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Una Lee | (f)rog (f)rog


01. (f)rog (02:36)
02. (f)rog (f)rog (08:33)
03. (f)rogs (05:18)


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the memory of wet summer days, in the midst of bleak winter
Una Lee

 

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Thelmo Cristovam | Field Recordings (Vols. 5 & 6)


Field Recordings, Vol. 5
01. Tarde (55:25)
Field Recordings, Vol. 6
02. Tarde 01 (22:35)
03. Tarde 02 (24:05)
04. Noite 01 (02:55)
05. Noite 02 (07:40)


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A serie Field Recordings foi produzida durante os workshops no Mamori Art Lab.

Gravações de campo feitas nos arredores do Lago Mamori, Floresta Amazônica brasileira, durante o workshop de Francisco Lopéz "natural and virtual sound ambients: the "real" world as a source of sonic creations" no Malab 2006, organizado por Asier Gogortza, Jordi Llorella e Nacho Martí , em agosto de 2006.

Obrigado a: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí , Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia e Curupira.

Field Recordings Series produced at Mamori Art Lab workshops.

Pure/raw field recordings made around Mamori Lake, Brazilian Amazon Forest, during Francisco Lopéz's workshop "natural and virtual sound ambients: the "real" world as a source of sonic creations" at Malab 2006, organized by Asier Gogortza, Jordi Llorella and Nacho Martí , august 2006.

Thanks to: Juliana Freitas, Lindenberg Munroe, Tulipa Ruiz, Asier Gogortza, Jordi Llorella, Nacho Martí , Gerson, Francisco Lopéz, James Webb, Aernoudt Jacobs, Alex Masana, Raoni, Adilia and Curupira.

Thelmo Cristovam


 

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Dallas Simpson | The Stonevandal Suite: Dukes Quarry


01. Part 1 (14:24)
02. Part 2 (48:00)


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A sonic exploration and interrogation of part of the old abandoned stone workings at Dukes Quarry, near Whatstandwell, Derbyshire. Situated in pristine deciduous woodland with a nearby stream, a few miles from a busy main road and Matlock Bath, this most inspiring location consisting of a number of sheer cliff faces, presented an interesting challenge for phonographic exploration and sonic stimulation through interactive performance.

The Stonevandal Suite: Dukes Quarry

Part 1 - A prelude at the dead of night in near pitch blackness involving a walk-in to the location through a metal gate and (careful) exploration of the woodland, a small stream and a large pipe. The atmosphere was sheer black velvet, almost impossible to see anything, even with adapted vision. The quarry cliff rock faces were not explored for reasons of personal safety, and in any case it was so dark I could not find the pathway to reach them! Recorded around 22.30 on 19th August 2013.

Part 2 - A dusk improvisation featuring a walkabout around the rock faces and environs using found and carried objects to sonically stimulate the environment. Among the found objects were fallen branches, plus large and small eroded lumps of rock from the quarry face. Surface interrogation involved the use of hands and feet directly, plus the use of found objects. This work also features for the first time, the hand stroking of fern fronds, moss and lichen clinging to the exposed rock surfaces. Recorded at dusk on 20th August 2013.

The series of works entitled 'The Stonevandal Suite', refers to an ongoing series of sound works realised through acts of creative disturbance – by liberating sounds from a silent environment using (predominantly) found objects at the location. Apart from liberating the silent unexpressed sonic potentialities at the location the performing artist must listen carefully and exercise ethical considerations due to his/her presence and assess an appropriate level of activity according to the robustness or fragility of the environment being explored.

Recorded binaurally using custom modified in-ear microphones and is intended for headphone listening.

Dallas Simpson


 

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Pedro Garbellini da Silva | Recordações Sonoras de uma Ilha


01. bloco do urucum (03:15)
02. canto de Ana (04:24)
03. denuncia na escuna reggae (03:19)
04. folga de Vlad (03:18)
05. foto António (01:15)
06. foto colectiva (01:33)
07. tarde de domingo (06:38)
08. trecho violeiro vagabundo (05:56)


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Álbum com 8 faixas do ambiente sonoro do núcleo Marujá na Ilha do Cardoso, fronteira entre os estados de São Paulo e Paraná, Brasil. Um local em que vivem entre 200 habitantes, em sua maioria parentes um dos outros, que no feriado de 1º de maio recebeu um barco com 20 jovens paulistas. Dentre eles estava eu com o gravador digital H4n. Gravei músicos locais (o fandango), crianças e amigos. Cheguei em casa, escutei e criei pequenas histórias com uma edição miníma. A última faixa, violeiro vagabundo, é um programa ao vivo feito na Mobile Radio em que mesclo gravações dessa faixa.

