n

An initial look at the digital download implies that the tracks are out of order: five \u201cSkisse\u201d tracks from Norway\u2019s Terje Paulsen interspersed with four \u201cWaterworks\u201d tracks from Hungary\u2019s \u00c1kos Garai, founder of the 3leaves label. And yet to separate the two is the dim the light of the entire project. Paulsen and Garai were onto something with their game plan, because the album works best with the current track sequencing. Skisse is the Norwegian word for sketch or study, and Paulsen\u2019s quieter contributions do at first seem like outlines: the impressionistic borders to Garai\u2019s glistening sheets. […<\/a>]<\/p>\n

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

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Part of Gruenrekorder’s Soundscape Series, Merzouga’s Mekong Morning Glory presents a forty-nine-minute, single-track travelogue by computer musician Eva P\u00f6pplein and electric bassist Janko Hanushevsky. Originating out of the Tibetan Plateau, the Mekong River travels through seven countries (including Laos and Cambodia) and influences all manner of flora and fauna before ending up in South Vietnam. For this project, Merzouga followed the river during the fall of 2008 and recorded as they did so its wealth of life-forms so as to subsequently incorporate the material into a large-form composition. […<\/a>]<\/p>\n

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Review | By Chris Whitehead \/ The Field Reporter<\/a><\/strong><\/p>\n

Slavek Kwi \/ Artificial Memory Trace<\/a> | Collection 5<\/a><\/p>\n

[…<\/a>] A very interesting release, but probably not for the field recording purist. It certainly raises questions and plays with ideas. If it was necessary to categorize this Artificial Memory Trace release I would place it firmly in the abstract electronica enclave, because the fact that it was made from field recordings seems subservient. To truly make a pure piece of absolute sound recording the artist would have to remain unnamed. The piece would have to be untitled. No images would accompany it and no words would offer context. […<\/a>]<\/p>\n

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Review | By Richard Pinnell \/ The Watchful Ear<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Well I am glad that week is over. Bit of a tiring one. Two days off now that I plan to spend driving about either in the company of, or off to visit nice people. Tonight though I have listened through three times to a new release on the Gruenrekorder label credited to a duo named Merzouga, who are Eva P\u00f6pplein and Janko Hanushevsky. The album, titled Mekong Morning Glory is a blend of various field recordings made by the pair during a trip along the Mekong river in the countries of Laos, Cambodia and Vietnam in 2008 and electric bass parts played by Hanushevsky, with everything merged together at a later date. […<\/a>]<\/p>\n

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Review | By maeror3 \/ livejournal<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

