This field recording is part of an ongoing sonic investigation of decaying wood bark. It is a faint sound but if you focus, you can hear, alongside my own manipulation of the wood chips, a faint crackling noise emitted by the heap of wood chips. Due to the intense summer heat perhaps?

Funnily enough, you can also hear, on various occasions, a crackling forest grasshopper (Trimerotropis verruculata)crackling in the background. What starts out as a faint crackling soon turns in to a cracking call and response with this grasshopper. 


Location: 
Als Habrich Trail, Squamish, BC 
(unceded traditional First Nations territory)

Max elevation: 1220 m

Equipment used: 
Zoom H1N
Sony Stereo Lavalier Microphone (ECMLV1)

crackling

just a recording of me jamming with a pinecone 
recorded at home on a Zoom H4N in Vancouver, BC in August 2022

pineconer

Middle East PhoNographic Mornings #10/15
Each Morning of the World #10
Downtown Beirut ~ near the Lebanese parliament and Grand Serail buildings ~ Lebanon.
"Habbaytik Ya Bint Beirut"
joseph doumet
https://chaquematindumonde.bandcamp.com/album/middle-east-phonographic-mornings 
~~~~~~~~~~~~~

The Arabic title:’ Habbaytik Ya Bint Beirut’ translates to 'I loved you Beirut's daughter'.
These field recordings were taken in Beirut during the October 2019 revolution. The collage is done in a non-faded, brutal kind of sequence in order to show the intense and ever present feeling of the unknown since on the ground of the Lebanese revolution, it was really never sure what was going to happen next. The intention is to take the listener to relive the collective struggle and anger of the Lebanese people as they express their frustration towards a murderous political regime.

The collage’s first field recording is of young musicians singing Che Guevara, an ode to the Latin American protests happening simultaneously, using various instruments, most of them makeshift instruments found on the grounds of the protests.

The second field recording is the sound of a mob of angry protesters, old, young, male female, banging, scraping and tapping metallic surfaces around downtown Beirut, near the parliament building, creating a cacophony of metallic noises.

The third field recording is of an old man singing local folk songs on his electric ‘Ud, we can hear an electroacoustic slap back delay effect on his voice.

-Habbaytik Ya Bint Beirut-

Recorded as part of the 16th edition of the Tsonami Sound Art festival in Valparaiso, Chile.

Prior to settler contact and heavy industrialization, the Maplewood Flats in so called North Vancouver, BC provided abundant food for the Tsleil-Waututh community, stewards of that land since time immemorial.The region featured contiguous mudflats across Burrard Inlet and was filled with clams, crabs, fish and abundant life. One of the last remaining pieces of non-industrialized land was turned into a bird sanctuary without any consultation with the Tsleil Waututh community by the government, in the name of ecological conservation. In this casual interview, I talk with Irwin Oostindie (President of the Wild Bird Trust which manages the Maplewood Flats) and Les George (Tsleil Waututh Nation and great grandson of Chief Dan George) about the 'two sides of the mouth' duplicity of colonial Canada

for more about the wild bird trust of british columbia: https://wildbirdtrust.org/
for info about the tsleil waututh first nations: https://twnation.ca/

decolonizing the mudflats

For the Unexplained Sounds Group Electroacoustic Lebanese Anthology, I decided to experiment with contact microphones and found objects. These recordings are influenced by Aaron Dilloway's (Hanson Records) wonderful art, which was a big help & inspiration for me during my hardest times.

Collage 1

Collage 2

Collage 3

I am a Lebanese farmer and artist interested in recording stories about relationships to the land

https://obsidiantapes.bandcamp.com/follow_me

j. doumet

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