𝓇𝑒𝓁𝑒𝒶𝓈𝑒𝓈

Spread your Wings III

explore the sound of our environment through the art of field recording

🍃 Field Recording Soundscape Releases & Contributions

vandaag

Creative Commons License

• 𝘁𝗵𝗶𝘀 𝗿𝗲𝗹𝗲𝗮𝘀𝗲 𝗰𝗼𝗺𝗲𝘀 𝘄𝗶𝘁𝗵 𝗮 𝗣𝗗𝗙 𝗯𝗼𝗼𝗸𝗹𝗲𝘁 • 

For its third release, forms of minutiae presents ‘possible moistures’ a non-profit compilation of field recordings and soundscape compositions derived from various aqueous environments and their autochthons. 

This gathering is made of 16 sonic encounters collected by field recordists and sound artists across the world. Artists were invited to submit sounds from marine and aquatic-related events, phenomena, geologies, fauna, flora, geographies, and technologies. From the thawing acoustics of Icelandic and Antarctic glaciers to the non-human voices of Australian wetlands, while meeting sea and river dwellers, the listeners embark on a sonic journey across the globe’s possible moistures. 

All proceeds from this release will be donated to the organisation Atelier Bleu - Centre Permanent d'Initiatives pour l'Environnement de la Côte Provençale to support them in their aim to conserve and protect Posidonia Oceanica seagrass species and to accompany ecological transitions on the Mediterranean coastal lands of the Côte Provençale (France) by encouraging eco-responsible behaviour through education, training and awareness actions. They especially work closely with the region’s youth to raise their environmental awareness by offering workshops and activities to discover the maritime and terrestrial environments: underwater snorkelling trails, guided walks, etc. 

This compilation has been made available to the Atelier Bleu as a resource which they can present to the children as part of their educational workshops. 

> more visual and textual info about each contribution available in the PDF or by clicking on them above. 

> Atelier Bleu: www.cpie-coteprovencale.org  

PDF → texts and pictures by each artist - unless mentioned otherwise
cover picture by stéphane marin 
curated by mathieu bonnafous and pablo diserens 
forms of minutiae — fom03 — 2021

pdf & digital

pablo diserens — tidal dwellers

Published on @audiovisualsatmosphere [cassette / digital - 2022]

Originally conceived and shown as a sound installation, "dusk — dawn" invites the audience to listen to a city from dusk to dawn by embodying a figure who wanders from one acoustic encounter to another. What happens to the urban soundscape once its human population is asleep? Putting the emphasis on the little heard sounds of a city, this field recording composition allows listeners to dive in buildings’ drafts, bats’ calls, empty train stations’ ultrasounds, singing escalators, talking swans, humming electrical junction boxes, and
birds’ dawn choruses. Documentary at times, surreal at others, the piece proposes an electroacoustic excursion by mixing and processing a set of sounds recorded at night in the city of Berlin during the lockdown and curfew period of spring 2021.

Recorded and composed by Pablo Diserens
in Berlin, Germany — June 2021

Recorded with Sound Devices MixPre-6 II, Sony PCM-D100, LOM's Usi Pro, and LOM's Geofón

Mastered by Adam Badí Donoval

Pablo Diserens – dusk — dawn [AVA99]

forms of minutiae presents 'live at kwia’, a fragment of a recorded electroacoustic performance by field recordist and artist @pablodiserens

→ f-o-m.bandcamp.com/album/live-at-kwia

Amid winter, on one of the last nights of 2021, a group of people gather in the welcoming womb of a listening bar. Bordered by tiled walls and embraced by a simulated fog, cradled listeners soon forgo outer fluctuations. From a distance, dogs’ barks and bats’ calls reverberate into the space, Pablo Diserens’ concert has begun. What unfolds next is a weaving of biophonic field recordings with hums of blown and stroke glass bottles. The emerging electroacoustic ecoscape oscillates between animal stridulations and Helmholtz resonances. Wavering wind pulses and mirroring clangs intertwine with ultrasonic drones bringing the audience into oneiric realms. Ants, grasshoppers, and crickets infuse the room with vespertine warmth. Windows ooze with condensation. Winter seems far, as if morphed into a balmy summer night. A new landscape materializes, birthed by the set of frequencies at play. Buccal air gently throbs in and out of the glass vessels in glistening gestures. Pablo blows into their empty bottles one last time before handing the stage to a sizzling underwater mixture of rain drops and insectean accents. 