\u041b\u044e\u0431\u043b\u044e \u0440\u0435\u043b\u0438\u0437\u044b, \u043a\u043e\u0442\u043e\u0440\u044b\u0435 \u0441\u043f\u043e\u0441\u043e\u0431\u043d\u044b \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u0434\u043e\u0441\u0442\u0430\u0432\u0438\u0442\u044c \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0435 \u0443\u0434\u043e\u0432\u043e\u043b\u044c\u0441\u0442\u0432\u0438\u0435, \u043d\u043e \u0438 \u0437\u0430\u0441\u0442\u0430\u0432\u043b\u044f\u044e\u0442 \u043e\u0431\u0440\u0430\u0442\u0438\u0442\u044c \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0435 \u043d\u0430 \u043f\u0440\u0435\u0434\u043c\u0435\u0442 \u0438\u043b\u0438 \u044f\u0432\u043b\u0435\u043d\u0438\u0435, \u0440\u0430\u043d\u0435\u0435 \u043d\u0435 \u043f\u043e\u043f\u0430\u0434\u0430\u0432\u0448\u0438\u0435 \u0432 \u043f\u043e\u043b\u0435 \u0437\u0440\u0435\u043d\u0438\u044f. \u041a\u0430\u044e\u0441\u044c, \u043d\u043e \u0434\u043e \u044d\u0442\u043e\u0433\u043e \u0434\u043d\u044f \u041c\u0435\u043a\u043e\u043d\u0433 \u0431\u044b\u043b \u0434\u043b\u044f \u043c\u0435\u043d\u044f \u00ab\u0432\u0441\u0435\u0433\u043e \u043b\u0438\u0448\u044c \u0440\u0435\u043a\u043e\u0439\u00bb, \u0442\u0435\u043a\u0443\u0449\u0435\u0439 \u0433\u0434\u0435-\u0442\u043e \u0432 \u0410\u0437\u0438\u0438. \u0410 \u0442\u0443\u0442 \u0431\u0443\u043a\u043b\u0435\u0442 \u0434\u0438\u0441\u043a\u0430 \u0432\u044b\u0434\u0430\u0435\u0442 \u0438\u043d\u0444\u043e\u0440\u043c\u0430\u0446\u0438\u044e, \u0447\u0442\u043e \u044d\u0442\u043e \u043e\u0434\u043d\u0430 \u0438\u0437 \u0432\u0435\u043b\u0438\u0447\u0430\u0439\u0448\u0438\u0445 \u0440\u0435\u043a \u043c\u0438\u0440\u0430, \u0434\u043b\u0438\u043d\u0430 \u0435\u0435 \u0447\u0435\u0442\u044b\u0440\u0435 \u0441 \u043f\u043e\u043b\u043e\u0432\u0438\u043d\u043e\u0439 \u0442\u044b\u0441\u044f\u0447\u0438 \u043a\u0438\u043b\u043e\u043c\u0435\u0442\u0440\u043e\u0432, \u0438 \u043d\u0435\u0441\u0435\u0442 \u0441\u0432\u043e\u0438 \u0432\u043e\u0434\u044b \u043e\u043d\u0430 \u043f\u043e \u0442\u0435\u0440\u0440\u0438\u0442\u043e\u0440\u0438\u0438 \u0447\u0435\u0442\u044b\u0440\u0435\u0445 \u0441\u0442\u0440\u0430\u043d, \u0432\u043f\u0430\u0434\u0430\u044f \u0432 \u042e\u0436\u043d\u043e-\u041a\u0438\u0442\u0430\u0439\u0441\u043a\u043e\u0435 \u043c\u043e\u0440\u0435. […<\/a>]<\/p>\n

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Review | By Julien H\u00e9raud \/ improv sphere<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Merzouga est un duo de musiciens\/compositeurs\/ing\u00e9nieurs du son germano-autrichiens, compos\u00e9 par Eva P\u00f6pplein et Janko Hanushevsky. Leur dernier projet, Mekong Morning Glory, est une suite de tableaux de field-recordings enregistr\u00e9s sur le fleuve Mekong, du Laos au Vietnam, en passant par le Cambodge. En plus des field-recordings \u00e0 proprement parler, Janko Hanushevsky utilise \u00e9galement quelques proc\u00e9d\u00e9s \u00e9lectroniques bas\u00e9s sur une basse \u00e9lectrique pr\u00e9par\u00e9e. […<\/a>]<\/p>\n

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Workshop -BYO Instrument- Phonophon<\/a> Session\u00a0| 22.01.2012 | 15:00<\/strong>
\nInstitut f\u00fcr neue Medien<\/a> (INM)
\nSchmickstra\u00dfe 18
\n60314 Frankfurt am Main
\nGermany<\/p>\n

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Society for the Advancement of Phonography and Experimental Music (e.V.)
\nwww.phonographie.org<\/a>
\nwww.inm.de<\/a>
\nwww.produck.tk<\/a>
\nwww.gruenrekorder.de<\/a><\/p>\n

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Review | By Idwal Fisher \/ IDWAL FISHER<\/a><\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Mekong Morning Glory is a 49 minute journey in which the duo that is Merzouga transport the listener along the Mekong River taking in gentle wind chimes, screeching exotic birds and the sound of the Mekong itself emptying into the South China Sea. Its a delightful listen that is a relaxing as it is rewarding and made all the more so by the knowledge that the duo took their 2008 field recordings back to the studio in Cologne and mixed in prepared electronic bass [Jano Hanushevsky] and electronic sounds [Eva P\u00f6ppelin]. P\u00f6ppelin also takes on the producing duties and her results are a sonic adventurers delight. […<\/a>]<\/p>\n

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Review | By Todd Robinson \/ Musique Machine<\/a><\/strong>
\nMirko Uhlig<\/a> | Tupelo<\/a>
\nYou know that feeling you get, when you are roused from a deep slumber quite suddenly and the realm of dreams bleeds through to your waking existence, resulting in a constant battle of wills to keep yourself from slipping back into that comfortable cocoon of blissful catharsis? That feeling could be used to sum up the effects of this digital release from German soundscape and drone artist Mirko Uhlig perfectly. […<\/a>]<\/p>\n

