Impressive Rooftop Spring Dawn Chorus - Alentejo

In this new digital edition, we welcome Demetrio Cecchitelli from Rimini, Italy. He has released music with labels such as Sounds Against Humanity, Healing Sound Propagandist and Dornwald among others. ‘Tense’ is an album that was originally composed for a theatre in Santarcangelo di Romagna and in this digital release, it is given a new context. The record explores themes of tension, constructing moments of suspense and quiet, as it both surprises and lulls the listener.

Tense

wlrep003 Demetrio Cecchitelli - Tense

Komabase - beyond

vertikal

A new 5 track mini album released on Hibernate Recordings.
https://hibernate.bandcamp.com/album/nia

Charitable fundraising has been hit very hard by the COVID-19 so as part of #TwoPointSixChallenge we plan to release 26 free download/pay as much as you can afford Ep or albums on Hibernate Bandcamp page over the coming weeks. 100% income being donated to charities. All proceeds from this EP go to Medicins Sans Frontiers.

blochemy - Nia (Hibernate) Sampler

Melancholia Streams

Ierapetra Harbor - Past Midnight

taken from the project 'mineral veins' (dissolves)  natural substances breaking down under environmental pressures, interactions and distortions. 

(recorded using JrF d-series hydrophones & adapted geophones)

mineral veins | Lugnas Dissolve (extract) - headphones / speakers needed

Headphones are highly recommended. The most appropriate and natural listening levels would be somewhere between 45% to 55% of your sound equipment's volume levels. The quiet beginning gradually grows louder, and then slightly reduces again to a 'status quo'. The recording, as presented here, runs from approximately 05:30 to 07:25: from just before first light to after sunrise.

The first and second dawns of 2021 were very windy, here. But the third dawn was quite calm. I was able to make this uninterrupted recording at one of my favourite local listening places. It's a place I love to go walking; and, just as much, love to sit, to listen, and to look. A place for peace, inspiration, and healing. And, of course, also to record.

The recording begins very quietly, but very gradually increases in volume. I've omitted the first part of the recording, which is even quieter, although it contains a few interesting obscure episodes; and one very vocal nearby koala. I felt that most listeners would be impatient with nine or ten minutes of mainly 'silence', before the birds begin to sing.

Given the quietness of this beginning, there is some general background 'white noise'. In part, this noise is just natural environmental sound; no space with an atmosphere is ever 'absolutely silent'. But it also probably includes some self-noise of the microphones, given that the preamp gain levels were relatively high. Although 'denoising' does mitigate such noise, I find that I am very rarely ever comfortable with the results of 'denoising', even when gently applied.

In all listening, there is always also, necessarily, the presence of the listener. There is no such thing as an act of 'listening' without a 'listener'. There is no such thing as 'sound' without a 'hearer of sound'. Yes, there is something that we may describe as 'purely physical vibration', which can exist, in some sense, quite independently of any particular being that is capable of 'hearing' such 'purely physical vibration' as 'sound'. But, very strictly speaking, such 'purely physical vibration' is absolutely not 'sound', as such, because 'sound', very strictly speaking, is a special kind of perceptual experience, a perceptual phenomenon, that can only be perceived and experienced by a perceiver, an experiencer, who is perceptually and experientially conscious, in an appropriate form and way.

John Cage once sat in a very sophisticated soundproofed anechoic chamber, attempting 'to hear pure silence'. He realised that there can be no such thing as 'hearing pure silence' because, even in 'pure silence', the listener will hear the sound of his or her own listening organism and listening organs. The presence of the listener cannot but be heard by the listener. The presence of the listener means that 'pure silence' is, in principle, impossible.

For me, this applies also to the presence of the microphones and the sound recorder. Like the organic listener, these also produce their own internal physical electromagnetic vibrations, which they cannot but also record, since recording such vibrations is precisely what they have been designed to do. Some are quieter than others; but, in principle, none can ever be 'absolutely silent'. To my mind, microphones and sound recorders are, to recollect Marshall McLuhan, 'extensions of our nervous systems'; and, like our nervous systems, they contribute 'noise' to every act of 'listening' and 'hearing'. Of course, it's preferable that the difference between inevitable intrinsic 'self-noise' and significant 'signal' is high, rather than low. But the fact of the matter remains, that, by fundamental principle, 'noise' and 'signal' cannot be absolutely separated. Analogically, to recall Wittgenstein, there is no such thing as 'a rod without length'. That's a logical contradiction, and a physical contradiction. The same applies here.

2021.01.03 A Quiet Dawn. Summer.

on the outskirts of turpan city. 
https://jeremyh.bandcamp.com/album/june-august-2019

june - august, 2019

wolf spider chorus. yarnaz valley, xinjiang

This is the third episode of the Disquietude podcast of ambient electronic music.

The goal of the Disquietude podcast is to collect adventurous work in the field of ambient electronic music. What follows is all music that captured my imagination, and I hope that it appeals to your imagination as well.

All six tracks of music are featured with the permission of the individual artists. More information at disquiet.com/podcast0003. Below is the structure of the episode with time codes for the tracks:

00:00 theme and intro

02:01 Dance Robot Dance's "Tangents"

09:43 Jeannine Schulz's "Beacon"

14:50 Orbital Patterns' "Found in the Fog"

22:15 Alan Bland's Boulder siren field recording

26:58 Heymun's "Ambient Cello & Strings on the OP-1"

29:31 Kin Sventa's "Octatrack Saxophone Drone"

35:56 track notes

40:01 outro

41:39 end

Thanks for listening.

Produced and hosted by Marc Weidenbaum. Disquietude theme music by Jimmy Kipple, with vocal by Paula Daunt. Logo by Boon Design.

wolf spider chorus. yarnaz valley, xinjiang

jeremy hegge