The recorded fragment stops here, yet, that night, the formed sonic window into this temporary landscape pursued its course. The auditory encounters that followed now only exist in the hazy memories of wintertide listeners. 

~ 

Pablo Diserens (they/she) is a field recordist, musician and artist devoted to non-human realities, attentive listening, and possible forms of interspecies coexistence. In solidarity with a wounded planet, their practice invites people to attune to the present moment in an attempt at rethinking caring strategies and our relationship with the world and its biotic communities. → www.pablodiserens.studio 

• 

performed live by pablo diserens for 'weich', a queer ambient event series at kwia (berlin) in december 2021. 

photograph and design by pablo diserens 
mastered by mathieu bonnafous 
duration — 34'22'' 
tape production by tapedub (berlin) 
performing photograph by Elisa Cucinelli 
published by forms of minutiae — fom04 — 2022

cassette & digital

pablo diserens — live at kwia [fom04]

In this ambient session, I explored more about sound montage this artistic approach - slicing story into pieces and then reconstructing them to form a new narrative. Playing with #spokenwords #drone #piano #experimental #syntheticvoice, waved into the voice-over from the film <In the Forest of Siberia>. This soundscape built the illustration of an intelligent machine escaping the mechanical world and then into deep nature.

2hours full journey including the second hour made by @cashfield and @lazy.h
https://www.mixcloud.com/VoicesRadio/there-will-be-bleeps-invites-nanzhen-yang-080123/

VOICES RADIO. There Will Be Bleeps W/ Nanzhen Yang

< Balade musicale pour célébrer le solstice d’hiver : c’est lors de mes balades en forêt que ces notes ambiantes et ses voix féeriques se sont fait entendre dans le bruissement des feuilles. Le froid hivernal s’adoucit sous les tendres murmures de leur chants scandinaves, écossais ou bien de Slovaquie. >

@soundcloud.com/murmure1

Tracklist : 
Deborah Walker - xx2 (cello recital)
Luka Aron - Divisions Of The Field
Clara Levy - A Singing Bowl Of Steaming Soup 
33 - Sexus ft. Steve Katona
Kinbrae & Clare Archibald - Carbide
Jakob Folke Ivarsson - Klaver Og Cello
Soho Rezanejad - Love Eshgh عشق
Adela Mede - Jusson Mindenkinek
Paavoharju - Yllään on aamu korennot ja kesä (Svarte Greiner remix) 
33 - Thomas The Obscur ft. Patrick Belaga
Johanne Stellfeld - Majsangen
Mica Levi - Vanity
Roxanne Métayer - Couverte de Trèfles
Gossiwore - Guilt Pipe
Quinie - The Haar
De Cos - Tides
Ursula K. Le Guin & Todd Barton - Dragonfly Song Nina Møller - Immersion
Ssabæ - Azurescens

artcover : @lea.nanana

Music For Sensitive People #2: Solstice d'Hiver ~ 11.01.2023

unmade - 24/05/2023

CS/DL : f-o-m.bandcamp.com/album/upstream-ensemble

@forms-of-minutiae and TBA21–Academy present "upstream ensemble", a communal happening and aqueous sound piece initiated and composed by field recordist, artist, and f–o–m co-founder Pablo Diserens (@pablodiserens)

During the 2022/23 digital residency hosted by TBA21–Academy’s Ocean-Archive.org, Pablo Diserens launched an open call inviting members of its online platform ocean comm/uni/ty (and external enthusiasts) to venture into the world and record aqueous sonic encounters. The aim of this collective liquid attuning was to gather sound recordings from various wet ecologies while stimulating listening and field recording gestures regardless of any previous experience.

Recordings from 35 contributors were woven into the long-form sound composition "upstream ensemble" which navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Listeners encounter drifting habitats trickling with the songs of sea lions, dolphins, blue whales, humpback whales, Arctic terns, and algae photosynthesis – as well as with the invasive hums of submarines’ sonars, boats, and naval industries. With "upstream ensemble" some of the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones.