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Radio Free FM | Schlecktronik<\/a><\/strong><\/p>\n

Terje Paulsen<\/a> & \u00c1kos Garai<\/a> | Vertikale Skift<\/a><\/p>\n

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Review | By Tina Manske \/ CULTurMAG<\/a><\/strong>
\nMerzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

Der Mekong ist einer der gr\u00f6\u00dften Fl\u00fcsse der Erde. Auf mehr als 4.000 Kilometern L\u00e4nge, ausgehend von seiner Quelle in den tibetischen Bergen bis hin zu seiner M\u00fcndung ins s\u00fcdchinesische Meer in Vietnam, flie\u00dft er durch sieben L\u00e4nder und drei Klimazonen und beherbergt unz\u00e4hlige Arten von Pflanzen und Tieren. Das Duo Merzouga (Eva P\u00f6pplein und Janko Hanushevsky) hat sich, ausgestattet mit Mikrofon und Aufnahmeger\u00e4t, auf den langen Weg gemacht und den Fluss durch Laos, Kambodscha und Vietnam begleitet. […<\/a>]<\/p>\n

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Review | By \u03c0\u03b1\u03c1\u03ac\u03be\u03b5\u03bd\u03b1 \u03c0\u03b1\u03c1\u03b1\u03bc\u03cd\u03b8\u03b9\u03b1 \/ tileskopio.tumblr.com<\/a>
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Ernst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

