The Eurasian Scops Owl (Otus Scops) is the only European owl that undertakes a long migration from south of the Sahara desert up to southern and eastern Europe to breed in the early Spring. 

This recording was made late at night on the Old Golf Course of Mandelieu La Napoule. A number of Scops Owls were calling to one another from the trees around the golf course. 

Sound Devices Mix Pre 6 + 2 x Sennheiser MKH 8040s
11.04.2021

Image courtesy of Frank Vassen (Creative Commons)

Eurasian Scops Owls - Mandelieu La Napoule, France

This is a compilation preview of my second album from Alam-Pedja which is available here: https://andruskannel.bandcamp.com/album/alam-pedja-soundscapes-in-an-abandoned-farmhouse-nature-recordings

This is my second album that contains nature recordings from the Alam-Pedja nature reserve from Estonia. When the first album presented with ​​how Alam-Pedja sounds through the year and in different habitats then the concept of this album is one day and in one selected location in Alam-Pedja. All recordings are made in the yard of an abandoned farmhouse located in a deep forest. I'll listen one day through audio recordings I made in May 2020 and 2021

Some information about the old farmhouse. The farmhouse was built for forest workers in 1938 during the time of the first Estonian republic. Up to 15 people lived there at the same time in 1956 and in 2004 the last resident of this farm died. Since then, the farm is empty.

Equipment:
Tascam Dr-100 MK III digital recorder
An Azden microphone pre-amplifier/mixer
Handmade phantom powered Primo Microphones with EM172 capsules. 24 bit 48kHz

released June 15, 2021

Preview of a nature recording album: Alam-Pedja soundscapes in an abandoned farmhouse

Brixton was my introduction to London when I moved here almost two years ago. I had never heard of Brixton before I arrived, nor had I spent any time in London. I ended up here simply because a friend of a friend knew someone with a flat. This document represents the ways I have come to know this district, and through it a little of the rest of London. 

My work has always begun with the soundscape, and Brixton offers a remarkable one. From outdoor markets, bicycle sound systems, shop stereos and buskers to booming car hi fi systems, sirens, car washes and people simply talking and taking up space on the streets, Brixton is a noisy place. It was through listening to Brixton that I also came to hear voices being raised about how much this area had changed, about rising rents and neglected public housing, about how many people who grew up or used to have businesses here can no longer afford to stay. I learned about the role of Brixton as a centre of Black British culture, resistance and musical production, as well as a location once known for its anarchist squats, and left wing activism. I learned about how, as Brixton has become increasingly gentrified, some of the sounds associated with Brixton's history and communities were being lost from this area. I began to hear some of the new silences of Brixton. I don't want to pretend that this release could ever be a definitive documentation of Brixton's soundscape, there are many far better situated than me to understand all the nuances of this area. This album is simply about the ways I came to know Brixton through listening, and the respect I gained through this process for the many struggles being waged in this district to maintain it as a community. This album is about arriving somewhere to find it in the midst of major upheaval in its social fabric, and about examining my own role in this as a new white Australian addition to the area. 

A soundscape reveals a lot about a place, through its presences, its silences, its rhythms and its pauses. A soundscape is forever being made by us all. It stitches us together in ways both subtle and sometimes overwhelming. I think in both its openness and fragility the soundscape can reveal something about the process of community making, and its sensitivity to change offers both opportunities and risks. 

Kate Carr, Brixton, London. 
credits
released March 9, 2018

I Ended Out Moving To Brixton - full album stream

Track 1 on my new Music Cassette.
https://djdeppenhorst.bandcamp.com/album/15-trivial-miniatures

Music Cassette

A01 - Release the Electronic Ponies

Distances

Swamp

Bobby Rangell: alto sax
Nico Arnicho: percussion
Daniel Diaz: acoustic bass guitar & live synth sparkles

Live in the studio recording, circa 2007 in Paris, reworked and remixed Friday November 27th 2020.

Again, from the  masters I got back some weeks ago and I am rediscovering and reworking some music for there.

This is part of a one day session with these extraordinary musicians  this is the only session with the three of us together in the studio. We recorded tones of music that day, including [junto0463](https://soundcloud.com/daniel-diaz/two-memories-gradient-disquiet0463) and [naviarhaiku358](https://soundcloud.com/daniel-diaz/black-horse-naviarhaiku358) with a 4th element , Pajaro Canzani on guitar)

This is the introduction to an instrumental composition we recorded for a producer (documentary) who accepted the mix but later asked for the introduction to be removed.
So this free form 2 minutes remained unused.
I remixed this today for 27/NOV/2020 thanksgiving  junto challenge
https://llllllll.co/t/disquiet-junto-project-0465-you-thank 
as a thank you note for those excellent musicians.

I spent some time live and i the studio with Bobby since that day, but completely lost track of Nico, 10.000 Km between us...

Going back to these masters is a joy and reminds me how great it is to play together with fellow musicians and how grateful I am that I could do it with such great, talented guys.


Photo by DD: self portrait with blue forms

Happy thanksgiving everybody, love
DD 27/NOV/2020

Deep Blue 01 (Giving Thanks) - disquiet0465

elektro-medidation-20201214

A rock hyrax calling from the edge of a gorge in the Masai Mara. More sounds at https://www.youtube.com/georgevlad

Rock Hyrax calling at Gorge

More on this 468th weekly Disquiet Junto project, Mirror Rorrim (The Assignment: Create a new persona for yourself, and record a duet together), at:

https://disquiet.com/0468/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0468-mirror-rorrim/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Image associated with this project is by Timothy Takemoto, and used thanks to Flickr and a Creative Commons license allowing editing (cropped with text added) for non-commercial purposes:

https://flic.kr/p/36f8r

https://creativecommons.org/licenses/by-nc-sa/2.0/

HR farm roil

halF rorriM [disquiet0468]

All sound sources come from different Spitfire Audio LABS instruments

Topographic Forms

Created for the Disquiet Junto Project 0474: Police Action
@disquiet

The Project: Complete a trio by adding a track to an existing duet by two other musicians.

I added two tracks of a Volca FM organ patch + Avalanche Run delay/reverb to fill out the bass and add some mid-high overtones and slight counter melody to tracks from @anotherbenjamin and @homeontheland . You can find their first two parts of our trio here:
https://soundcloud.com/anotherbenjamin/jam-time-2-of-3
https://soundcloud.com/homeontheland/jam-time-1-of-3-by-the-land-disquiet0472

More on this 474th weekly Disquiet Junto project – Police Action (3 of 3) / The Assignment: Complete a trio by adding a track to an existing duet by two other musicians – at:

https://disquiet.com/0474/

More on the Disquiet Junto at:

https://disquiet.com/junto/

Subscribe to project announcements here:

https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co:

https://llllllll.co/t/disquiet-junto-project-0474-police-action/

There’s also a Disquiet Junto Slack. Send your email address to twitter.com/disquiet for Slack inclusion.

Preview of a nature recording album: Alam-Pedja soundscapes in an abandoned farmhouse

Andrus Kannel