Cloistered Anatomy

from KR099: PITA / FRIEDL - same
2xLP / download out on february 17th, 2023

Pita / FRiedl

Pita / Friedl

PITA / FRIEDL - Caciara (excerpt)

‘Plateau’ is a auditory time-lapse history of Scotland’s Cairngorm high plateau. It is composed of four sections corresponding to the fluctuations of cold (Stadial) and warmer (Interstadial) climatic conditions: 

(1) The Last Glacial Maximum / (Late) Dimlington Stadial (27,000 to 16,000 BP)
(2) The Late-Glacial Interstadial (c.14,670 to 12,900 BP)
(3) The Loch Lomond Stadial (12,900 to 11,700 BP) 
(4) The early Holocene (11,700 to c.9,000 BP)

‘Plateau’ is part of ‘Looking Up’, a research project focusing on the post-glacial landscape, archaeology and heritage of the Scottish Uplands, led by Sam Kelley (University College of Dublin, School of Earth Sciences), Graeme Warren (University College Dublin, School of Archaeology) and Alice Doughty (University of Maine, School of Earth and Climate Sciences). 

The technique used to determine the timing of deglaciation on the high plateau involved project scientists collecting samples of rock containing quartz grains — a common mineral that is resistant to weathering. The rock samples were crushed, pulverised, sieved and sorted, before being subject to magnetic and mineral separation in order to isolate the quartz grains which contain ‘cosmogenic nuclides’ from the other minerals that make up the rock. In turn, these nuclides provided a direct means of timing their prehistoric exposure to cosmic radiation as the overlying cover of ice finally melted. In total, these samples give us a picture in space and time of the former glaciers in the Cairngorms in the face of warming post-glacial climate.

This process of sample collection and analysis directly informed the composition of ‘Plateau’. Stones from the locality were collected and their surface interactions recorded at high frequency sample rates. The resulting waveforms were then subjected to granular analysis, so that ‘single-cycle waveforms’ displaying tonal characteristics could be isolated and extracted. These grains of sound became the foundation of the musical composition.

https://www.ucd.ie/archaeology/research/lookingup/

‘Looking Up: the future of early prehistoric heritage in Europe’s mountains’ is funded by the Irish Research Council’s COALESCE programme 2021–2023 (IRC COALESCE/2021/78) and is coordinated by University College Dublin’s School of Archaeology and School of Earth Sciences, with partners in University of Maine, Purdue University (both USA) and Aberdeenshire County Council.

https://www.richardskelton.net/land-music/plateau

Plateau

advance track from the forthcoming album "Lichtung" by zeitkratzer director Reinhold Friedl (piano) and Radian member Martin Siewert (guitar). CD / DL out on january 12th, 2024

Lichtung

REINHOLD FRIEDL / MARTIN SIEWERT - Gestade

Live at Modular San Diego 12/10/23. This performance was played on the Prism Circuits Quasar System along with a few guitar pedals including the Eventide Space, Red Panda Raster ll and the Jomox T-Resonator ll.

Modular San Diego 12/10/23

Sophia Zhuravkova - Unseen [Cassette, Release June 19th]
ny-agenda.bandcamp.com/album/unseen

Music by Sophia Zhuravkova

NAN02 © 2020 NY AGENDA & Sophia Zhuravkova

In what could be seen as an effort to redefine or decode the core idea of the field recording as simply the aural equivalent of a photograph; the works of Zhuravkova casts an effortlessly clear spotlight on a new vision of nature. A nature which is connected and wi-fi accessible, a nature of which every part is browsable via satellite view in Google Maps. A nature which might never know true solitude beyond that which we project unto it. 

And yet our idea of nature as a place outside of society is inherently a definition of solitude due to its lack of people. One might have thought that the advances of modern communication technology would make us immune to solitude; as we are always a phone call, video call or text message away from just about anyone else. Does anyone even enter a forest without the safety net of a smartphone these days? However, the biology of our minds cannot be fooled - we are hardwired for physical contact. In light of this, the voice samples on Unseen only serves to haunt the album with a hollow presence, enforcing the notion of solitude. 

But this is not solitude of the desolate kind. While equally tapping into the emotional potential of longing, there is tranquility and harmony in the soundscapes Zhuravkova envisions. The opaque haze of these compositions keeps one grounded in their eternal presence. This experience which Zhuravkova aims to capture reveals an intimacy with oneself in our relation to the “nature” of the outdoors. However transparent the world may seem through the lens of modern technology, there is still the possibility of the unseen. 

Vision itself is a key element to Zhuravkova’s music; as her daytime job is as a video editor, she often draws from this experience when composing. “It happens naturally” she says. “For instance, as a visual story unfolds it has a rhythm, a picture, a sound, and a meaning. They come together to produce an image in one’s mind. People only hear sounds, while I know all the intimate feelings, which were put into each track.”

Words by Simon Eliasson

Unseen

NAN02 - Sophia Zhuravkova - Unseen

Taken from 'Rhythmic Landscapes', out now on Takuroku - www.cafeoto.co.uk/takuroku

"I wanted to make something which reflected a scene of nature, outside of the city, somewhere which has become more and more attractive to be over the last few months... So I made these synthesised percussion sounds to be almost real and wooden, which are weaving in and out across different tempos, playing patterns that are somewhat regular, but always changing slightly. This is meant to be analogous with the dawn chorus, or any scene of nature where lots of different small events are happening, layered, at once... But I only had the dawn chorus, so I recorded that at 4am on Monday morning. These individual bird songs weaving in and out, repeating, different birds joining and leaving throughout. So it's meant to be 3 different sound environments, or imaginary frames of an environment at 3 different moments." 
- Cam Deas

TR049 - Cam Deas - 'Rhythmic Landscapes 2'

BYRON WESTBROOK - Electric Blued

Anthéne, the music of Bradley Sean Alexander Deschamps. He is based in Toronto, Ontario, Canada and also curates the Polar Seas Recordings label. His compositions are primarily created using electric guitar and synthesizers, with field recordings and occasional acoustic instruments. Over the past few years his music has been released on Home Normal, Constellation Tatsu, Past Inside the Present, among other labels.

Anthéne - the slow wave [GRFTPS006]
available for pre-order on giraffe tapes bandcamp exclusively limited edition cassette / digital -
https://giraffetapes.bandcamp.com/album/the-slow-wave

Giraffe Tapes - Anthene Live [19.02.2021]

Taken from the album Synopsis Seriation released as 2CD and Digital

Hecker 'Synopsis Seriation (2/2) (excerpt)' (EMEGO 256)

Ny Agenda is a music publisher operating from Malmö city and it's sorroundings.
Organized by @prinsemanuel
NAN01–Hamuli Plene - Midelaghe l [CD, Out now]
NAN02 - Sophia Zhuravkova - Unseen [Cass, Out now]

NAN02 - Sophia Zhuravkova - Unseen

–NY–AGENDA–

Recent comments

amnfx

Koyil

Zhe Pechorin

Phil Struck

Related tracks