Drone experimental

Far from static clouds and close to the moving beam in pursuit as an overflowing blue wave and a star beneath, appearing along with the moon.

Text by FH HF.

Anasisana - Infinite Horizon

Based in Texas, USA, Field Designer of Language Instinct features the liminal space between composure and harshness, like the clash of force. Capturing the contrast of brittle elements shifting with the raw, unpredictable nature of distortion - both expansive and constrained at once.

Amulet of Tears 055: Field Designer

Music: Field Designer

Artwork: @anasisana

Amulet 055: Field Designer

e(x)forma is a silent critique of the cult of appearance and the aesthetics of disaster.

numb

KӢR - Dimiskija

From Keys to the Fields 17: øjeRum "Under Gange"

øjeRum _ Above Dreams Hands Now Flee III

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination. 

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms. 

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony. 

Releases March 29, 2019 via Hallow Ground 

Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600 
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden. 
Mastered by Giuseppe Ielasi 
Designed by Ruth Stofer

Vegetal Negatives

Coastal Inversion

Released on Longforms Editions March 2019
The title Stereo'frogi'ic is a play on the word stereophonic – to play with the illusion of multi-directional audible perspective – in this case presenting a quasi-bioacoustic sound piece, crafted from found recordings of frogs, insects, a recording of an animal scattering in the bushes and other 'vocal' animals wavering about in a stereo field. This piece was recorded and edited in the summer of 2019.

I have used slightly modified animals sounds to create aural illusions, morphing the perception of animal and machine generated sounds or raw recordings and digitally effected sounds. I wanted to create a tempo that would mimic something similar to the meditative sense you can experience from the flow or sound of the wind and other elements, when you are sitting in an open field while recording.

Drone experimental

lATE M