Album with 8 tracks environmental noise core Marujá in Cardoso Island, the border between the states of São Paulo and Paraná, Brazil. A place in which they live among 200 inhabitants, mostly relatives of the other, that the holiday of May 1 received a boat with 20 young Paulistas. Among them was I with the H4n digital recorder. Recorded local musicians (Fandango), children and friends. I got home, I listened and created short stories with an issue micromanagement. The last track, guitarist bum, is a live show done in Mobile Radio in which I merge recordings that range.

Pedro Garbellini da Silva


 

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VA | Green Field Recordings | World Listening Day 2013


01. acoustic mirror - acercamiento a calle génova (04:37)
02. anastasya koshkin - gold riveting circles (07:14)
03. artificial memory trace - dentalist n-day (07:26)
04. atilio doreste - quite vilaflor (10:00)
05. balam ronan - excursio´n en la laguna de ventanilla (04:04)
06. byron abadía - festa per la indenpendencia (03:17)
07. chema cuesta - juego de petanca en la mancha (03:01)
08. chinowski garachana - locus sonus wld 2013 (04:19)
09. chris lynn - narita morning (before the planes) (03:01)
10. daniel gonzalez - sea and machine (04:57)
11. david prescott-steed - suburban worm farm (04:27)
12. enrique maraver - el llano (07:51)
13. eugeneKha - one july evening in peredelkino (06:10)
14. flavien gillié - saint-gilles, parc pierre paulus (04:12)
15. jaime rodríguez - estación de tren subterráneo (04:46)
16. james andean - syros soundscape (04:33)
17. joe stevens - listening after work wld 2013 (04:15)
18. jose mª pastor sánchez - valle de valderredible (10:00)
19. juanjo palacios - aéreo (08:33)
20. lefterna - if you're feelin' lonely don't  (04:35)
21. luís antero - depósito de água (04:30)
22. marcus neves - elétrico 28 lisbon - alfama to baixa (10:00)
23. matilde meireles & aidan deery - lagan: behind [transition1] (09:58)
24. mikael layoura - ramadan maghrib prayer or sunset over tetouan (09:58)
25. montserrat rodríguez aka nyx10110 - listening to the birds - on the marsh (10:00)
26. nigul - balcó 3 a.m. 130718 (03:32)
27. sala - moments and movements (09:59)
28. sij - kokkozka (07:35)
29. taina riikonen - under the bridge at 66°34N (03:38)
30. toni dimitrov - bistra mountain (03:47)
31. una lee - drops and pebbles (04:18)
32. virgilio oliveira - national gallery london (08:53)



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Como vem sendo hábito desde 2010, o ano em que se celebrou pela primeira vez o Dia de Ouvir o Mundo, a netlabel portuguesa dedicada ao universo das gravações sonoras de campo - Green Field Recordings - tem convidado os artistas do seu catálogo, e outros que se queiram juntar, para celebrar o dia 18 de Julho através de edições especiais. Assim foi com a primeira colectânea "VA, O Colecionador de Sons, World Listening Day 2010/2011 (http://greenfieldrecordings.yolasite.com/audio-2012.php); com a edição de 2012 (http://greenfieldrecordings.yolasite.com/audio-2012.php) e agora com o lançamento deste novo trabalho sonoro, tornando a juntar à volta da Green Field Recordings e do Dia de Ouvir o Mundo mais 32 artistas e suas respectivas peças sonoras. Espero, sinceramente, que seja do vosso agrado. Um muito obrigado especial a todos os artistas participantes!

