Recordings made during the 2nd 'Sonic Mmabolela' residency in mid-November 2014, organized by Francisco Lopez & James Webb.
Many thanks to all those involved with the residency, including all the staff & rangers, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Mmabolela Reserve, South Africa

ONE chopin

Jeremy Hegge Field Recordings

nature sounds

Field recording, phonographie, paysages sonores : des compositions à l'écoute... des lieux, des environnements, des architectures...

Stéphane Marin pour le Cdmc

Field Recording

Silencing of the reefs forject in collaboration with TBA21 Academy. Recorded in Greenland, Belize, Dominican republic 2007, 2012 and 2013.

freeze to melt

I learned it from the only rendition I own.  It's possible i missed some details.
My try on Gnossienne 3 http://snd.sc/11VAyvl
I'm really sorry for the bad audio quality. I didn't have a proper recording process back then. So I probably re-record this at some point. 

Gnossienne No 1 - Erik Satie

Recorded at the edge of the littoral rainforest, not far from Burning Palms beach.
This sound was created by two trees rubbing against each other in the wind.
Recorded around 9am on the 29th of September, 2014.

Two Trees Rubbing Against Each Other On The South Coast

Superb Lyrebird calling in the early morning, not long after dawn, in the Jamison Valley. This particular area of the Jamison Valley is on the slopes of the Narrow Neck Plateau and is covered in lush, wet sclerophyll forest, which borders a small pocket of rainforest.
Some of the birds the lyrebird mimics in this performance are: Laughing Kookaburra, Satin Bowerbird, Eastern Whipbird, Yellow-tailed Black Cockatoo, Lewin's Honeyeater, Pied Currawong, Crimson Rosella, Pilotbird, Australian King Parrot. Many of the odd sounds it makes are pure Lyrebird calls as they do have their own unique repertoire. 
In the background you can hear many Bell Miners twinkling.
November, 2014.

Superb Lyrebird In The Jamison Valley, Blue Mountains

Recorded in a dry river bed on the Limpopo river at around 5.45am, about an hour after dawn, on the 28th of November, 2014. 
The dominant birds in this recording are a group of Natal Spurfowl's (Pternistis natalensis), other species calling include: Woodland Kingfisher (Halcyon senegalensis), African Hoopoe (Upupa africana), Red-eyed Dove (Streptopelia semitorquata), Bearded Woodpecker (Dendropicos namaquus), Tropical Boubou (Laniarius aethiopicus), Green Woodhoopoe (Phoeniculus purpureus), Egyptian Goose (Alopochen aegyptiaca), African Fish Eagle (Haliaeetus vocifer), Southern Boubou (Laniarius ferrugineus). There are quite a few other birds calling that I haven't identified yet, mainly all the tweety birds which I always find difficult to identify.
Recorded at Mmabolela Reserve, Limpopo, South Africa, during the 'Sonic Mmabolela' residency organized by Francisco Lopez & James Webb, many thanks to everyone involved in the residency!
And to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Morning At Umzumbi

Eastern Olive Toads (Amietophrynus garmani) sing in hypnotic polyrhythms on a windy night by a waterhole in the savannah.
This was the most intense part of a chorus which lasted for about 2 hours from beginning to end. At the beginning there were other frogs calling (Kassina senegalensis) but they seemed to give up once the toads began to dominate. I will post a much longer excerpt from this recording at a later date.
Recorded around 9pm on the 25th of November, 2014, at Mmabolela Reserve, Limpopo, South Africa during the 'Sonic Mmabolela' residency organized by Francisco Lopez & James Webb.
Many thanks to all those involved with the residency, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Eastern Olive Toad Chorus

The sounds of the Limpopo river at dawn, above with a pair of omni microphones, and below with several hydrophones.
Recorded at "The Bridge To Botswana" on the 19th of November, 2014 at Mmabolela Reserve, Limpopo, South Africa during the 'Sonic Mmabolela' residency, organized by Francisco Lopez & James Webb.
Many thanks to all those involved with the residency, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Above & Below The Limpopo River At Dawn

In the middle of an extremely hot day (around 36c!) cicada's call intensely in the heat while Chacma Baboons sparsely scream near the Limpopo river, while the wind sings and creaks in nearby fence.
Recorded at Mmabolela Reserve, Limpopo, South Africa during the 'Sonic Mmabolela' residency organized by Francisco Lopez and James Webb.
Many thanks to all those involved with the residency, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Fence And Forest By The Limpopo

