New:Fire and Frost Pattern, Mumbai Diary, kdi dctb 146 [e]

[gruenrekorder]

[1] Fire and Frost Pattern by Andreas Bick

[2] Mumbai Diary by Bettina Wenzel

[3] kdi dctb 146 [e] by Cédric Peyronnet



[1]
Fire and Frost Pattern by Andreas Bick
Field Recording Series
2 Tracks (52:50)
CD (500 copies), MP3, 5.1 surround download




[listen]
http://www.gruenrekorder.de/?page_id=2727

Reading Andreas Bick’s fascinating technical descriptions of his twin compositions Frost Pattern and Fire Pattern, one could be forgiven for believing these were sound recordings made as part of a scientific research project. In an earlier piece entitled Windscapes (Deutschlandradio Kultur, 2001), he used the natural phenomenon of “singing dunes” – recorded in the Namibian desert. But Klangkunst, the weekly hour-long programme on Deutschlandradio Kultur for which all these pieces were produced, is not about science. It offers plenty to listen to, but there is little talk or explanation.
People often ask who is served by scientific research. In this (rare) case, since the composer Andreas Bick uses the results of scientific research, as well as produces recordings under essentially scientific conditions himself, one may answer that science serves art, the art of sound composition. A curious listener scanning Bick’s pieces for the sounds of natural phenomena like “singing flames,” “singing icebergs,” “ice sizzle” or the eruption of volcanoes and geysers, will certainly be fascinated. But such a listener will only hear the skeleton of the composition, not the composition itself (like someone using Messiaen’s Oiseaux exotiques to identify bird calls). Although Bick is sparing in his use of sound-processing techniques, the composition is an “alchemical” process of transformation. As a result, the mighty bass sounds of calving icebergs or volcanic eruptions take on a mythical quality fitting for a work on the primal elements (and primal fears) of humanity. The artistic process here is concerned primarily with making audible the “secret” sounds hidden in nature, liberating the music held in fire and ice. (Götz Naleppa)


Field Recording Series
Gruenrekorder / Germany / 2010 / Gruen 074 / LC 09488 / GEMA
With kind support of Deutschlandradio Kultur, Fielax & Alfred Wegener Institute.




[2] Mumbai Diary by Bettina Wenzel
Soundscape Series
9 Tracks (44:10)
CD (500 copies), MP3

[Info]
http://www.gruenrekorder.de/?page_id=3722

VOICE as Instrument of Affection
Sound diaries have their seductive appeal. Unlike written memoirs, sketches, cartoons and photo journals they share a common feature with film documentaries – the temporal sound-image. Deprived of visual information (and of predominance of sight), sound-image attracts listeners’ ears, penetrates their bodies, permeates through their minds, initiating the process of imagination and articulating lived as well as imagined experiences. No escape; intrusive meanings are always present. In contrast to moving images that reduce space and vision to the surface and depth of a screen, sound-images are capable of not only extending the listeners’ universe but also making them aware of and signifying the impulses within their bodies. If combined with appropriate musical expression, as in the case of Bettina Wenzel’s Mumbai Diary, the ambition to represent the unique artistic intention in correlation with genius loci and intimacy of a place where one finds oneself in a particular moment succeeds in producing interaction.....(Jozef Cseres)

Soundscape Series by Gruenrekorder
Gruenrekorder / Germany / 2010 / Gruen 086 / LC 09488 / GEMA
SPONSORED BY KUNSTSTIFTUNG NRW






[3] kdi dctb 146 [e] by Cédric Peyronnet
1 Track (54:47)
CD-R (50 copies), MP3



[Info]
http://www.gruenrekorder.de/?page_id=3091


This work is one of the results of three years of sound recording around the sound Valley Taurion / Thaurion (France); it could be seen, in a way, as an immersion in the sound world of this valley: rhythms and textures of water, sound events that marks the time.An underlying theme of "kdi dctb 146" is to question the apparent banality of such a sound environment and finally the unsuspected depth of an "active listening act" of such a place. Ultimately, it would be like, throughout this kind of fictitious soundwalk, to be « à la recherche du Presque rien » (in the search for almost nothing).
Each original recording, often very minimalist in form, may seem at first glance trivial or very stereotypical. They even includes a certain amount of confusion, linked to the context of the on site recording, and I did not sought to erase what is generally perceived as a disturbing external signal (aircraft, road traffic ..) but my idea was in most of the cases to reveal it. (Cédric Peyronnet)


Field Recording Series by Gruenrekorder
Gruenrekorder / Germany / 2010 / Gr 078 / LC 09488 / SACEM