Pierre Gerard | ENVIRONMENT & gesture

3L009, 250 numbered copies, released on 01/09/2011
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"I would like to improvise with the most minimalist element, which shares our everyday life each minute when we are there. This improvisation does not come in a domination of the one on the other, but in an integration. Hoping that the sound which I produce would have been able to be without my participation.

I would also love that this work infiltrates into a notion of time, temporality. No as a fear of to see it to fly away, but as a soft impression of to feel it to slide. In this exercise the presence of the movement allows a sound, this sound gives an acoustic presence to the author, to the actor, to the musician. The produced sound is only the result of the movement. The movement has its resonance own, its particular light touch."

— Pierre Gerard



3L008, 100 numbered copies, released on 22/04/2011
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Reflections and Transformations

"Fifteen minutes into John Kannenberg's extended, hour-long sound map of the Egyptian Museum in Cairo, the setting subsumes the sound. More to the point, the setting becomes the sound. His sound map is constructed from field recordings he made in and around the museum, and the museum at that moment moves from structure to participant, from frame to portrait, from context to subject.

Voices had been heard up until that point, a rumbling and slow-moving pack of adult humans, but those voices are suddenly transformed, dramatically, at the quarter hour. The rapturous transformation is, presumably, the result of the architecture. The human voices are no longer discernible as such, and instead congeal into a chaotic frenzy as their sound is reflected off some hard, high, voluminous ceiling.

Something about that ceiling, arched and closed in by thick walls, absent of anything with absorptive characteristics, no fabric or wood, shoots the collected voices around like balls in a pachinko game, all the sound scattering and intersecting with such speed that it becomes a single thick blur of noise, resplendent noise.

That description of cause and effect is entirely conjecture, of course.

The recording is solely audio, and we do not know for certain what we are hearing. We don't know how many people, if they're adults, or what the characteristics of their environment is at that moment. Much as a passing bus can be mistaken in our own daily life for a child's cry, we do not know exactly what these sounds are, or what is transforming them. It is a fact that the shape and constituent parts of a building will enact changes on the sounds emitted within it -- but it is no less true that our knowledge of the place frames how our ears and brains perceive the sounds, lends them meaning, fills in the considerable gaps in our factual knowledge. This hour-long montage of field recordings is an illusion of reality, an illusion during which Kannenberg plays with our imaginations.

The key word above may not be "transformation" or "architecture," but "reflected." It's a word we're more likely to associate with light than with sound, and thus is the perfect fulcrum point for Kannenberg's art, the art of the phonographer actively challenging the photographer for the primacy of the senses."

— Marc Weidenbaum


Simon Whetham | CONNECTION

3L007, 100 numbered copies, released on 22/04/2011
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"Compositions based on field recordings always raise a number of questions in my mind, particularly regarding the relation between the recorded sounds and their connection to the location or place where they were captured. This is particularly so with places I am familiar with as is the case with this work. Having visited and worked in Prague a number of times in the last decade I was curious to know if some aspects of Simon Whetham's sonic explorations of Prague would trigger any of my memories or associations with with the city. While this is not my primary goal in listening to this work the tendency to seek a personal connection is there. Yet, listening to 'Connection', I am also reminded of Whetham's previous works and live performances. There is a certain characteristic feeling of drifting in the compositional structure that reminds me of the process of field recording itself, of wandering, tuning in to a place seeking out unique sounds that resonate with ones own ears. Often, the urban sound hunter is confronted with a surplus of noise (in the literal and metaphorical sense), from which the challenge is to extract some meaningful signal. This can happen either through perceptual awareness or chance occurrences that come out of the event space of a transitory mode of exploring which is certainly a theme in 'Connection'. We get glimpses of transport that suggest the pace of the city through footsteps or the mechanical rumbles of trams and trains. We drift in and out of these hints of the familiar into passages of abstracted resonances layered over subtle beds of near silence suggesting distant echoes of visited spaces. Yet, the question remains if the sounds communicate something inherently characteristic of Prague or are we exposed to a process of decontextualization that offers a frame no less familiar than the foreign artist who is a temporary visitor hearing the city with new ears. In returning to the issue of  work based on field recordings I ask, what is it then that we hear in this piece? Is it meant to be a representation of the original location or event itself or a decisive interpretation the composers impressions and experiences. When listening more carefully the answer for me is both. The deeper 'Connection' here is the inseparability of the artists own process and the context in which he works. The overall experiences, sonic discoveries, editing decisions and composing methods is no less real than what we hear, be it abstract or representational. We are offered an ideal form to listen in to a complete process, beginning to end, from personal exploration to public output. My own reflections draw me in through a shared interest in such sonic travelogs and a desire to hear more as well as create more myself."

