40 To Die Until I Died

lakeSkadar

Stereo hydrophone recording inside a glacier crevasse with exiting air bubbles. Recorded on the Morteratsch Glacier, July 19, 2025.

Morteratsch Glacier, July 2025

A drop rig recording from my favorite forest pond in Nåsten. The call of the (young?) Black Woodpecker was somewhat reminiscent of a handbrake on a wet rim. In the end of the recording the song (?) of a Long-tailed Tit can be heard as well.

Högbyhatt, Uppsala. September 1, 2025.
Zoom F3 + Clippy EM272 separated 1 m apart

A squeaky handbrake? No, a Black Woodpecker drinking

https://brianhouse.bandcamp.com/album/everyday-infrasound-in-an-uncertain-world

Everyday Infrasound in an Uncertain World (excerpt)

Recordings of the Black Sea at Corbu Plaja durinng the day combined with Shortwave and Longwave radio captures taken at the Orthodox shrine up the hill later that evening. Waves upon waves from the sea into the ether and bounced back again. Into your ear space now. Somewhat of  slight return to my album The Radio & The Sea from a few years back, sans hydrophones. The antenna in the photo was visible from the shrine but I have no idea if it was functional or simply a relic from the times when it was all part of a military base.

Corbu Plaja op 237

Two periwinkles munching on a seaweed stipe. Their varying tempos and soft crunch created an entrancing rhythm. 

Extract from a 20m recording by Julie Brook's tidal sculpture Tide Line along the Fife coastline, created as part of the national coastal arts festival Beach of Dreams. 

Species: Common Periwinkle (Littorina littorea)
Location: Cellardyke, Fife, Scotland.
Date and time: 16 May 2025 at 14:52
Habitat: Coastal
Gear: Sound Devices 744T, Aquarian Audio H2Ds

Periwinkles Duet

Mercredi 3 septembre le bulletin météo annonçait une vigilance vent violent. Le pêcher n'y a pas résisté.

On Wednesday, 3 September, the weather report announced a high wind warning. The peach tree couldn't resist.

Vent violent

A recording of the life in dead seaweed washed up on the shore. Recorded with a LOM Audio Geofòn, Stille & Klang contact mic and a Stille & Klang soil mic into a Sound Devices MixPre 3II - the three signals were carefully balanced and a bit low eq applied.

Life in seaweed on the beach

The Pines. Audio installation and publication. 2025

The Pines is a multi-channel audio installation and publication which documents the sound of a forest over the course of an entire year. Stereo recordings made from halfway up a pine tree in central New York State were collected using technology that allowed for continuous remote recording of 8760 hours. The recordings were manually analyzed using bioacoustics applications and composed into four-hour long chapters each representative of a season. The work is a representational collage of the yearlong acoustic ecology of a forest and asks, how might a soundscape differ when a human listener exits the landscape?

Published by Shelter Press & The Dim Coast
4xCD, with booklet. 240 minutes.
Words by Robert Macfarlane
Foreword by jake moore

Recorded continuously from May 2021 – April 2022 in Tioga County, New York.
Edited in Munich, Germany 2022–2024.
Film stills / research photographs / collage by Joshua Bonnetta.
Designed by Joe Gilmore.
Mastered by Giuseppe Ielasi.
Commissioned by The Dim Coast

The Dim Coast 23 / Shelter Press 157
Work made possible by the generous support of the Canada Council for the Arts / Conseil des arts du Canada.

The Pines III Autumn

Late autumn at the Adishi glacier.

Capturing the clean and quality sound of the glacier presents its unique challenges to overcome. One is the logistics and fitness of even reaching such a place, as they are mostly in high, remote mountains. Another is reaching the suitable area of the glacier, which is huge and presents a very demanding terrain that takes you time and energy to get to. Most easy access is at the front of it, the tounge where the ice ends, yet that is where the water comes running out of under the glacier. So in order to avoid the noise of the rushing water, I needed to reach a more upper stage of it, by following it along the edge. That presents another difficulty as the edges of a mountain are "eaten" by the glacier therefor they are completely crumbling and unstable with a high chance of collapse. You can hear stones falling down continuously. When finally reaching this narrow edge, I managed to come closer to the heart of this ice monster. This is where I was able to capture the ice avalanches and rock falls from much closer and farther away from the noise of the river. You can feel the vibrations and low rumble frequencies. Standing so close to it and witnessing its process is very different from anything else; it somehow feels like something extraterrestrial, something we are never used to witnessing in our lives. Yet it is a whole complex system by itself, existing there, doing its thing, basically just water.

40 To Die Until I Died

MikeHoolboom

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