In resonance with Pauline Oliveros’ Deep Listening practice and inspired by Rachel Carson’s exploration of the intertidal zone in her book "The Edge of the Sea", this project contributes to an ever-expanding list of works that propose a focus on listening as a way of engaging and existing with the planet’s waters. By stimulating shared listening and attuning practices, Pablo Diserens aims to develop a sense of interconnectedness by blurring the boundaries between species as well as environments. Experiencing aqueous biomes both individually and collectively acts as a way of rethinking our relationships with the world. Despite these being mostly solitary experiences, Pablo believes that field recording and listening are communal and environmental practices that form gateways for earthly synchronicity and world mapping in time and space. Thus listening in turn can become a political act that sparks emotional bonds with the world and its biotic communities.

˜

concept: Pablo Diserens and Fiona Middleton (TBA21–Academy)

composition and mixing: Pablo Diserens

with sound contributions by: Alëna Korolëva, Alexandros Maragkoudakis, Bence Kovács-Vajda, Christopher Dean, Cyane Findji, Damian Pace, Elise Rigot, Eliza Collin, Fiona Middleton, Francesco Previtali, Ilù Seydoux, Irene Mansoldo, Isabel Val, Jakob Köchert, Jean-Baptiste Geoffroy, Joana Moher, Katy Lewis Hood, Kosmas Phan Dinh, Kseniya Lushnikova, Leo Maassen, Ludwig Berger, Mat Eric Hart, Mathias Arrignon, Matty Yeomans, Mélia Roger, Moritz Zeisner, Nikos Sotirelis, Nina Blume, Ocean Networks Canada, Pablo Diserens, Sem Zeeman, Slavek Kwi, Surrealich, Thibault Noirot, Varoujan Cheterian.

all profit of the release will be donated to the Blue Marine Foundation.

listening with good speakers or headphones is recommended as the piece features a large range of frequencies (notably blue whales' subsonic calls).

cassette mastering by Mathieu Bonnafous

graphic design by Cecilia Murgia

cassettes pictures by Camille Blake

duration: 30’29’’ — C60
piece repeats on both sides — limited edition of 100
published by forms of minutiae & TBA21–Academy — fom09 — 2023

special thanks to all the contributors, Fiona Middleton, Markus Reymann, Michal Kucerak, Petra Linhartova, TBA21, Madelyn Byrd, Diane Barbé, Lou Croff Blake, Thom Lucero, and Mélia Roger.

pablo diserens & the ocean comm/uni/ty — upstream ensemble [fom09]

"waterlilies in fontiform" [framework editions, 2023] 🪷

Such an honor to be part of framework radio’s seasonal issues with a new piece of fontiform music! 

> listen/download: frameworkeditions.bandcamp.com/album/framework-seasonal-issue-14-summer-2023

Thought as a continuation of the work "for scarpa's fountains” [forms of minutiae, 2020], the composition "waterlilies in fontiform" weaves field recordings made in, on, and around the Tomba Brion in San Vito d'Altivole. Designed by the Venetian architect Carlo Scarpa in the 70s, this burial ground materializes as a garden guided by a multitude of lines made of concrete, metal, marble, and glass. Yet as one wanders in this peculiar landscape, one soon realizes that concrete isn’t the tomb’s primary material, water is. As if submerged, the graves are encircled by basins interconnected by a network of fountains, rivulets, and pipes. Water striders, sporadic frogs, vibrant fish and tapestries of waterlilies glide over sunken pyramidal stepped edges, echoing ruins of bygone architectures. An aqueous rhizome at the heart of the garden which steers us through the whole sanctuary. The composition brings listeners into the various materialities of the space and the underwater hums of the fontiform network's machinery. Moreover, subtle algae photosynthesis, muffled voices of human visitors, and the garden's avian inhabitants infuse with life the architect's carefully organized matter. Ambiguous feelings arise as if perched in equilibrium on the crests of the tomb's multifarious structures. The piece ends with openings (both geographical and temporal) as the uncanny murmurs of the flowing waters are joined by the drones of another (temporary) Venetian fountain, Claire Tabouret's sculpture "Deux Baigneuses'', before fading into the vespertine soundscape of a small Portuguese village. A midwife toad calls in the darkness, bells resound in a valley, as Brion Tomb’s architectonic specter lingers in the flowing waters.

> Note: Tomba Brion is also the resting place of Scarpa himself, who shared that "the place for the dead is a garden".