— John Grzinich


Mathieu Ruhlmann & Banks Bailey | ANÁÁDIIH

3L006, 100 numbered copies, released on 27/01/2011
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"Within each location, there is profound history. From their first collaborative album, artists Mathieu Ruhlmann and Banks Bailey have created an album that is not only a record of detailed documentation and imagination, but a depiction of a time and place, which also represents an idea, and maybe more importantly, a future. Details have been so meticulously collected and arranged accordingly, that momentarily, everything is illusory, yet retaining completion, and full realism.

Inspired by a Native American Navajo writing, natural material remains one of most important contributions to Ruhlmann and Baileys' work. As is present in both of their musical histories, the heart of the recordings are captured and documented from these
collections of nature and real objects, a truth instead of any other means. The title of the album, 'Anáádiih', is the Navajo word which describes the phase of the moon disappearing. Any moment of these recordings could be mistaken as a complete, straight recording from a desert hilltop, a crackling fire in the center, with a world of action and life surrounding in every direction, pouring life and spirit into each moment.

Yet, even with its incredible realism and depicted respect of true documentation by these two sound collectors, there is a voice that comes through, which surpasses even the recorded vision. These pieces of music not only document realism, but they are abound in enigmatic imagery. Insects buzzing, horses whimpering, overhead thunderstorms, and coyotes howling. There is movement, there is work. Little can it been seen in nature of development, or of time passing, except in long term. Yet, from this work, it can be understood of one of the most important aspects of nature: the results from the capability of our imagination; seeing and hearing those things that are otherwise invisible, or overlooked, and what we find inside."

— Will Long



Ákos Garai | BARGES & FLOWS

3L005, 100 numbered copies, released on 27/01/2011
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"It is dawn by the Danube. The river is flowing quietly. There are only a few moored ships, and many empty docks.

No movement? No sounds? It is quite the opposite. From close-up, you can hear the docks and their vessels sing their own rusty songs incessantly. I find a place and set up my recording equipment.

The purpose of these unprocessed field recordings is to introduce the harbor sounds along the riverbank of the Danube. Some areas are filled with people and ships on a daily basis, while others are only visited occasionally or never at all.

I collected these field recordings in the autumn of 2010 in Budapest, Hungary."

— Ákos Garai



Hiroki Sasajima | SUIKINKUTSU

3LTS02, 25 numbered copies, released on 10/10/2010
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"Suikinkutsu is recorded in "Stalactite grottos of Nippara" at Tokyo Okutama.

"Suikinkutsu" is a decoration of a Traditional Japanese garden.

"Suikinkutsu" is usually put in the Japanese garden, however, it is unusual for it to be put in stalactite grottos.

Drop of water to run down from stalactite at random plays these metallic sound.

Sound echoed with a bottle buried in the underground, amplifies it more by the grottos. It is a particle of the beautiful sound that is meditative in deep quietness..."

— Hiroki Sasajima



Mark Peter Wright | INANIMATE LIFE (a catalogue)

3L004, 150 numbered copies, released on 12/09/2010
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"Inanimate Life is an ongoing audio catalogue, initially conceived whilst making a series of field recordings along the North East coast of England in 2006. For anybody who has walked, swam, sat or indeed attempted to record in these exposed conditions, they will be all too familiar with the experience of blustery coastal winds. During one such excursion I stood for some time watching and listening to seagulls drift on unseen and unheard thermals of air. I became fascinated by the intangibility of wind and its effect on physical objects.

All around me seagulls were supported, pulled and caressed in suspended flight, sand was shaped and whipped into the air, coastal marram grass trembled and Victorian hand railings wailed.

This inaugural installment features some of natures most complex and vibrant audial worlds; including the creaking roots of wind blasted heather, the playful gusts that animate giant oak trees and the wailing drones that resonate along wired fencing.

Inanimate Life examines these delicate thresholds in our environmental, auditory perception and unveils a world teeming with sonic activity. The catalogue offers a moment to settle upon these events and in doing so, settle the ear upon the elusive, often fleeting phenomena of sound."

— Mark Peter Wright



3LTS01, 25 numbered copies, released on 28/06/2010
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"I have become very interested in the ambient sounds of interior spaces.  As a sculptor I am aware of space as a plastic medium, but also acknowledge the difficulty (and mystery) of its intangibility.  The sounds in this recording are of energetic, social activities within a long corridor-like space with a high cathedral ceiling.  It is an arts building designed by architect Phillip Johnson in the mid 1970’s.  I like the resonance of the hard surfaces and the way the sound bounces around eventually obscuring the sources of those sounds as an aural cloud takes shape. 

