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Label & Cat.Number: Semperflorens SF10
Release Year: 2013
Note: three long tracks using sounds from underwater (fishes, mollusks, etc..), but also termites and ants attacking the microphone & sounds from inside bee-nests, subaquatic insects, ultrasonic sounds of micro-bats, etc.. = fascinating new sound-worlds opening .....
Price (incl. 19% VAT): €13.00
More Info"Track 1: Originally the 4-channel composition was constructed from sounds of crustaceans, mollusks and soniferous fish (rec. underwater in Tasmania, Australia 2011), army ants attacking recording device and walking inside machine, termites and ants recorded with contact-microphone from inside tree-nests, inside nest of stingless bees (rec. Xixuau Xiparina and Mamori, Amazon, Brazil 2008-2009; inside ant-nest rec. with Francisco Lopez and inside bee-nest by Chris Fleeger and Kwi), inside of bee-hive (rec. with Vlastislav Matousek, 1994 in Novy Bydzov, Czechie), wind in chimney, fire and ice (rec. 2003-2008, Ivy Cottage, Ireland) and New Year 2008 fireworks (UK). Dedicated to Vlastislav Matousek and his beloved shakuhachi.
Track 2: Based on underwater recordings from Mamori and Yuma 2007Ц2011: subaquatic insect (recorded in ultrasonic range, some detected only in ultrasonic spectrum), fresh-water crustaceans (probably Decapods, crackly sounds) and electric field of Gymnotiform fish (the tonal-like sounds reminiscent of electronic sine and square waves), includes also sounds of water-pump, propellers, boat-engines and dolphins "tucuxi" (Sotalia fluviatilis).
Track 3: Based on ultrasonic echolocation and social calls of various micro-bats and insects recorded in Mamori, 2007Ц2011.
All sounds in Track 2+3 (and partially in Track 1) were recorded during Mamori Sound Project of Mamori ArtLab in Amazon, Brazil by Slavek Kwi. Special thanks to Francisco Lopez and Asier Gogortza for kind support." [label info]
"The year ended with Artificial Memory Trace and it starts with it, now on a CD release from Russia's Semper Florens. Three pieces of quite varying lengths, six, twenty and forty seven minutes, and all deal with field recordings, like almost all of Slavek Kwi's work. Much of this was recorded during the Mamori Soind Project in the Amazon, Brazil but also, in the title piece, from Tasmania and Czech Republic and even fireworks from the UK. The music from Kwi may be based on field recordings, it's never a purely, untreated piece of sound. Artificial Memory Trace uses his recordings as bricks to build a place, palace perhaps, of sound. Sometimes he treats these sounds, by fiddling around with the EQ and gets out more bass or more high end, whatever is required, and collages these chuncks together into a fine piece of musique concrete. It's quite minimal music at that. You can listen for a few or more minutes to chirping insect sounds, bees, waters, ants or what have you, but then slowly
something else is added to this biotope and without chnaging the scenery too much these two co-exist and the other may take over. You could hear in all of this the survival of the fittest perhaps, but I rather take a more positive view and would rather think of this as a journey. A journey which takes you as easily from the amazonian rain forest in summer time to the new year's eve fireworks in the UK, only to find yourself, within minutes, to be diving to the world of crustaceans, mollusks and soniferous fish in Tasmania - while along you may still hear a bit of that rain forest, which you will find on the map totally somewhere else. That's what this music does: create artificial journeys to various places at the same time. There is hardly human interference here, except for the role of the composer himself, who creates this journey. It's the natural world at the same time. In the shortest piece here, 'Pegamorsego', even in a fine musical fashion of glissandi from insects and bats, made audible in nicely gliding scales. A long journey, at some seventy-five minutes, but a most rewarding one. Excellent!" [FdW/Vital Weekly]
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