> Recorded in the Tomba Brion in Altivole (april 2022), Palazzo Cavanis in Venice (april 2022), and in Peneda-Gerês National Park (may 2023).
Recorded with Aquarian H2a-XLR hydrophone, LOM Uši Pro, LOM Geofón, SoundDevices MixPre-6 II, Sony PCM-D100.

download

waterlilies in fontiform [framework editions]

https://broshudadrips.bandcamp.com/album/mitra

Mitra

Untitled

https://soundcloud.com/holysimilaun is an Italian musician and sound designer based in Treviso, Italy.
Its work sonically portrays a constant feeling of powerlessness, focusing on heavy cinematics, minimal-inspired compositions, physical modelling synthesis and non-linear time manipulations, bringing its unique perspective on internal-external human meltdowns.
After its Aphex Twin-approved debut album “En To Pan” and the sophomore album “Ansatz”, Holy Similaun returns, in collaboration with Archipel, with “Arcaskathel” and “Radicor al flort, espert on’ill il erb, aor Raetia”.

Q:"What was a crucial sound experience in your life?"
A:"Definitely noisy (I mean, loud and noise music) gigs with super loud sound systems. In particular, Emptyset in Udine in 2017 and Talpah in Venice last year. 
Also, the gigs organized by the Quarto Mondo and Dirtmor crew in Treviso were one of my main inspirations in sound. 
Currently, I'm more focused on producing experimental than club-driven music, but back in the day, the opportunity to hear heavy bass music with such a massive sound system was an immense gift for my artistic growth."

Links:
https://holysimilaun.com 
https://www.instagram.com/holysimilaun 
https://www.facebook.com/holysimilaun 
https://www.twitter.com/holysimilaun

Tracklist:
Heith - make me wanna stay
S280F - knifework reveals angelic reality
Dedekind Cut - Equity
Amelie Siba - Matches
Flora Yin-Wong - Of The Ferns
Burial - In McDonalds
Vipera - Caspar Too
Coeden - Smokehole (ft. Holy Similaun)
Lea Bertucci - A Visible Length Of Light
Ludwig Wandinger - Motionless Air
Abul Mogard - Where Not Even
Ludwig Wandinger - In
Jenn - Beast, World
Jenn - U???
False Prpht & S280F - Untitled

MNEMOSYNE #053 - HOLY SIMILAUN

https://soundcloud.com/cobweaver

Tracklist: 
Lunar Womb - The Sleeping
Amir Baghiri & Mathias Grassow - Really Trolls
BBC - Wind whistling through crack with
Eduard Artemiev - ILL
David Munrow - Recorder English Te Deum
Pursuing Paradise - we still have nightmares of our exes
C0bweaver - Undine Gathering at Highfield
Toshio Masuda - Tsuyu Wo Suu Gun
Crown Shyness - Roguelike (perpetual night)
Chuquimamani-Condori - spider medicine song (los ojos ymaymana ñoccaycu rapñauin)
Allan Holdsworth - Oneiric Moor
The Ephemeron Loop - Sun Shimmer Repeater
Shirley Collins - My Sailor Boy
Andrew Chalk - The Arkay Stream
Blood Incantation - Ea: Third Movement
Aldebaran - Occultation of Ocular Tauri 
Uchu - Hitoribochi Ichimankonen 
Alley Catss - Compelled
r hunter - he shakes the arrows
Enchanted Lands - The Land Permeated By Spirit
Cernunnos Woods - The Lost Velvet Horn
Windrikje - EVIghet 
2814 - ふわっと
Auvinen - Syksyn Jäät Ääntelee 
Klaus Wiese - OM Ton-Solar Wind
Earl Mountain - Beyond The Familiar River
Florian Fricke - Spirit Of Peace 1
Evan Caminiti - Midnight’s Road
Richard Skelton - Lowe
Fief - Citadel Streets

Yem Gel (07/10/23)

exploring w/ Leo

"A Soundwalk Through Budapest [47.499553° N, 19.054739° O]" is an auditory representation of a field-recording session in Budapest on February 16th, 2022. This sonification of the city is created by several recorded one-shots and ambiences, placed in chronological order, resulting in this soundwalk concept. Experience a blend between realistic urban sounds and a surreal soundscape composition. This track is part the record "Buda's Barrels", released under Sem Zeeman's organic dance alias https://soundcloud.com/okin-omis.