\u03c4\u03bf \u03ac\u03bb\u03bb\u03bf \u03c4\u03b1\u03be\u03af\u03b4\u03b9 \u03bc\u03b5 \u03c0\u03ac\u03b5\u03b9 \u03c3\u03b5 \u03ac\u03bb\u03bb\u03b5\u03c2 \u03c0\u03b9\u03bf \u03c4\u03bf\u03c0\u03b9\u03ba\u03ad\u03c2 \u03ae \u03bc\u03b7 \u03ba\u03b1\u03c4\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2. \u03c0\u03c1\u03b1\u03b3\u03bc\u03b1\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03bf\u03bd \u03ba\u03cc\u03c3\u03bc\u03bf \u03c4\u03c9\u03bd field recordings \u03b1\u03c5\u03c4\u03cc \u03c0\u03bf\u03c5 \u03bc\u03b5 \u03b5\u03be\u03b9\u03c4\u03ac\u03c1\u03b5\u03b9 \u03b5\u03af\u03bd\u03b1\u03b9 \u03cc\u03c4\u03b9 \u03ce\u03c1\u03b5\u03c2 \u03ce\u03c1\u03b5\u03c2 \u03b1\u03bd\u03b1\u03ba\u03b1\u03bb\u03c5\u03c0\u03c4\u03b5\u03b9\u03c2 \u03c0\u03c1\u03ac\u03b3\u03bc\u03b1\u03c4\u03b1 \u03b3\u03b9\u03b1 \u03bc\u03ad\u03c1\u03b7 \u03c0\u03bf\u03c5 \u03b4\u03b5\u03bd \u03c0\u03ae\u03b3\u03b1\u03b9\u03bd\u03b5\u03b9 \u03bf \u03bd\u03bf\u03cd\u03c2 \u03c3\u03bf\u03c5 \u03ae \u03bc\u03ad\u03c1\u03b7 \u03c0\u03bf\u03c5 \u03b4\u03b5 \u03b8\u03b1 \u03c0\u03ae\u03b3\u03b1\u03b9\u03bd\u03b5 \u03c0\u03bf\u03c4\u03ad \u03c4\u03bf \u03bc\u03c5\u03b1\u03bb\u03cc \u03c3\u03bf\u03c5 \u03bd\u03b1 \u03b5\u03c0\u03b9\u03c3\u03ba\u03b5\u03c6\u03c4\u03b5\u03af\u03c2 \u03c3\u03b5 \u03ba\u03ac\u03c0\u03bf\u03b9\u03bf \u03c4\u03b1\u03be\u03af\u03b4\u03b9. \u03c0.\u03c7. \u03b7 \u03b5\u03bb\u03b2\u03b5\u03c4\u03af\u03b1 \u03c0\u03bf\u03c5 \u03c7\u03ac\u03c1\u03b7 \u03c3\u03c4\u03bf\u03bd ernst karel \u03ad\u03bc\u03b1\u03b8\u03b1 \u03b3\u03b9\u03b1 \u03c4\u03b9\u03c2 gondolas \u03ba\u03b1\u03b9 \u03ac\u03bb\u03bb\u03b1 \u03bc\u03ad\u03c3\u03b1 \u03bc\u03b5\u03c4\u03b1\u03c6\u03bf\u03c1\u03ac\u03c2 \u03c0\u03bf\u03c5 \u03c5\u03c0\u03ac\u03c1\u03c7\u03bf\u03c5\u03bd \u03c3\u03c4\u03b1 \u03b2\u03bf\u03c5\u03bd\u03ac, \u03b8\u03b1 \u03bc\u03bf\u03c5 \u03c0\u03b5\u03af\u03c2 \u03bf\u03ba \u03c1\u03b5 \u03bc\u03b1\u03bb\u03ac\u03ba\u03b1 \u03b4\u03b5 \u03c6\u03b1\u03bd\u03c4\u03b1\u03b6\u03cc\u03c3\u03bf\u03c5\u03bd \u03cc\u03c4\u03b9 \u03b8\u03b1 \u03c0\u03b1\u03b9\u03b6\u03b5 \u03ba\u03ac\u03c4\u03b9 \u03c0\u03b1\u03c1\u03cc\u03bc\u03bf\u03b9\u03bf \u03bc\u03b5 \u03c4\u03b5\u03bb\u03b5\u03c6\u03b5\u03c1\u03af\u03ba \u03ae \u03c4\u03bf\u03c0\u03b9\u03ba\u03ac \u03ae \u03bc\u03b7 \u03c4\u03c1\u03ad\u03bd\u03b1 \u03cc\u03c0\u03c9\u03c2 \u03b5\u03b4\u03ce; \u03b2\u03bb\u03ad\u03c0\u03b5 \u03c4\u03bf \u03c4\u03c1\u03ad\u03bd\u03bf \u03b3\u03b9\u03b1 \u03c4\u03b1 \u03bb\u03b9\u03b2\u03b5\u03c1\u03ac (\u03be\u03ac\u03bd\u03b8\u03b7), \u03ba\u03bb\u03c0, \u03bf\u03ba \u03ac\u03c0\u03b1\u03be \u03bc\u03b1\u03bb\u03ac\u03ba\u03b1\u03c2, \u03b5\u03c3\u03b1\u03b5\u03af \u03bc\u03b1\u03bb\u03ac\u03ba\u03b1\u03c2 \u03bf\u03c0\u03cc\u03c4\u03b5\u2026 […<\/a>]<\/p>\n

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Gruenrekorder (Tom Lawrence<\/a>, James Wyness<\/a>, Terje Paulsen<\/a> & \u00c1kos Garai<\/a>, Eisuke Yanagisawa<\/a>, Ernst Karel<\/a>) mentioned @ The Field Reporter \/ 2011 Final Report<\/a><\/strong><\/p>\n

A few words by The Field Reporter Editor Alan Smithee plus PART I of the lists with the most relevant works of 2011 made by our staff and other artists, curators and journalists.<\/p>\n

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The Wire<\/a> | Stream a mix by the Gruenrekorder label<\/a><\/strong>
\nListen to a selection of recordings and compositions by artists on the German field recording and sound art label.<\/p>\n

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Reviews | By Aquarius Records<\/a><\/strong>
\n<\/a>Tom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a><\/p>\n

If you haven\u2019t already decided to buy this just \u2019cause of the title (which is indeed indicative of what this is \u2013 field recordings of water beetles!!!), we suppose we should provide something of a review. Though, if you\u2019re like us, there\u2019s not much more you need to know besides that it\u2019s WATER BEETLES \u2013 and a release on the great German sound-art label Gruenrekorder\u2026 […<\/a>]<\/p>\n

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Ernst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

