The Sound of Field Recording

Ice recordings from Antarctica and Switzerland

04. Brash Ice

Reconfiguring the Landscape

Speaking Spaces 2: Surfaces from Graz

Presence / Nærvær

Impossible Moments from Venice 1

Impossible Moments from Venice 2

Remote Sensing on the Beach

A Colour For Autumn is the second in a series of editions from Australian sound artist Lawrence English that trace the experience of seasonal transit. Following on from For Varying Degrees of Winter (published by Baskaru), A Colour For Autumn reflects on and explores the transitory nature of Autumn - counterpointing the uniformity of the ‘term’ with the varied qualities expressed by landscapes in different countries.

Like all environmental phenomena, seasonal variation is highly localised, and expressed not only visually through vegetation etc, but also sonically as insect life, leaves under foot and fauna all change in response to the climatic shifts. Northern and southern hemisphere experiences of Autumn are strikingly different and it’s also this contrast which rests at the very centre of A Colour For Autumn.

Recorded between 2007-2009, this series of pieces acts almost as small auditory portraits of given spaces in the often gentle throes of Autumn - ‘Droplet’ for example features field recordings gathered in Notre-Dame De La Garde in Marseilles, capturing the infamous ‘Mistral’ wind as it blows the first cooler breezes of Autumn into the city in 2007. By contrast ‘Watching It Unfold’ measures a more Australian experience of Autumn - a series of open static phrases, shifting ever so slightly - a reflection of the slow changes of the season around English’s home of Brisbane.

Working with a range of analog approaches, A Colour For Autumn is a tonally rich affair, sourcing much of it’s sounds from a mixture of instruments, field recordings and assorted electronics. A Colour For Autumn also features contributions from New Zealand’s Dean Roberts (whose vocals adorn the opening moments of the album) and Viennese musician Christian Fennesz, who offers intricate clusters of electronics in ‘The Surface Of Everything’.

This is an album of subtle variation, graded hues and tonal warmth, all of which act as an invitation for the listener to consider their own localised transition of Autumn.

A Colour For Autumn

Watching It Unfold

Performed by members of Ensemble Intercontemporain
Odile Auboin, viola
Emmanuelle Ophèle, bass flute
Eric-Maria Couturier, cello
Alain Billard, contrabass clarinet
Recorded live at Philharmonie Essen on October 25th, 2015

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We met as Sparks — Diverging Flints
Sent various — scattered ways —
We parted as the Central Flint
Were cloven with an Adze —
Subsisting on the Light We bore
Before We felt the Dark —
A Flint unto this Day — perhaps —
But for that single Spark.

Emily Dickinson

We Met As Sparks (2015) for bass flute, contrabass clarinet, viola and cello

Toxic Colour

Ghosts of the Children

Don Quixote Concerto (2021), Memories of the squire Sancho Panza, for a pianist, his assistant and a large orchestra


Performed by SWR Sinphonieorchester conducted by Brad Lubman
Piano: Christoph Grund - Assistant and percussion: Jochen Schorer
Recorded live at ECLAT Festival in Stuttgart on February 2nd, 2024

Impossible Moments from Venice 2

Natasha Barrett

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