The soundwalk starts in the elevator of the apartment complex located on Király Utca. As we exit the building, we are greeted by various street ambiences and daytime sounds. These ambiences form the basis of the intro, interludes and outro in "Buda’s Barrels" and "Madách Imre," which can be found on the same record.
As tourists from a country with a different currency, the abundance of available ATMs in the city is really useful. Along the way, OKIN-OMIS noticed that each ATM has a different pitch, timbre and processing. As the street ambiences evolve, its supported by these authentic sonic pulses from several ATMs.

The second location we arrive at is the Danube River. We are on a boat tour to capture the city’s illuminated landmarks, such as the Chain Bridge, Buda Castle District, and the Hungarian Parliament. The rumbling engine of the boat and the sound of moving water are accompanied by classical music and multilingual speeches, which are captured from the audio guide on the tour as a representation of tourism in this bustling city.

After the boat tour, we once again arrive on the city streets. Budapest, with almost 1.8 million residents, is under constant development, which can be heard as construction noises dominate the street ambiences. As we continue walking, the construction sounds gradually fade away as we arrive at Madách Imre út. On this street, we find several empty barrels. Each barrel has a different timbre and resonance, which can be heard in the presented hits. These one-shot samples also form the main percussive framework of other two tracks, "Buda’s Barrels" and "Madách Imre.”

As the barrels slowly disappear, our soundwalk continues at the tram station and then leads us to Budapest Airport, which slowly transitions to the flight back home to Schiphol Airport in Amsterdam.

https://semzeeman.bandcamp.com/album/a-soundwalk-through-budapest-47499553-n-19054739-o
https://www.sem-zeeman.com/a-soundwalk-through-budapest
https://okin-omis.bandcamp.com/album/budas-barrels

Sound design, production and mix by Sem Zeeman. All sounds are sourced from field-recordings made in Budapest, Hungary on February 16th 2022. All recordings are made with a Zoom H5 by Sem Zeeman & Leon Den Dulk. Artwork by Sem Zeeman & Vincent van der Geest. Master by Lőrinczi Áron. Released on December 28th.

Buda's Barrels

A Soundwalk Through Budapest [47.499553° N, 19.054739° O]

This is the sound of a window pane made of safety glass that has broken but not yet fallen apart. The glass is a splintered spiderweb of a thing. At some point soon it will likely collapse to the floor, but right now the glass is settling, this sound evidence of the uneasy peace inherent in its fraught physics. (It's a double-paned window, and only the inside pane has broken.)

Broken Glass Creaking

Once Doggerland, an historical connection between Britain and continental Europe. Now an industrial area were fossils are found and traded, surrounded by salty water we today call the North Sea.

Located on the Noorderhoofd pier along the busiest waterway in Europe, in Hoek van Holland, The Netherlands. The waterway is a ship canal called de Nieuwe Waterweg, which makes the Port of Rotterdam accessible for seagoing vessels from and to the North Sea. It’s the largest port in Europe and specialised in the petrochemical industries and cargo transshipment handlings. Across the water of Noorderhoofd are the Maasvlakte and Europoort, which are very heavily industrialised with also petrochemical industries, as well as coal- and biomass-fired power plants, styrene- and propylene-oxide production and transhipment of ore, coal and palm oil.

This industrial area is surrounded by beaches where crabs, shrimps and starfish can be found. By dunes with foxes, rabbits, lizards and moles. By the air with sandpipers, polecats, buzzards and seagulls. And by the water with seals, sea bass’ and garfishes.

The auditive beauty of these surroundings is abruptly disturbed by increasing buzzes, noise and suddenly appearing rhythmical radar frequencies presenting itself through electromagnetic signals. The infrasound from the petroleum industries across gets supported by a slowly growing even intenser engine rumbling. The waves crashing on the pier are rising, each one followed by a greater force.

An interference of low and high increasing frequencies, as a collaboration between human and nature, is resonating through a pole standing on the pier. Beholding the industrial infrasound and coastal acoustics, responding in the creation of abrasive metallic harmonics. This pole is holding a warning sign, to contain our behaviour on the pier.

“Dangerous waves from shipping. Enter at your own risk.”


Noorderhoofd [51,98021° N, 4,11153° O]
through the ears of its aquatic- and surrounded wildlife, adapted to the petrochemical industries and cargo shipping.

All sounds are captured with a Zoom H5, LOM Geofòn, OrganicAudio Cjossul and Soma Ether at Noorderhoofd in Hoek van Holland, The Netherlands. The recordings are processed, mixed and mastered during post-production in Logic Pro X.

