Artist: Emily A. Sprague Title: Water Memory Keywords: ambient ambient eurorack minimal modular synthesizer natural New York I woke up at four in the morning to hear a collection of pretty birds singing and chatting in front of my open window. To thank them for their beautiful sounds of peace I decided to return them […]
via Emily A. Sprague – Water Memory — Yeah I Know It Sucks
From the top of Interzone there is an instant sublime rush of rippling static and vibration. Liz Helman‘s Daylight Dreaming on Montreal-based K o h l e n s t o f f Records is off-running. In her second release London time-based artist Helman incorporates what sounds to be rainy day field recordings with an […]
via Daylight Dreaming by Liz Helman — The Future of Music, Today.
It’s clear from the outset that Ciani was always tireless, but her energy and commitment to artistic excellence has failed to flag.
via Suzanne Ciani: A Lifetime at Electronic Music’s Forefront — Bandcamp Daily
” Dabblings…” from Jessica Grant
Thanks to Yeah I Know it Sucks for tonight’s listening : )
Experimental, field recordings, hydrophones.
The Wanderer is a sound composition created from hydrophone recordings from the realm of Zooplankton and Phytoplankton in the Atlantic Ocean, made by Jana on her travels from the North Pole to the Equator.
Jana Winderen researches the hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses are brought to the surface.
Anna Wærum fragment -al
by Anna Wærum
Electronic collage, experimental, fieldrecording, leftfield or beautiful wistful otherworldly listening.
“In her sound-collages Anna Wærum blurs the boundaries between language, sound and music. From this particular point, a secretive, personal and dreamy sound-scape emerges. According to Anna the collages are made ”out of a wish to examine the moods, stories and poetic qualities which are buried in our aural world, using the everyday sounds I meet in my life. An exploration of the exact moment when a field-recording looses its concrete meaning and becomes something else, something we hear as music”.
The sound-collages are composed of Anna’s private sound archive consisting of phonerecordings made within the last 3-4 years. This archive is continuous and recorded without the purpose of composition, but as diary-recordings of sounds-bits she wants to remember or sample, of thoughts or conversations she wants to revisit.