The piece reaches a crescendo with the arrival of a crowd.  When the group departs, we are left with the space and, finally, the sound of the space, itself."

— Scott Sherk



3L003, 150 numbered copies, released on 28/05/2010
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"The landscape is not a new theme in the arts and music is no exception. No matter what themes an artist uses to draw attention to their work and ideas to the audience, the dominant message is still about the artist. Wether or not the artist succeeds in communicating external ideas via their transmissions to the audience, is open to much interpretation. For me Accepting The Machines was about combining many musical thoughts that would other wise have stayed as singular ideas or sonic experiments locked into a particular aesthetic or style.

There are many landscapes in these recordings some rural, some urban. Sites include my home in Melbourne, Australia, where I recorded in an empty factory shell, my back yard, workshop and studios. My beach house on the coast of southern Victoria provides me with access to an estuary system, rivers, forests and farmland.

Because I work across many art forms such as sculpture, painting, music and instrument building, its easy to categorise each separate practice, a system which I use to help me adapt from one body of work to the next.

I ask myself, "what is the connection between these different folios?, the answer is my mind". So I then ask myself another question, "why do I make up rules about how I should express myself? Shouldn't I just enjoy the freedom of expression with out making up rules or following codes pf practise?" To truly follow one's instincts is not easy. Teaching influences, learning and study effect this process also.

Building portable instruments that I could carry into any potential recording location was a good decision for me during the creation of Accepting The Machines. Their simplicity and crudeness changed the way I played to the microphone, less musical and more intuitive. Playing onsite rather than overlaying separate recordings from the studio environment and landscape puts me into a different state of mind. You have to cope with the landscape where everything is not at your fingertips. It has taken me a while to appreciate digital technology; having a preference in the past to work in a more acoustic dominated aesthetic, even though I experiment with and love electronic sounds.

My main instrument is a tubular frame that holds a Styrofoam box resonator against a long steel wire and spring. The frame is hammered into the earth and the wire or springs are stretched out along the ground or attached to an existing structure. Sound travels into the styro box via these resonating materials. I also use small amps and tape decks to transmit electronic sound and vibrations through the box walls.

Anoher instrument is an 8 meter long vertical aeolian string, again with a foam resonator.

I may stay in one place for hours or return repeatedly until I capture the moments I am working toward, when the winds, birds, branches, surf and noises are all working together. The computer helps me do the rest.

Humans are not only species on the planet to make music."

— Rod Cooper


Lasse-Marc Riek | HABITATS

3L002, 150 numbered copies, released on 18/02/2010
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"The work at hand, "Habitats", deals with habitats, areas and living spaces. In this particular case, these spaces were created from a pool of acoustic field recordings I realised while in Finland in Spring of 2007. Over the course of the past year, I have, for various reasons, increasingly been absorbed by the sounds emited by nature. The piece researches the interplay between natural elements on the one hand and passages I arranged at a later stage on the other. It deals with directional hearing and of course with the vast array of bird voices - as well as the silence one can detect in between all of these different sound sources."

— Lasse-Marc Riek




Ákos Garai | PILIS

3L001, 150 numbered copies, released on 12/09/2009
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"Pilis is a sacred place. Bound north we leave the big city Budapest behind and we find ourselves surrounded by wonderous mountains and natural habitat. The Pilis mountain is located on the right bank of the Danube between Budapest and Esztergom. Its highest peak is only 756 meters, however, the scenery is picturesque. The beauties of nature, the fresh forest air, and the presence of positive energies this area are sought by many visitors. A big portion of the area is protected as a National Park, with numerous bicycle and hiking trails. In April 2009 I began my hike from the highest point of Pilis, and descended slowly.

I was accompanied by a charming stream of clear water all the way. As we walk through the forest and listen to the sound of the small stream, with each step, we arrive into different worlds and see, hear, and perceive the surrounding nature accordingly. I could not describe why "there and then": when I felt like, I stopped, sat down and recorded the sounds of the stream and the environment. Later, when I listened and selected these field recording tracks at home, I decided that I'll compose various computer generated layers in addition.

In time, these layers transformed into sonic thoughts in brackets inspired by the original field recording tracks and the wonderful memories of the hike. This was the birth process of a flowing, self re-creating and re-analyzing, yet coherent composition. A relentlessly meandering and laughtering auditory flow: a second hike to the Pilis."

— Ákos Garai