Released on February 28th 2024.

https://semzeeman.bandcamp.com/track/noorderhoofd-5198021-n-411153-o
https://www.sem-zeeman.com/noorderhoofd


“Noorderhoofd [51,98021° N, 4,11153° O]” is also part of the long-form sound composition Upstream Ensemble, where mainly its infrasound recording is used. This composition is initiated by TBA21’s Ocean-Archive, ocean comm/uni/ty and Pablo Diserens, who invited 35 field recordists to venture in the world and record aqueous sonic encounters. Upstream Ensemble navigates between the multiplicity of the water cycle as a sounding body. The work moves upstream through oceans, rivers, pipe networks, ponds, and glaciers while investigating the continuous flow of water and the environments that surround it. Here, the world’s aqueous fauna, flora, geologies, and technologies mingle into a synchronized motion that documents the sonic articulations of these wet zones. Upstream Ensemble is released digitally on TBA21’s Ocean-Archive website and physically released on the label forms of minutiae as cassette. 

f-o-m.bandcamp.com/album/upstream-ensemble

Noorderhoofd [51​.​98021° N, 4​.​11153° O]

Enregistrement d'une roselière, secteur Madine vers 2h30 du matin le 12 mai 2024. 
Butor étoilé, Rainette verte , Rousserolle turdoïde, Blongios nain, Locustelle luscinioide, Rossignol philomèle, Coucou gris, Chouette hulotte, Phragmite des joncs etc... Mais aussi hélas sanglier dans la roselière ! 
Enregistrement en MS avec MKH 8060 + MKH 8030.

Etangs meusiens,  Butor étoilé, Rouserolle turdoïde etc..

Located at just a fraction of the European Route E25, called the Rijksweg 20 or A20. This motorway is supported by several overpasses through The Netherlands, of which one of them in the Rotterdam-The Hague metropolitan area forms the base of this piece.

While the fast pace of humanity is causing hot asphalt and infrasound to move through the concrete, underneath the overpass a slower pace is causing more innocent reflections. Captured impulse responses from these reflections create a somewhat terrifying and slowly building-up reverb scape. Dynamic impacts from the A20’s bouncing surface, caused by the passing vehicles, result in irregular rhythmic echo’s to scatter beneath the construction.

All these never-ending sound waves are occasionally dominated by several other sound sources. Car horns translate the human’s frustration from within, while they try to balance it out with amplified FM frequencies. However, this more pleasing part of the electromagnetic spectrum gets interfered often with higher frequencies from passing metros and trains. These signals being pitched-down, form the cold and resonant chords through the piece. 

The massive amounts of weight rolling over the railway next to the overpass,  result in ground-shaking infrasound all over the area. Rumbling frequencies vibrate schematically through the concrete pillars. Moments later, fireworks suddenly feed the already existing sonic-tangle, followed by emergency signals that appear no less distinctive without its optical parts.

https://www.sem-zeeman.com/a20-e25
https://semzeeman.bandcamp.com/track/a20-e25-5192393-n-440872-o

The recordings are made near the Brandersbrug in Schiedam, The Netherlands on March 30th 2023. All sounds are recorded with two unidirectional condenser microphones in X/Y setup, a geophone, contact microphone and electromagnetic receiver.

A20/ E25 [51.92393° N, 4.40872° O]

I am on bandcamp.com now
Two Thrush Nightingales in song.  Recorded at night beginning at 2.05am on the 20th of May 2013, in Soomaa National Park, Estonia.  This is the third of three recordings.  Some months ago I uploaded this same recording but a shorter version in 44khz/16bit, this recording is the full-length 48Khz/24Bit version.  Equipment; A matched pair of Sennheiser MKH8020 microphones, a Sound Devices MixPre microphone pre-amp and a Marantz PMD661 solid state recorder.
Recording 2502.
To help you find my other albums, here is a list of the names of the albums as sound cloud is not structured in such a way as to make it easy to find material that is a long way down or at the bottom of the page, so it is easier to search for the albums if you know their names, here is a list.
Put any of these names in the search bar and press enter.  
Central America . . . Belize.
Garden of songs.  	Forest Home.	  Out of the blue.
Jungle report.	Wild enough.	  Na Luum Ca - revisited.

