Kite string, old lampshade and wind. An Aeolian experiment using minimal materials. Recorded in a field with a contact microphones and a LOM Geofon. At times the kite string was ‘prepared’ with various bits of tat, including a broken cymbal. 

TEXT

Aeolian Drift

CTA Truss

PLEASE NOTE COMPRESSED QUALITY FOR SOUNDCLOUD
Binaural recording (WEAR HEADPHONES) using 8 microphones and contact mics of a working marine shipyard,capturing the natural sounds of wind filtering through objects.
*Binaural recording wear headphone*
In the boatyard, a cacophony of enduring winds orchestrates a myriad of rhythmic sounds, creating textures and tapping, both constant and dynamic. My attempt to capture the wind's essence reveals its whistling resonance, intertwining with reverberating sails, wires, and walls, producing gentle timbres reminiscent of icicles. Amidst the gusts, a vocal-like whistling emerges, accompanied by the sound of small objects falling or friction between surfaces. This recording encapsulates the unspoken poetry of the wind. Wind sails' rattling becomes a natural refrain, echoing the dialogue between human design and the untamed forces, a testament to the harmonious conversation between human and more than human soundscapes.

Marine Wind

An extract of track on Bandcamp.  Bandcamp track is 19 minutes of droney goodness.

Hiatus abeyanced (extract)

Hiatus Abeyanced (extract)

KINDLING #3 – Arek Gulbenkoglu SWAN IN THE PAST 
12 page tabloid newspaper (289x380mm) plus downloadable digital audio.
Recorded during 2023–24 at Eckersley Court. Audio mastered by Giuseppe lelasi. Layout design by Anna McEwan

Available for purchase:
https://sonicrubbish.com/KINDLING003
https://sonicrubbish.bandcamp.com/album/kindling-3-swan-in-the-past

KINDLING is super excited to share our latest edition created by Arek Gulbenkoglu, who we think has produced some of the most consistently interesting sound works for fixed media in Australia over the last decade or more. Creating wilfully obtuse or even opaque works which are sonically thought-provoking and perceptually pleasurable by equal measure. While Arek has released a string of fantastic works on respected labels such as Penultimate Press, Regional Bears, Index Clean, Careful Catalog, and Triste Tropiques, it has been the small-batch works which Arek has self-released over the last 10 years or so that really drew us into what we will clumsily call his post-improv period of composed works. If you can find copies of them … we highly recommend you track them down! In keeping with our intention for the works we create and share to speak for themselves … we encourage you to listen-look-read-think-feel and leave you to find, follow or conjure the connections (in)between the sounds and images of SWAN IN THE PAST for yourself … 

https://sonicrubbish.com/KINDLING

SWAN IN THE PAST_Arek Gulbenkoglu_sample 01

I attached two LOM Geofons to a wire fence which surround a pond on the Ex Military Training Area Nature Reserve near Landshut, Bavaria Germany. I like the concussive sounds of the water drops and how the wind picks up and resonates through the wires.

2 LOM Geofons attached to a wire fence

The first proper outdoor test of my new homemade 'Gladys' hydrophone.  Some common frogs in a neighbours garden pond.  Thanks Katie!  Pleased with how they sound.  Nice flat response.

Frogs Gladys Hydrophone

Recorded from balcony under rocky walls. Easter morning and church bells. Kamnik town
Sennheiser MKH8020 2 meters apart, Zoom F3

Easter bells morning with birds -MKH8020

Underwater hydrophone Trboje Kayak 26042025

Are you sure about hitting it with a hammer?

A little experimental piece of audio with some crisps field recordings.

I hope you like it :)

Crisps Pov

Steve Barsotti is a sound artist and educator who lives in San Diego. He has ventured into various approaches to art making including photography, printmaking, performance, invented instruments, improvisation, object recording, location recording, phonography, electro-acoustic-pull-strange-sounds-from-everyday-objects, and there is sure to be more. The common thread has always been a close examination of easily bypassed details; image from angles that you would not normally see, sounds that can only be heard through contact mics and amplification, sonic qualities of materials that are used in everyday life. 

He was a member of the Seattle Phonographers Union, a field recording wielding group of improvisers. The Union is described as " moving beyond habitual experience of sound and uncover what is foreign in the familiar and familiar about the foreign; to explore what we hear and relearn what we know" They have been performing together for 20 years. (www.seapho.org)