As usual since 2010, the year that celebrated the first World Day of Listening, the Portuguese netlabel dedicated to the world of field recording - Green Field Recordings - has invited artists from their catalog, and others who want to join to celebrate the July 18th through special editions. So it was with the first collection "VA The Sound Collector, World Listening Day 2010/2011 (http://greenfieldrecordings.yolasite.com/audio-2012.php), with the 2012 edition (http://greenfieldrecordings. yolasite.com/audio-2012.php) and now with the launch of this new sound work, making the join around the Green Field Recordings and the World Day of Listening over 32 artists and their sound pieces. I sincerely hope that you all enjoy this compilation. A very special thanks to all the participating artists!

Luís
Antero | Green Field Recordings

 

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Enrique Maraver | EL CHICO


01. El Devisadero (05:04)
02. Centro Gastronómico el Minero (07:24)
03. Rio de los Milagros (06:48)
04. Los Arándanos del Kiosko (04:39)
05. La Quinta entre Gallos (04:53)
06. Mina San Antonio (05:54)
07. La Barbacoa de Isidorollos (06:01)


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EL CHICO
is the first volume dedicated to the exploration of the mountain range of Pachuca, located in the State of Hidalgo, Mexico. Ensconced within these mountain corridors in an enchanting municipality called Mineral del Chico.

Endless journeys, mining traditions, unique landscapes brimming with life, sounds that tell the story of every custom and tradition, a breath of tranquility at the dawn of each new day, a rich sonorous identity that projects the essence and characteristic of life unique only to its inhabitants, it’s dwellings and edifices: all these beckoning us to discover each nook and alley, and everything that surrounds it.

Recordings executed in December 2012, January and March 2013.

 

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Chris Lynn | Changeable Weather


01. views from the northwest (03:47)
02. deer lake (03:49)
03. moving clouds (03:17)
04. drops of rain in ucluelet (05:43)
05. shoreline around dusk (04:29)
06. ucluelet melody (04:20)
07. changeable weather (long take on the shore) (08:16)



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Rui Chaves | Paraty



01. Quarto  (03:55)
02. Vasco da Gama (06:35)
03. Centro (06:28)
04. Mercado (03:04)
05. Porto (04:14)

 

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This forms part of larger body of work in which a book will be edited, with a personal account, regarding the experience of recording each track. It will also propose small exercises, using sonic  and textual material provided, as a  background from which the listener should infer their own personal meanings. This comes, not only from the listening situation itself, but also from their experience in being in other places, with other people.


 

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Toni Dimitrov | Orthodoxy


01. St. Nicholas Cathedral, Vienna (22 September 2012) (38:49)
02. St. Spyridon Church, Corfu town (15 July 2012) (20:15)


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MZ-N710 | Variations Sur L'Eau



01. Ruisseau, 8 avril
02. Ruisseau, 12 avril (1)
03. Ruisseau, 12 avril (2)
04. Ruisseau, 12 avril (3)
05. Sittelle et moutons, 17 avril
06. Fossé, 17 avril
07. Fonte de la neige et ruisseau, 17 avril
08. Fonte de la neige sous le houx, 17 avril
09. Fonte de la neige sous le toit, 17 avril
10. Fonte de la neige et chouettes, 17 avril
11. Torrent, 8 avril (1)
12. Torrent, 8 avril (2)
13. Torrent, 17 avril
14. Orage, 4 août (1)
15. Orage, 4 août (2)
16. Orage, 4 août (3)
17. Orage, 5 août
18. Clochettes des moutons, 8 avril
19. Chant d'oiseau, 18 avril

Total Running Time: 50:09



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(including a pdf book)

This record could be called "Water Music" or "Eauvergne" because you can here the sound of water, of course, and one more time, these field recordings are from Auvergne mountains where I spent holidays during spring and summer of year 2012. So listen to the sound of little streams,  bigger rivers and melting snow. You'll not forget owls at night nor some daily birds. After noisy thunderstorms will come quiet bells of sheep ringing. Enjoy a peaceful sounding trip to those high areas.

