From my new one out next week! (July 29).

dawn, always new, often superb, inaugurates the return of the everyday

overlooking the gardens, rhythms blur - from Dawn, always new, often superb...

Elements+Clouds+Wogglebug+Octrl ////// Enjoy springtime energy !

RASEREI

Telinga Modular - African Wood Owl using the stereo foam and EM-272 capsules. By George Vlad, Mindful Audio. 

With the included stereo foam the Telinga Modular can be used in stereo PZM setting. A mono foam is also included and can be switched on location without any tools.

Copyright George Vlad, Mindful Audio. For more information please visit https://mindful-audio.com/

For more information on the Telinga Modular please visit: www.telinga.com/products/pro-series/kits/telinga-modular/

Photo by George Vlad. Sponsored Content. 
www.telinga.com

African Wood Owl - George Vlad Telinga Modular Stereo EM272

Through The Northern Sky by Bålsam (@anthony-asher-yates)

Mastering by Seth Bellow

2022 © Atlantea Records

Bålsam - Through The Northern Sky

Diseño sonoro como parte de proyecto Iluminando las sombras de la selva valdiviana. Proyecto Fondart Difusión Regional / Región de Los Ríos, 2022.

Soñé que nos inundábamos

‘Floating World’ is an album by US based artist Todd Gautreau, who records as Tapes and Topographies. It was created in response to a collaboration project called Thirty-Six Views of Newland Island with British artist Jonathan S Hooper. The album follows last year’s ‘Amplitudes’ and is another entry to Todd’s discography, alongside music on labels such as Past Inside The Present, Dronarivm, Shimmering Moods and his own Simulacra Records.

Jonathan S Hooper is a mixed-media artist based in London, who works with paintings, photography, sculpture and film. Thirty-Six Views of Newland Island is an evolving multi-factorial project in which Hooper continues his exploration of ontological concepts of time and space through the landscapes of his native Cornwall. Specifically, the project focuses on a small uninhabited outcrop called Newland Island, which lies just off the Cornish coast in the Atlantic Ocean’s most westerly margins. The project’s title is inspired by Katushika Hokusai’s series of woodblock prints of Mount Fuji, drawing in Hooper’s broader interest in Japan’s artistic heritage. It also adds to the cultural connection between Cornwall and Japan first established in St Ives, in the 1920’s, through the collaboration of master potters Bernard Leach and Hamada Shoji. A collaboration that continued through much of the twentieth century.

A particularly fascinating consideration is that Mount Fuji is an instantly recognisable geographic icon, yet in contrast, Newland Island is unknown to most. This frees the project from the limits of preconception, opening up opportunities to explore further ideas of landscape, and our place within it. Through collaboration with Gautreau (who is based some 5000 miles away), Hooper sought to give creative licence to a composer, in order to encourage another viewpoint. He had first discovered Todd’s music through Elizabeth Alker’s BBC Radio 3 Unclassified programme, and subsequently reached out to invite him to work on a soundtrack, which has now become ‘Floating World’. He sent photographs of his paintings, scans of the polaroids and his studio notes; the work developed organically into a collection of nine soundscapes, in which Hooper sees as independent views of Newland Island in their own right.

Hooper will be working to share this project through galleries and installations and we felt it was apt to assign full creative control over the CD packaging design to these two artists. Todd, also a graphic designer, has pulled together some of the polaroids for the outer and inner sleeves. There is a 16 page booklet included, which contains paintings, further polaroids and text from both artists. This is also included with the digital version of this album.

Written and produced by Todd Gautreau
Mastered by James Edward Armstrong
Paintings and polaroids by Jonathan S Hooper
Design by Todd Gautreau

https://www.jonathanshooper.com/

floating world - reflections on 36 views of newland island

wlr126 Tapes and Topographies -Floating World - Reflections on 36 Views of Newland Island

In February of 2022, as Storm Eunice worked its way across the UK, two people, namely Greig Baird and his partner Susie Baird set out for a rare weekend away on the North Coast of Devon. The weather was rough, but life affirming. The North Devon coast spectacular and dramatic; made more so by the waning storm.

