A long, unedited excerpt from the dawn section of an unattended overnight recording, featuring Crested Bellbirds performing a series of transpositions of their distinctive but (rhythmically and tonally) variable Bellbird song pattern. (At 20:10 one of them seems to push itself to the highest point of its vocal range.)

The recording was made with a microphone rig comprising four supercardioid microphones in an IRT Cross / double NOS array, in open Mallee country.

In this first stereo mixdown of the four isolated tracks of the fourfold array, because of the original stereo perspective, there appears to be only one main (near) vocalist (not counting those Bellbirds that are obviously much farther away). However, while later experimenting with other stereo perspectives made possible by the four tracks, it became clear that, in fact, more than one main (near) Bellbird vocalist was involved. For a different stereo perspective that reveals this differentiation: https://earth.fm/recordings/winter-dawn-in-mallee-country-with-crested-bellbirds/.)

Recorded respectfully and mindfully on the land of the Meru and Danggali peoples.

Track image credit: Male Crested Bellbird photographed by Indra Bone (South Australia, 2019). Source: https://inaturalist.ala.org.au/photos/43977723. (CC BY-NC). Below the photograph is a spectrogram of the recording.

2024.08.11 Crested Bellbirds: Transposition Display. Dawn. Winter's End. (1st stereo perspective)

“João Alegria is an essential figure in the Portuguese underground music scene. With a prolific career spanning over a decade, the guitarist – as he prefers to be called – embodies artistic commitment, resilience, and a deep devotion to crafting dark, experimental soundscapes. The numerous albums the Lisbon-based musician has released testify to a sonic vision akin to its object of study: unhurried and unperturbable, yet continuous and tempestuous."

— João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

“You paint for fame & status, I paint for freedom & awareness”, reads one of the vertical graffiti that Mr.Paradox Paradise painted on some Berlin building. Likewise, there is nothing in João Alegria’s art that is done with the intention of fame or likes. He spent more than a decade editing with recognition limited to the “community” of sound nomads. “I’ve been doing this for some time and I don’t have a very wide audience”, he admits. However, who knows, knows. And who knows, like it. João Alegria’s music is for connoisseurs. Perhaps that will always be the case.
.
However, the unique contours of his art, combined with a stubborn aesthetic consistency and prolificacy, are the characteristics that simultaneously nest and vitalize it. The unconditional and obstinate way in which this “guitarist” – as he likes to be called – has created his work is a rare case of perseverance. His motivation? It’s not entirely explicit, but somewhere between the love of music and the physiological need to create lives the truth of João Alegria. If he lives because he breathes, he seems to make music because he has to live. One senses in his speech an inevitability of cathartic genesis that surreptitiously emerges between the lines like a figure wandering through the night.
João Alegria can also move through the shadows, but his music definitely points to the heavens, full of verticality” 

– João Morado (Beats for Peeps, Cosmofonia, Jazz.pt)

Sound recordist Colin Hunter 
Founder of the World Sounds project

listeners will find here the most recent edge of my research as well as album samples and one-offs from the last 10 years of my solo work, from official, upcoming releases, unreleased oddities, works in-progress, & experiments, all music by jeff gburek and collaborators, as noted. support directly via paypal: jeff.gburek@gmail.com or buy albums via https://jeffgburekprojects.bandcamp.com/

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2024.08.11 Crested Bellbirds: Transposition Display. Dawn. Winter's End. (1st stereo perspective)

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