The deeper I am investigating field recording as both artistic and listening practice, the more I become aware that each recording session is an intrusion into the landscape and that the landscape, whatever historical, biotic, or environmental system defines it – is sentient to my presence.

No matter how considerate my “intrusions” are, an abstract form of communication always takes place, and it largely depends on my ability to maintain this connection, which goes beyond the soundscape and sonic properties of the place. In this sense, my capacity to employ deep intuition and activate a specific neural architecture developed through a compound of skills also defines the recording process and its future aesthetic transformation. Thus, making a field recording fully personalized practice and soundscape composition a discipline of open interpretation, as well as a vast field for misuse and false representation. Regardless of an evaluation system, whether we contemplate an act of listening through scientific observation of one’s cognition event boundaries or through the capacity to comprehend the existential phenomenology of Zulu spiritualism, the possibility that two or more listeners can have the same listening experience is minuscule.

We are all deeply rooted in a diversity of psychological constructs; neural and sensory imprints, memory compounds, cognitive abilities, and many body-mind pathways determining our current psycho-physical state. Therefore, if the field recording practice is based on any form of active listening – it is a discipline based on interpretation.
With that in mind, I am asking: How do we approach the landscape of severe devastation and a dense history of warfare? Knowing that serious ethical and moral consequences are involved in the effort to interpret a particular soundscape.

In the work “ghosts” I am using obsolete instruments – a modular synthesizer built in 1970, a discarded wheelchair wheel salvaged from the Adriatic Sea, and the piano fallen in disuse which belonged to the Austrian conceptualist, filmmaker, improviser, photographer, environmentalist, and writer – Karl Katzinger aka John Tylo (October 1953 – April 2021). Next to these elements of the past and their voices rediscovered, I am incorporating hydrophone and field recordings from several locations appropriating them through the discourse of critical tourism and a culture of memory – more specifically through listening to the inherent memories of environmental devastation due to exploitation of natural resources as well as warfare – in the South Adriatic (Old town Dubrovnik and island of Vrnik), and the Czech-Austrian borderlands nearby of Mauthausen–Gusen concentration camps. 

--

Instruments:
EMS Synthi 100
Wheelchair wheel salvaged from the sea
John Tylo’s old piano

Field recordings:
Dubrovnik – Stradun air conditioning units and collection of rubbish containers
Vrnik Island South Adriatic – crickets in an ancient limestone quarry
Adriatic dolphins *hydrophone recording by Robertina Šebjanič
Harrachstal village on Czech-Austrian borderlands – crickets in the abandoned granite quarry
Hydrophone recordings of the river Schwarze Aist
Train coming into Freistadt train station in Austria

All sounds performed, recorded, composed & edited by Manja Ristić
Some sounds gathered at the SHAPE + musikprotocoll residency, July 2023

Hydrophone used for an underwater recordings made by Jez riley French
jezrileyfrench.co.uk

Mastering by La Plant Studio
laplantstudio.com

Bandcamp

ghosts

Taken from the album "Autumn is a new spring"

Pre orders start 31.5.2024 / Release date: 7.6.2024

shimmeringmoodsrecords.bandcamp.com/music

Recorded, edited, mixed and mastered @Argo Laboratorium by Gm Aprile @Argolab, 2023/2024 
Photographs by Gm Aprile 

Gianmaria Aprile: guitars, effects, guqin, xylophone, field recordings 
Luca Mauri: guitar on tr.1 
Luca Tilli: cello on tr.1 

- always, in autumn, a new spring is hidden - 
gianmariaaprile.bandcamp.com 
garbuglisonori.wordpress.com 

BIO 
I like to smell the woods, listen to music and play it, but I never seem to do it enough. 
I started in the early years of the new millennium to release records by approaching the world of post-rock (Ultraviolet Makes Me Sick), then I continued my musical journey approaching more experimental sounds (Luminance Ratio) and entering the world of improvisation and jazz (Pipeline 3, 5, 8). 
garbuglisonori.wordpress.com/discografia/ 


SHM 305 
Shimmering Moods Records 2024

Gianmaria Aprile - U•N•I

A track from upcoming 'Thousand Oceans' LP / CD 
due out on June 14th
https://dronarivm.bandcamp.com/album/thousand-oceans

Thousand Oceans

Buy LP / CD / DL

Chihei Hatakeyama - Black Stone (from upcoming 'Thousand Oceans' LP / CD

Artist: ZOE EFSTATHIOU
TITLE: SOLO PIANO : EDGE OF CHAOS
FORMAT: LP & DIGITAL
CATALOGUE NO: iDEAL232
RELEASE: APRIL 2024

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory. There are connections to what is going on in the music of some of the 60s minimalists, where beauty and harshness meet naturally. This is Efstathiou’s debut solo album.

”In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities.” - Zoe Estathiou.

ZOE EFSTATHIOU - AMVRACIA (iDEAL232 LP)

Format: CD
Pre-order: 14th June 2024
Release date: 21st June 2024

"When I create music, I try to experiment with a way of composing that lets musical ideas develop freely, guided by improvisation.
The material, the melodic and rhythmic elements, then find their final pattern in computer editing.
But, we need to keep and feel a certain fluidity from the playing itself.
With BORA BORA, I continue my work with keyboards, principally, and other instruments like flutes.
But keys are the core of the music.
Since the previous album (Aubusson), a new one was invited in the intrumentarium: the Arturia Polybrute synthesizer.
Its colorful sound palette is very inspiring and gives a kind of mood of this new album, BORA BORA. Each track is like a painting, a draw or a short film. The titles are always important because they can open the imaginary and may be combined with the sounds in a sort of mental soundscape.
This album is a journey through different feelings and sound images. But there is a common color, I guess, like a dark indigo haze, a slightly melancholic dusk. This is notable in the track Le Tunnel de Klaus (a tribute to Klaus Shulze), for example.
Music is a journey.
An experimentation of our own internal perceptions. I hope this album brings the listener in a joyful listening experience." 

Copyright © 2024 ROHS! RECORDS, All Rights Reserved

previews. Véhicule - Bora Bora | ROHS!

Inspired by our new home In the jungles of
San Rafael, Colombia

And the journey back to La Tierrita

Grateful for these Oceans, Rivers & Birds. For their beautiful sounds that helped create this album.
credits
released June 14, 2024

All songs recorded and created in la Casa Selva
Mastered by: Tom Lievens

Casa Selva

Ocean Heart

Broken Mobile Suit

Non Narrative Drift

00003

Cluer 12

Dutch independent label focused on contemporary ambient / modern classical music.

Thousand Oceans

Dronarivm

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