South America . . . Brazil.
Xixuau   (2 disc production).
South America . . . Guyana.
Karanambu.	   Iwokrama.
South America . . . Peru   (4 disc production).
Otorongo.     	  Tahuayo. 
Europe . . . Finland.
Natures Song.	  At the blue moment.
Europe . . . Estonia.
Soomaa.
Europe . . . Wales / Ireland.
Morning Birds 3.	
Europe . . . Ireland.
Morning Birds 1 and 2.	  The joy of birdsong.	  Birds of the great Saltee.   Saltee Revisited.		Songs of silence.		Aubade.
More Suburban Birds.		 Suburban Birds (This one was never uploaded to sound cloud).

2 Thrush Nightingales - The 48khz/24Bit version

Located by a former vibrant flowing river, now called Ru du Pierreux. The river used to be rich in life with trout swimming through the clear waters. The sounds of flowing water and splashing fish, which symbolized the vitality of the river, are now long gone. Today during summer, only a small water stream can be found.

The name Ru du Pierreux, which means "stone stream", refers to the current dried-up riverbed where almost only stones, rocks, and organic material remain. The residents call the former river “the ugly street,” a sad contrast to its glorious past. The soft rippling sound of the remaining water symbolises the transience and change of this place. Higher temperatures and an irregular pattern of precipitation have led to frequent heat, drought and water scarcity. 

Despite there is little water left, this place is rich in various old plant and tree species, represented by the soft rustling of leaves and the whisper of wind through the trees. Through the dense foliage only a few rays of sunlight reach the flora and fauna on the soil on summer days. The vegetation therefore offers a sheltered, moist, and warm place for the remaining life found there, which is well housed and fed by these factors. The old forest creates a mostly isolated place, where swarms of flies protecting the untouched surface and all kinds of birdsong marking the territory of this ecosystem. The diverse range of flora and fauna in this place has the realm to itself and is rarely disturbed by humanity, one of the few remaining places without air and noise pollution. Nature can therefore take its course undisturbed with pollination, spore formation and reproduction.

The trees act as resonance boxes where sap flows in the trunks and insect kingdoms in the hollows can be heard. The last bits of water is getting distributed among theirselves and absorpted by the roots in the former riverbed. The recordings trace the rich history and adaptability of nature, which make us aware of the vulnerability and strength of our ecosystems. The chirping and fluttering birds, crackling insects, rustling leaves, buzzing flies, and the echolocation of bats create a lively and complex auditory image of the life that, despite everything, continues to exist in Ru du Pierreux.

https://www.sem-zeeman.com/ru-du-pierreux
https://semzeeman.bandcamp.com/track/ru-du-pierreux-5038536-n-578953-o

"Ru du Pierreux [50.38536° N, 5.78953° O]" is released on August 16th 2025. The recordings are made in Rahier, Stoumont in Belgium on July 13th 2023. All sounds are recorded with two unidirectional condenser microphones in X/Y setup, a geophone, an hydrophone and an ultrasonic receiver.

Ru du Pierreux [50.38536° N, 5.78953° O]

This is our original score for a short film by artist and photographer Qiu Yang. The score is composed solely of samples and stems from various songs off our album "Don't You" (smarturl.it/DontYou) which came out January 29th. 

Check out the film on Nowness: http://bit.ly/1oWsFHt and see more of Qiu's work here: http://www.qiu-yang.com

Thanks  : )

Wet x Qiu Yang

Wet X Qiu Yang

Live studio session elektroniki >>>Fractal Meat Show <<<
@ NTS Radio 
26th January 2017 /

/*Very special thank you to Graham Dunning who invited me to play */
https://fractalmeat.wordpress.com/2017/03/16/electroniki-live-in-session/

Χελιδόνια (Xelidonia)/ Live @ Fractal Meat Show / NTS

Chant synchro de deux mâles de Manakin fastueux. Two males of Long tailed Manakin. Rincon de la Vieja, Costa Rica. 
Enregistrement avec Mixpre 3 et 2 EM184 en position ORTF.
Crédit Photo cc by sa Steve Garvie

Manakin Fastueux Synchro Las Pailas Rincon De La Vieja Costa Rica Long tailed Manakin

tuned to various biomes and phonographies 𓆏
> www.pablodiserens.studio
> co-founder @forms-of-minutiae

Pablo Diserens (they/them) is a field recordist, musician and artist devoted to non-human realities, attentive listening, and possible forms of interspecies coexistence.