 

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Enrico Coniglio | Sabbion


01. Sabbion (14:40)


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Sabbion is a soundscape composition based on recordings made in the lagoon of Venice, using binaural and hydrophonic microphones. The composition is built in a very schematic way: the first part consists in the recording of the propeller of a small boat moving toward St. Erasmo island; the second is the recording of a semi-submerged pipeline along the shore (same site, over and under the water) and the third is made in a shrubby area on the southeast embankment of the island. 'Sabbion' is the name of the sandy bottom, homogeneous and consistent, typical of the surrounding areas at the inlets of the lagoon. This work is part of a larger project of soundscape compositions dedicated to the different types of lagoon beds.

photo: Donato Gagliano

 

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Manuel Calurano | Sonic scenes from China


01. Sonic scenes from China (25:44)

 

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Sonic scenes from China is a soundscape based  on unprocessed recordings made in Pingyao, Beijing, Leshan, kunmming and Lugu Lake (China)
during the summer of 2011. Most of the recordings have been made using binaural microphones. It is recommended the use of headphones.


 

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EugeneKha | Songs of Water


01. Spring Stream (1:43)
02. April 2012: Rain, Thunder, Just Moscow Day (3:17)
03. Day Of Rain (3:35)
04. Setun' River (part 1) (1:17)
05. Day Of Rain (Part 2) (3:31)
06. Day Of Rain (Pause) (2:57)
07. Day Of Rain (Part 4) (6:48)
08. Setun' River (Part 2) (0:58)
09. Setun' River (Part 3) (1:01)
10. Rain In The Wood (2:09)
11. Dam-Songs (1:15)



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Balam Ronan | Querétaro


01. Centro de Querétaro (07:07)
02. El Ahorcado - Pedro Escobedo (03:16)
03. Mercados en Tequisquiapan (09:44)
04. Centro de Pinal de Amoles (02:41)
05. Tilaco - Landa de Matamoros (06:31)
06. Las Adjuntas - Arroyo Seco (03:30)
07. Peña y Centro de Bernal (08:07)
08. Trapiche - Arroyo Seco (02:56)
09. Mercado de la Cruz - Querétaro (07:32)
10. Gruta en San Joaquín
(04:43)


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Luís Antero & Rui Almeida | Concerto Para Olhos Vendados/Blindfolded Concert


01. Concerto Para Olhos Vendados/Blindfolded Concert (52:02)


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How important is sound on our daily life? It remains, as recommended by Murray Schafer back in 1970 of the last century, the most overlooked element of our landscape. Isn't also the sound that characterizes the identity of our villages, towns and cities? What will be, for example, the sound produced by ants in contact with a microphone? And the deer in its seasonal roar? And the mills and water wheels, mixed with the life stories of shepherds and farmers with calloused hands by time?
It is, therefore, in an attempt to answer these questions that arises the concept Blindfolded Concert, based on the premise that we often stop to see, but we rarely stop to hear!
The public is therefore invited to blindfolding, leaving only the ear canals open... The aim is a unique sensory experience.

Que importância tem o som no nosso dia-a-dia? Continua a ser, como preconizado por Murray Schafer nos idos 1970 do século passado, o mais negligenciado elemento da nossa paisagem. Não será o som também caracterizador da identidade das nossas aldeias, vilas e cidades? Qual será, por exemplo, o som produzido por formigas em contacto com um microfone? E o dos veados na sua brama sazonal? E o dos moinhos e rodas de água, misturado com as histórias de vida de pastores e agricultores de mãos calejadas pelo tempo?
É, pois, na tentativa de resposta a estas questões que surge o conceito Concerto Para Olhos Vendados, partindo da premissa de que muitas vezes paramos para ver, mas raramente o fazemos para ouvir!
O público é, assim, convidado a vendar os olhos, deixando somente os canais auditivos abertos… Pretende-se uma experiência sensorial única.


Vídeo: http://vimeo.com/56551734

 

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Dallas Simpson | Sacred Thresholds


01. Sacred Thresholds (55:48)

 

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'O friend, the heart is the dwelling of eternal mysteries, make it not the home of fleeting fancies....'
The Seven Valleys, Bahá'í Writings

1. Thresholds of Incarnation
2. Threshold of a Trapped Soul
3. Sacred Threshold
4. Beyond The Threshold

This sound work is an exercise in abstract symbolic metaphorical allusion, of deep spiritual significance to the artist, in the form of a suite of 4 phonographic live location recordings. Because this four part work, in the form of four short meditations, is intended to be understood in highly abstract terms, the exact locations of the recordings are not identified.

