Artist : VA
Title : Three Locations
Genre : Ambient
Year : 2010
Date : 03/2010
Bitrate : VBR kbps
Tracks : 05
Label : Recorded Fields
Source : CDDA
Encoder : Lame 3.97
Length : 37:39 min
Size : 52,8 MB
Tracklist:
----------
01.toy.bizarre - kdi-dctb-215-[c] 07:07
02.Els Viaene - Hori 06:28
03.Tarab - Eicophobia 10:01
04.Felicity Mangan - Cascade 06:16
05.Klimek - Drone composition for Ultra 07:47
High Pressure Washers, Electric Heaters
-------
37:39 min
A compilation of five rich and beautiful
works, produced through a unique
collaborative process, realized from
fieldrecordings, yet sounding unlike a
ôfieldrecording compilationö, each track
sounding very different to the others.
ôThree Locationsö is a project where
each artist gave three field recordings,
creating a pool of source material
spanning the docks of Norway to
mountains in southern Japan, from the
French Atlantic Coast to an underground
river tunnel hidden beneath Australiaæs
urban depths. From this pool of frozen
moments each artist was given three
fieldrecordings in return with which to
produce a piece in their own style,
uncovering deeper connections and
dramaturgies buried within these
recorded locations.
1. toy.bizarre kdi-dctb-215-[c]
2. Els Viaene Hori
3. Tarab Eicophobia
4. Felicity Mangan Cascade
5. Klimek Drone Composition for
Ultra High Pressure Washers, Electric
Heaters & Tupolev Ant40 bombers
For further information about the
artists, go to the Artist page
Photographs by Patrick Boland
Tracks created September 2008 to
November 2009.
Cover design and project produced by
Robert Curgenven
Compiled in Flensburg, Germany, November
2009 and London, UK, December 2009.
Els ViaeneÆs comments on working on the
project:
"Working with the sound recordings of
other people was a completely new
experience for me. I thought it would be
the same process as working with my own
fieldrecordings, but in fact it made me
realize that the sounds had become just
sounds with all their specific
parameters - such as texture, dynamics,
rhythm, ... I was missing the memory of
the recording that i normally weave
through my pieces. I knew already,
before, that the memory of a specific
place and recording was important for my
compositions, but I didn't know it would
change my way of listening to a sound so
much. I usually say that the rich
textures and rhythms of the
fieldrecordings are the scores for my
creations. I'd like to change this now
in saying that the scores of my
compositions consist of memories of a
place and recording, the extra colouring
is made by the texture of the sounds and
the natural acoustics of a place.
So, for this composition i started to
filter and process all the interesting
sounds i could get out of the recordings
I received. The result is an abstract
landscape which is shaped by an
imagination that grew out of the texture
of the sounds rather than from site-
specific memories."
http://www.recordedfields.net/