Tuesday, May 16, 2017

Sounds of the Day #128/2017: Annea Lockwood (1,2), Caterina Barbieri (1), Granite Mask (5), Brett Naucke (5), Moulttrigger (2), Bernhard Günter (1,2,3), Derek Piotr (3), Jay-Dea Lopez(1), Stefan Militzer and Roland Etzin (1) / Stéphane Marin (1) / David Velez (1)

Annea Lockwood - Tiger Balm (1977)

Annea Lockwood - Malaman (1977)
Annea Lockwood is a composer-performer from New Zealand. She studied in England, Germany, and Holland, and moved to the U.S. in 1973. She has done walk-in sound environments, instrumental pieces, events, editions of sound clothing, and sound sculptures. She is compiling an archive of recordings of the world's rivers, for use in performances and in "environments". With Allison Knowles, Lockwood has published street music on tee-shirts. They also co-edited a magazine called "Women's Work" in which performance scores by women artists in various fields are published. Annea Lockwood's work is concerned with the concept and use of sound as a primary source of energy, and with increasing awareness of its effects on the human metabolism. She writes: "Each piece is concerned with evoking a force-sound, making this force/energy materialize and become quite clear to all there. The players then can't just simply 'learn to play' my pieces, They'll find themselves going through a training course to discover what is meant by sounds and their energy. To discover how to transcend through themselves. To learn the fine edge of sound as a destructive or misapplied force (un-perceived tone perhaps) and sound as transformer or as something wholeness making."

Caterina Barbieri - This Causes Consciousness To Fracture  
from Patterns Of Consciousness (2017)

Granite Mask - Silenzio (2017)

Brett NauckeESP Mirror (2017)

MoulttriggerMinimally Conscious State(2016)

Bernhard Günter - Monochrome White (2002/ re-issue 2017)

Bernhard Günter - Polychrome with Neon Nails (2002/ re-issue 2017)

Derek Piotr remixed by Bernhard Günter - The Shallow Variations (2016)

Jay-Dea Lopez - AC  (2014)
Notes from the artist: When we think of the concept of “place” we often do so in a context that focuses on vast exteriors. As field recordists we regularly position ourselves in grand locations with microphones directed towards the sounds of exotic forests, river systems, mountain ranges or the frozen Polar Regions. But what of the place in which we live - our domestic soundscape. How do our smaller private worlds connect with these public exteriors?  "AC" (alternating current) ponders on the relationship between home and its outer perimeters. Layers of field recordings convey the sounds of electricity that run between my domestic sphere and the local farming community and sub-tropical forests. Here electricity is an invisible, and often inaudible, thread that holds us to a bigger notion of place. It is a grid that dissects and connects the earth beneath our feet.

Stefan Militzer Roland Etzin - O/live  (2015)
Notes from the artist: The world is constantly vibrating. There is a swinging in the air. Rivers flow and so does blood. Even the ground is moving from time to time under massive strokes of energy. The travel of energy happens in waves and by vibration. Thus, the beating of a heart appears to have a similar shape like the way energy travels through oceans and continents. The omnipresence of waves equals the power musical oscillation possesses for expressing energy. This energy does not only travel around the world but it bears what the world consists of. The ubiquity of energy, of vibration and oscillation also lies behind John Cages observation that true silence can only be found in death. "O/live" circles and meditates around the interpenetration of the world by vibration. Waves of sounds and noise gather to form patterns and rhythmic structures. The artificial as well as natural origin of the sounds renders apparent that through the perspective of waves and oscillation no distinction between the organic and the inorganic world can be made. There are pulses and rhythms everywhere in the world. Natural patterns and artificial sequences intermingle inseparably. Their differentiation from a perspective of musicality would be futile. But communication happens nevertheless. In "O/live" oscillation creates patterns of repetition from which rhythm is derived and further transformed into vibes that spread information by expressing vitality and, thus, unraveling the seed of life in everything that exists.

Stéphane Marin - Matins d'Ariège (2015)
Notes from the artist: MATINS D'ARIÈGE is an intimate, elementary and ecological auscultation of the place I used to live in Ariège (Pyrénnées - France). A kind of non-nostalgic "souvenir" which invites the listeners to experience the specific vibrations and the deep energy wich overfows from these simple rural sonic spaces. I'm trying here to share another angle of listening, another "regard", on an intimate countryside world. This landscape that seems familiar at first glance but only before the phonographic framework offers us the vision of a less generic rurality, more dramatic, more fantasmatic, more powerful ! This binaural work is balanced between abstract and concrete sonic propositions and between "raw" and recomposed field recordings. All the tracks are linked with one (or more) of our (western) 4 elements. Ariège is the place to be (in France) for decreasing... Would you take the timeto decrease with us all the way to the end ? Really… to the end ?!.

David Velez - The birds of Nilo (2015)
Notes from the artist:'The birds of Nilo' is a sequence of six recordings captured in the small municipality of Nilo in the department of Cundinamarca (Colombia) whose average temperature of 27º C (81º F), ranks among the highest in the country. The material was captured in a narrow creek close to the Pagüey River where many birds gathered early in the morning and sang their tunes. The crowded vegetation around the creek, the low air density caused by the high temperatures and the multitude of singing birds produced an immersive experience where I perceived the birds as vertexes of a room while the reverberating trees worked as walls. This aesthetic approximation to acoustic spatial depth where architectural and geometric patterns are used to read a natural place is what I wanted to develop and articulate on this release.