The 1st Movement represents incarnation into the physical realm, the ticking of time here alludes specifically to the 'Time and Place' that we are born into. Here childhood and youthfulness are playful, occasionally vigorous, impetuous, sometimes loud and boisterous, yet inclined to periods of silent contemplation and prayer. The spiritual journey has begun.
In the 2nd Movement the constraints of material attachments impede the development of our higher being.
In the 3rd Movement the (Golden) Silence of Transcendence is more omnipresent. The seeker must hearken to the tiny voice of our inner being.
In the 4th Movement our inner being is liberated from all constraints and wanders freely in its sacred abode.

NOTES:
Recorded in 2012 in three empty churches in The Romney Marshes (1st and 2nd Movements) and Cambridgeshire (3rd Movement). The 4th Movement was recorded under a railway bridge near the location of the 3rd Movement. Each experience, encounter and improvisation with the interior of the churches was followed by a slow circumambulation (circular walk around the church). All improvisations were performed with humility, love and respect using only bare hands and leaving no trace of any contact. All binaural recordings were made using custom modified in-ear microphones, no windshields were used.
The Churchwarden was informed of the trapped Magpie following the completion of the recording of the 2nd Movement.

Dallas Simpson, November 2012

 

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Atilio Doreste | Dog In The Cave


01. Camino Real en San Miguel de Abona (14:10)
02. Camino Real en Tegueste (21:25)
03. Acantilados de Acentejo (18:00)
04. La Atalaya (05:54)



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“Dog in Cave” is the first edition of a series that fits within the author's project of field recordings under the title “Limits and Derives”. The acousmatic experience in the Canary Islands can be frustrating if we expect to encounter perfect, clean situations. The way in which common spaces are experienced get more complex because of the structuring of property. From the sound perspective, the bubbles are difficult to isolate on these islands where the plots of land come one after another, constantly leaving warning and power-over-boundaries signals behind.

Traditional paths are the ancient footprints of communication in between towns. The first settlers traced these paths while shepherding over the centuries, in the strictest sense of Machado's conception "the path is made by walking". Most of them were invaded by a ravenous practice of occupation and construction, only to be consigned to oblivion by the generation of various town councils and the street asphalt. There are some traces left, especially in the least accessible lands, including those that became "Royal Roads" thanks to a crown warrant around the 17th century, intended to guarantee the transport of population and goods. Those roads had to be of a certain width and zigzag in order to favor the hardest places to access.

Nowadays, the owners of plots gradually occupy paths and prevent and set boundaries with fences, together with other warning and separating signs. Therefore, sound drift is not easy owing to pervasive noise pollution, as well as unevenness in the continuity in attentive walking. Traffic noise, airplanes, barking of powerful mastiff watchdogs, waylaying tenant farmers, etc. Traditional paving remains a thing from the past, with its characteristic wearing out and flavour of stories that transcend time. There is no other way in which patrimony may be claimed, either legally o by a few socially aware inhabitants. One of the paths, the one that gives its name to this album, is called "The King's Path", as legend points it out as the access to the cave that used to be one of the last residences of the last Mencey (king) before the final invasion by the Kingdom of Castile. Today, a dog watches the cave as part of an abandoned farmyard full of debris. Here, as in all dérives, HI-FI sounds from nature mix with those from unexpected incidents.

There are genuine tradition redoubts where the influence of human activity, very often unconscious and invading, is superimposed. At other times the register is the spontaneous expression of the memory when faced with the fact that marks a landscape and its memory. The sources where water springs from are the same. Change in those signs that remain or are in danger of extinction: a dead rabbit full of greenbottle flies, the watchman of one of the farms discusses his passivity facing the hunters' breaking of the fences, the tenant farmer's wife fatal accident with a bull from his own herd thirty years ago… Just the day before a hydro helicopter was extinguishing some small fire in the same mountain. Finally, each route is an exercise of acceptance of reality within chaos and breaks from sound landscapes, complex in the interest of conscious listening and composition.

Atilio Doreste, 2012


 

 

 
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