Beautiful nature videos and use the relaxing music in youtube channel: https://www.youtube.com/channel/UCf4iMeUCDs0NFkJI03aJSbQ

Moonlight Sonata, byname of Piano Sonata No. 14 in C-sharp Minor, Op. 27, No. 2: Sonata quasi una fantasia,  solo piano work by Ludwig van Beethoven, admired particularly for its mysterious, gently arpeggiated, and seemingly improvised first movement. The piece was completed in 1801, published the following year, and premiered by the composer himself, whose hearing was still adequate but already deteriorating at the time. The nickname Moonlight Sonata traces to the 1830s, when German Romantic poet Ludwig Rellstab published a review in which he likened the first movement of the piece to a boat floating in the moonlight on Switzerland’s Lake Lucerne. Beethoven dedicated the work to Countess Giulietta Guicciardi, a 16-year-old aristocrat who was his student for a short time.

Relaxing Soft Piano and Spiritual Music. Music therapy for soul healing.
Enjoy Calm music for Meditation, Sound therapy, Zen meditation, Massage, Sleeping Music and Relaxing. Just concentrate and imagine...

Copyright © Spiritual Moment - All Rights Reserved


►For more relaxation and meditation music please subscribe my channel: http://bit.ly/1jvcMU8

Spotify

Beethoven Moonlight Sonata | Spiritual Moment | Sleep Background - Study - Concentration

A few cicadas (possibly Oxypleura quadraticollis) call together, slowly ascending to an incredibly ear-piercing chorus in which microtones blend in and out of each other to create a surreal high pitched drone which soon descends to quiet. They did this on and off for about an hour with intervals of 5 minutes or so between. This is the last time they called before they fell silent until dawn the next morning, in which they called so loud that they almost distorted my microphones, it was about 2-3 times as loud as the climax in this recording! In the background you can hear the rhythmic chopping sounds of a group of African Scops Owls (Otus senegalensis) calling in the gallery forest by the river bed.
Recorded in a dry section of the Limpopo River, at Mmabolela Reserve, Limpopo, South Africa, around 11.30pm on the 24th of November, 2014.
Recording made during the 'Sonic Mmabolela' residency organized by Francisco Lopez and James Webb.
Many thanks to all those involved with the residency, and to the people who lent me money which made my involvement possible: Mum, Dad, Oma and Rachael B.

Cicadas In The Middle Of The Night

A composition made from sounds recorded recently in Kiama, during a short break while I was heading down to Murramarang National Park on the south coast of NSW. 
A cool Autumn wind sings melodiously through the wires at the viewing platform for the famous Kiama Blowhole, which was exploding large amounts of coastal water out as I recorded this, surrounded by many spectators. Layered with hydrophone recordings I got in a large rock pool a hundred or so metres away. These two recordings were gathered within 30 minutes of each other and since they are so close I feel that they are intimately related. They live side by side every day, yet we would never be able to hear them together without the aid of listening devices such as these microphones.
Recorded between 2:30 and 3:00pm on the 28th of March, 2015. 

Wind Singing In The Wires By The Coast

Artaline - Пронизывающая аудиопростынка метрополитена

Composition made from unprocessed recordings of electronic appliances in my home, recorded with a coil pick-up.
Appliances recorded include, my plasma tv, my computer screen, my external hard drive, my computer mouse, my xbox 360, my freezer, my oven, my stereo amp, my blu-ray player, my heater, my old Yamaha keyboard, etc.

Electromagnetism Inside My Home

Dust Storm Approaching In The Outback

dawn, blue mountains

Molluscs crunching and squeaking, salt water being sucked in and out through rocks, black cockatoo's screaming hauntingly, long stretching fences rattling and droning, waves rolling and crashing, european bees buzzing on native flowers, wattlebirds, honeyeaters and froglets singing by a coastal pond, rumbling planes, all these sonic moments and more came together before me on this beautifully warm weekend in late Winter.
Jibbon Head is a small coastal headland at the north edge of the Royal National Park, NSW, Australia. It is surrounded by the suburb of Bundeena and on the other side of the bay the suburb of Cronulla. The main habitats on it include a small area of very endangered littoral forest, a large pond within that forest and coastal heathland.
All sounds recorded with omni's, contact microphones and hydrophones on the 1st and 2nd of August, 2015 and composed in mid August, 2015.