This collection is a set of sonified memories; moments in a particular location at a particular time. A creative recalling. A set of sound postcards if you will.

For Susie. As always, thank you. I love you.

Special thank you to Uma Baird.

Thank you to Brad Deschamps and Polar Seas Recordings.

Also a big thank you to James Bernard.

written and produced by Greig Baird 
mastered by James Bernard at Ambient Mountain House 
photography, design and layout by Greig Baird

psr-066

A Shared Place

Parked Car Daydream

'Parked Car Daydream' - A Shared Place - [Polar Seas Recordings, 2023]

"Mesh" (2022-2023) for ensemble and live-electronics, here live-performed by the Nadar Ensemble at the Concertgebouw Brugge on 26.3.2023 (Yves Goemaere, perc & live-electronics; Dries Tack, bass clarinet and live-electronics; Thomas Moore, trombone & euphonium; Nico Couck, e-guitar+FX; Pieter Matthynssens, cello; Stefan Prins, live-electronics, Wannes Gonnissen, sound engineer).

Additional samples from Rainforests in Borneo and the Amazon recorded by David Monacchi for "Fragments of Extinction".

Commissioned by Nadar Ensemble & Concertgebouw Brugge. Supported by the Flemish Community.

----------------

Even though "Mesh" can be performed as a stand-alone composition, it was premiered as part of the evening-length project "Der Wanderer 2.0" which I developed together with the Nadar Ensemble in 2023. In the version presented in the context of this project, the audience is wearing headphones on which part of the soundtrack and amplification is played back, while other parts of the soundtrack and amplification are heard through the loud speakers on stage. This splitting allowed for an extensive manipulation of sonic depth, nearness, distance, foreground, background, blanketing and uncovering. The audience was encouraged to play with the headphones, taking them on and off freely, listening to only one ear, etc., creating their own listening experience.
Of course none of this can be replicatd on this live-recording, in which the soundtrack is rendered to stereo.

Mesh (Stefan Prins, 2022-2023)

Naviarhaiku 326

rumbling in the mist
a whale soars towards the light -
stories from below

how deep? (v/a out now on Naviar Records)

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

Full Story + Photos: https://acousticnature.com/journal/field-recording-trip-vermont-ice-storm 

I recorded this soundscape at my friend's cabin in Vermont near the Green Mountain National Forest. The forest was covered in a thick layer of ice from a recent freezing rain storm. 

While I was chopping wood, I noticed the sound of ice crystals falling to the forest floor and shattering. The sound was constant and gusts of wind caused larger crystals to fall. 

As soon as I became aware of this subtle sound, I knew I had to record it. Because I didn't know how much battery life I would get in the frigid temps (15°F), I waited until 11pm to setup my recording gear. I did this to maximize my chance at a noise-pollution-free recording hoping that most people would be asleep.

To setup the recording I wanted to bungee cord my binaural microphone to a tree, but it was too difficult and too cold to have the patience necessary to get it right. Instead, I simply put the microphone on top of a snow bank facing the forest and the D100 in a dry bag next to it.

I was shocked to find the D100 still recording when I returned at 7:26am.

In total, I recorded for 8hr 22min and ended up with 23min of usable audio (≈4.6%). In post-production, I added a lo-cut filter at 180Hz, 12dB/octave to remove some low-frequency wind rumbling, and increased the loudness slightly to -30LKFS. 

Recorder: D100
Mics: DIY Binaural Housing
Sensitivity: 4
Lo-cut: OFF
Time: 11:04pm
Wind Protection: 2 Winter Hats

To learn more about me, my gear, or field recording in general, please visit my website at www.acousticnature.com

Thank you for reading and listening. ♫
-Jared

Shattering Ice Forest | Freezing Rain Aftermath in Vermont

exploring the overlooked and underheard through located sound, film and photography

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

JezrileyFrench

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