01 ::: alëna korolëva ::: fracture resistance ::: 16:36
02 ::: blanc sceol (stephen shiell & hannah white) ::: insula ::: 19:05
03 ::: annette krebs & peter cusack ::: fieldrecK#4/1 ::: 10:14
04 ::: annette krebs & peter cusack ::: fieldrecK#4/2 ::: 12:56
05 ::: samuel kudjodzi ::: wetland voices at midnight ghana ::: 20:06
01 ::: alëna korolëva ::: fracture resistance ::: 16:36
Field recording based composition by Alëna Korolëva. Recorded in Ontario, Canada in 2021.
This composition combines recordings made at different times of the year on Lake Ontario in order to track and trace the shifting climate. Sounds of thinning ice emerge from cracks spreading in a curving pattern. Winter guests from the Arctic arrive: long-tailed ducks call to each other. The piercing sounds of military jets provide a stark contrast to an ecosystem of co-operation and accommodation. Skipping stones turn the lake into a vibrating plate. Each impact creates a flexural/bending wave, radiating sound into the air, the short waves/high frequencies arriving first. These waves track the ice’s vanishing act, a harbinger of both the new season, and the seasons already lost, as climate shifts are written in the math of disappearance.
Howling winds carry the strident voices of barn swallows, diving close to the water then disappearing into the air. Frogs call out and synchronize bold hopes from the green spring. Canada Geese make a honking turn into summer, before new frogs start up again in rolling waves. Summer thunder rumbles across the horizon as a distant shimmer appear, a dream mirage of lightness, an ambient promise of restfulness. Light rain patters across a stretched fabric, awning, coat or umbrella, before a final growling bass note signals an end.
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02 ::: blanc sceol (stephen shiell & hannah white) ::: insula ::: 19:05
An acoustic study of St Agnes, one of the Scilly Isles, a small island with few inhabitants and no roads. Despite the yearly visitors and light industry much of the island remains uncultivated and remote, at the ocean’s edge, under dark skies. So there is this ‘wild’ feeling, and yet these recordings eavesdrop on the cultivated – capturing a world beyond our usual limits of perception via the wire fencing that keeps the few cattle from roaming freely across the treeless landscape, these barbed and rusted wires vibrating with the wind. A sense of the continual corrosion and erosion from water and air, sounds beyond our human hearing, and fragments of text, open ended and scattered, the voice diving for meaning, returning with more questions and non-verbal utterances.
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03 ::: annette krebs & peter cusack::: fieldrecK#4/1 :::10:1404 ::: annette krebs & peter cusack::: fieldrecK#4/2 :::12:56
Konstruktion#4 is a electro-acoustic live assemblage of metal pieces, strings, objects, microphones, tablets and sensors. Like through a microscope, microphones make audible the finest, otherwise inaudible sound shades and colours of the sound objects. Particles of sound and noise are transformed into neosystopian organisms, sonic biotopes and hybrid reminding sonic landscapes.
Annette Krebs
The field recordings used in these tracks come from many different locations including Berlin, in particular the backyard where I live, Vogelsang (the abandoned ex-Soviet military base north of Berlin), the Spanish village of Ceceda, where frogs call extremely loudly from drains in the market square accompanied by dogs and human voices, and Canvey Island in the UK, where steam bursting from a faulty valve was heard amongst the extraordinary landscape of run down oil, and other industrial, installations beside the river Thames. These, and more, have been assembled into a sampler (NI Kontakt), which I play in musical and other situations using a controller (Lemur) on an iPad.
Peter Cusack
https://www.annettekrebs.eu/
https://favouritesounds.org/
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05 ::: samuel kudjodzi ::: wetland voices at midnight ghana ::: 20:06
A sea of frog sounds and subtle anthrophonic nuances: This recording takes you to a suburban wetland in Ghana at midnight where remarkable clicks of specific frog species stand out among other species in the same location and activiely vocalising in distinctive stereo-fields and frequencies.
These species of toads and frogs though “unknown” to me, have been of much interest when I listened at midnight, to the complex communication structures and semblance to the beauty of granular synthesis in electroacoustic music compositions and electronic music.
For Ecological purposes, it serves as a sample to observe the maturity of the ecosystem when monitored on a spectrogram for acoustic niches and highlights the importance of protecting this sonic heritage of this small space of about 80 square meters.
Map guide: latitude: 6.052730, longitude: -0.238463. Koforidua, Trom.
Binaural recording, headphones recommended.
https://theecomusicproject.bandcamp.com
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