(Winter) Jibbon Head

"Matins d'Ariège" - Galavena (2015)
galaverna.bandcamp.com/album/matins-dari-ge

!!!!!!!!!!!!! Please experience it (only) on your (best) headphones !!!!!!!!!!!

MATINS D'ARIÈGE is an intimate, elementary and ecological auscultation of the place I used to live in Ariège (Pyrénnées - France). A kind of non-nostalgic "souvenir" which invites the listeners to experience the specific vibrations and the deep energy wich overfows from these simple rural sonic spaces. I'm trying here to share another angle of listening, another "regard", on an intimate countryside world. This landscape that seems familiar at first glance but only before the phonographic framework offers us the vision of a less generic rurality, more dramatic, more fantasmatic, more powerful !

This binaural work is balanced between abstract and concrete sonic propositions and between "raw" and recomposed field recordings. All the tracks are linked with one (or more) of our (western) 4 elements. Ariège is the place to be (in France) for decreasing... Would you take the time to decrease with us all the way to the end ? Really… to the end ?!.

///////// Matins d'Ariège is carbon-free…
No plane and no car have been used to record it !
All recordings were made between 2013 and 2014 in the village of Fabas (Parc Régional des Pyrénnées Ariégeoises, France) mostly with binaural or contact microphones :

"Matins d'Ariège" was composed between october 2014 and february 2015.

///////// Thanks to Enrico Coniglio, Patrick Mc Ginley, Daniel Crockaert, Pali Meursault, Marc Namblard, Felix Blume, Miguel Isaza, and Luis Antero for their careful listenings and their precious reviews.


Listen full album

L'INQUIET // Matins d'Ariège @ GALAVERNA //

First occurence of "Stones, air, axioms" with Jean-Luc Guionnet (organ) and Thomas Tilly (field recordings and composition). Created from the building and the organ of Cathedral St Pierre St Paul, for Microclima festival, Poitiers 2010.

SAA1 (air volume)

Excerpt from my new work with Peter Terner, available for free on Impulsive Habitat: http://www.impulsivehabitat.com/releases/ihab109.htm

Thousands Of Maggots Inside A Dead Kudu (excerpt)

While driving up from Calliope to Kroombit Tops National Park (Central Queensland, Australia) we got stuck in the lowlands due to temporarily impassable creeks. In the previous days there had been heavy rain and on this night the heat and humidity was intense. When these elements came together it allowed the subtropical anuran diversity of this place to really shine and the frogs of the area puffed up their throats and consumed the sonic space of the lowlands. The habitat of the lowlands is a mixture of subtropical woodland and farmland for grazing cattle.
In this particular chorus a stunningly large group of Desert Tree Frogs (Litoria rubella) screamed from a pond below while several species of Rocket Frogs (Litoria sp.) excitedly chattered in a roadside ditch. Also accompanying the chorus's included a Green Tree Frog (Litoria caerulea) chanting close to the mics as well as Roth's Tree Frogs (Litoria rothi), Eastern Dwarf Tree Frogs (Litoria fallax) and Salmon-striped Frogs (Limnodynastes salmini) singing in the surrounds. 
Unfortunately I wasn't able to record much of the many incredible lowland chorus's as I was on a scientific expedition so didn't have much time or freedom to record on this night, a night on which I heard more frog species over a few hours than I likely have over my entire life!
Recorded on the 31st of January, 2016.
Many thanks to Stephen Mahony (who also came along on the trip) for assisting me in ID'ing the frog calls, you should check out his amazing photos! https://www.flickr.com/photos/stephenmahony/

A Sound Emerged From The Wet, Warm Earth

striped marsh frogs/northern banjo frog/aquatic life
wet season in the kroombit mountains, qld
february, 2016

Morning Chorus: Above and below a creek in the Kroombit mountains

Beautiful New Age Music for Reading – Calm Music for Relaxation, Deep Sounds for Meditation, Brain Power, Focus & Concentrate at Work

Mental Ability

Robert Curgenven
Oltre

LINE_042 | CD + digital | Edition of 500 | January 2010

“Transparence” resonating dubplate | turntable | field recordings | guitar feedback | ventilator/fan