[…<\/a>] Of course, as a sonic experience only, this \u201cdocumentation\u201d is as (deliberately?) mysterious as it is enlightening. The mechanical clanking, the whirring, the wind, the murmurs of passengers\u2026 these ambient sounds sometimes quietly soothing, sometimes noisy, certainly curious. Makes for a nice companion to Chris Watson\u2019s El Tren Fantasma highlighted last list, for those into journeys through sound (of journeys) \u2013 though this one is raw audio verite, not a \u201cfictionalized\u201d construct like Watson\u2019s disc. […<\/a>]<\/p>\n

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Review | By Jesse Goin \/ crow with no mouth<\/a><\/strong>
\nErnst Karel<\/a> | Swiss Mountain Transport Systems<\/a><\/p>\n

I was pretty effusive about Ernst Karel’s last location recording, Heard Laboratories, taking the opportunity to reprise Truman Capote’s pith observation I believe more in the scissors than I do in the pencil. This is Karel’s great knack, his intuitive selection of sounds, sound-shaping, and – I hasten to add as one who feels the onus of every new release that insists on 70-80 minutes of sound because the media allows it – concision, privileging the scissors as much as the pencil [the total time is 78 minutes, but spanning nine tracks offering an amazing variety of sounds and rhythms]. […<\/a>]<\/p>\n

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Field Recordings | www.ardmediathek.de<\/a><\/strong><\/p>\n

Radio-Feature with Lasse-Marc Riek & Norbert Lang<\/p>\n

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World Forum for Acoustic Ecology | WFAE: RESOURCES<\/a>
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Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

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Review | By Frans de Waard \/ VITAL WEEKLY<\/a><\/strong><\/p>\n

Merzouga<\/a> | Mekong Morning Glory<\/a><\/p>\n

The Mekong is the one of the world\u2019s largest rivers, about 4350 kilometers long, from Tibet to South Vietnam. Along the river water spinach is grown, also known as Morning Glory. Recordings have been made by Eva Popplein and Jano Hanushevsky, also known as Merzouga. This is not a work of pure field recordings as Hanushevsky plays prepared bass guitar, I am not entirely sure how these two (Mekong river recordings and prepared bass guitar) are connected. […<\/a>]<\/p>\n

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Review | By Cheryl Tipp \/ Wildlife Sound Recording Society<\/a><\/strong><\/p>\n

Tom Lawrence<\/a> | Water Beetles of Pollardstown Fen<\/a><\/p>\n

The Autumn 2011 edition of Wildlife Sound.<\/p>\n

\u2018Water Beetles of Pollardstown Fen\u2019 is a fascinating publication that takes
\nthe listener on an underwater journey through the heart of this ancient
\nwaterway. Situated in the Curragh, Co. Kildare, Pollardstown is one of the
\nlast remaining post-glacial fens of its kind in western Europe and supports a
\nvast array of both terrestrial and aquatic flora and fauna. The significance of
\nthis area has led to various forms of protection and today Pollardstown Fen is
\nlisted as a Statutory Nature Reserve, Natural Heritage Area, Special Area of
\nConservation, Ramsar Site and Biogenetic Reserve. […<\/a>]<\/p>\n

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Archives<\/strong><\/p>\n

 <\/p>\n

* 2018<\/a><\/p>\n

* 2017<\/a><\/p>\n

* 2016<\/a><\/p>\n

* 2015<\/a><\/p>\n

* 2014<\/a><\/p>\n

* 2013<\/a><\/p>\n

* 2012<\/a><\/p>\n

* 2011<\/a><\/p>\n

* 2010<\/a><\/p>\n

* 2009<\/a><\/p>\n

* 2008<\/a><\/p>\n

* 2007<\/a><\/p>\n

* 2006<\/a><\/p>\n

* 2005<\/a><\/p>\n

* 2004<\/a><\/p>\n

* 2003<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

  New Distribution:     Jonas Hummel & Manfred Waffender: \u201cPLACES_IN_TIME | Petersberg 2010 | The 4 Seasons\u201d (GrD 24\/12) Field Recordings 4 Tracks (74\u203200\u2033) DVD     Review | By Wonderful Wooden Reasons Roland Etzin | TransMongolian Subtitled, ‚6 acoustic portraits of Russia, Mongolia, China, South Korea and Japan‘, this set of atmospheric recordings […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-9122","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/9122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9122"}],"version-history":[{"count":25,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/9122\/revisions"}],"predecessor-version":[{"id":17740,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/9122\/revisions\/17740"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}