Gran Coda Andante (07:42) - Aria 1, 13th movement, recorded live at NRD, Torun, Poland, 25 March 2009

The “Transparence” dubplate, developed at O’ in Milan, Italy, works within the physical limitations of the vinyl medium, employing the object as sound source and also sound medium, to become an instrument in its own right. Using the non-linear acoustics of the gallery at O’, the dubplate was recorded, and later cut to disc in Berlin, at very low volume. This ephemeral audio signal becomes present during playback only at high volume, which subsequently produces, by design, a unique physical response from the room, air and amplification – creating deep undertones and blossoming overtones via these manifold resonances; simultaneously, the action of the stylus gently abraids the soft vinyl surface, causing the dubplate’s sound to gradually disappear and evolve, successively losing higher frequencies whilst acquiring new artefacts and crackle. OLTRE documents this degradation and transformation over two months of live performances. The integrated system of subsonic feedback from ventilators, acoustically gated binaural microphones, modal micro-variations in guitar feedback, field-recordings from across remote areas of Australia and the live, physical interplay of the turntable, dubplate and stylus, combine to create a field which moves beyond the original recordings and their individual spaces.

"The best 12k/LINE release in ages – dark, Lynchian eroded tape-loops and analogue menace. ESSENTIAL PURCHASE!

The starting point for composer Robert Curgenven’s work is his Transparence dubplate, developed as part of the O’A.I.R. Artist In Residence program at O’Artoteca, Milan. The dubplate was created from feedback recordings that were run through the O’ gallery space, resulting in a drone signal capturing the subtle resonances of the room. Curgenven uses the dubplate as an instrument in its own right, played back into another space as a means of interacting the original Transparence signal with the acoustics of its new playback venue. Further complicating matters, Curgenven’s dubplate is of course in a constant state of decay, in that every time he plays the signal the stylus erodes at the vinyl surface. On this album you can hear the composer at work, utilising the Transparence dubplate with all its all its booming bass and heavy crackle. You are in effect listening to the sounds of the turntable itself, with the faintest of drone sounds suggesting the original recording before the grooves had been so heavily abraded. The pieces here document two months of touring and capture Curgenven’s sound in various stages of its decomposition. Additional layers of site-specific feedback help keep the recordings fresh and interesting from location to location, and the themes of decline and disintegration operate within the same sort of poetic parameters as William Basinski. Highly recommended."
(boomkat.com)

"On this album Robert Curgenven brings together some of the recurring preoccupations of experimental music of the past 20-odd years : signal versus noise; the materiality of sound; the acousitics of particular spaces; playback devices as instruments; the integration of music and environmental sounds. Behind the music—to these ears at any rate—lurk such presences as Alvin Lucier, King Tubby, Murray Schafer, Elaine Radigue and turntablism. At the heart of Oltre is a custom dubplate produced by Curgenven and containing a low-volume signal.

The album documents five live playback situations with the dubplate. With the volume cranked up, the turntable stylus picks up its own signal from the speakers and starts to fee back. The colour and pitch of the feedback are shaped by the acoustics of the space on each occassion and the positioning of the deck relative to the speakers. Curgenven adds live EQ to the warm, spreading tones produced in this way and combines them with more layers; guitar feedback, subsonic sound from an electrical fan, the signal from gated binaural mics dunked in drinking glasses, and field recordings made in the Australian outback (where Curgenven lived for a number of years). Each of the performances builds on the core dubplate sound to produce distinct realisations of the piece. The dubplate, meanwhile, degenerates with each successive play, losing high frequencies and gaining crunchiness. All the careful attention to ‘process’ wouldn’t matter as all, of course, if the end result weren’t so compelling. But the dovetaiiing of harmonics and the beautiful layering of the sounds yeild an incredibly rich textural experience. The huge low end of “Gran Coda ANdante” underscores the ‘dub’ in ‘dubplate’, the ambiguous harmonies of “Largo Capriccioso” never quite settle, and the relationship between feedback, vinyl crackle and sounds such as cicadas in the bush takes many imaginative shapes.

Throughout the album Curgenven keeps an alert eye on the interaction between space, performer and technology—the effort pays off for performer and listener alike."
(The Wire, UK)

Thousands Of Maggots Inside A Dead Kudu (excerpt)

jeremy hegge