This unedited and unprocessed recording (from an unattended overnight recording) runs from 05:16 to 06:56. It was recorded at a location about 315 metres from the shore of the Coorong lagoon, at the nearest point, and about 3.5 kilometres from the ocean shore, at the nearest point, on the far side of the dunes that enclose the lagoon, from which the eternal environing ‘Coorong roar’ emanates.

The recording provides a companion piece for ‘2022.03.03 White Ibises Roosting. Night. Coorong. Inland. Late Summer.’ (https://soundcloud.com/hearingbeings/20220303-white-ibises-roosting-night-coorong-inland-late-summer)

96/32 wav to 48/24 flac.

2022.03.03 A Coorong Dawn. Inland. Late Summer.

Fossil Hunting Collective is musician and sound artist Jamie Jones, from Guelph in Canada who has been active under this artist name since 2019. He has previously released music on labels such as Ambientologist, ROHS, Polar Seas and Rusted Tone Recordings across this project name and as (ph)authers (alongside Hymns57) and Still Harbours (with Brad Deschamps). Followers of our discography may also recall 2020’s contribution to our Home Diaries series, entitled ‘Aperture’. 

‘Cyanotype’ was made primarily, via the beautiful surprises thrown out of various guitar pedals along with re-amped loops played back through old cassette recorders. Whilst virtual plugins are also used throughout the process, Jones places an emphasis on the physical too, with his small body acoustic guitar strung with nylons, a Jazzmaster guitar, a baritone ukulele and reel to reel tape. The sound is a heady blend of melancholy, nostalgic and life-affirming movements, using droning texture, tape decay and loosely performed instrumentation to tell dreamy stories.

The theme for this album was born out of the emotions that Jones pours into his music, as he contemplates the day-to-day struggles of his daughter Hunter, who has been Type 1 Diabetic for the last two years of their life. This autoimmune disease can be life-threatening if not managed correctly and around 95% of Jones’ headspace is occupied with worry, as follows strict procedures to count carbohydrates, weigh out food and monitor blood sugar metrics to ensure that his daughter does not become hypoglycaemic, which could lead to a coma. Controlling this disease is a full-time job and one which Jones carries the weight of at all times. The worry, care and withered energy levels mean that these emotions surface their way into the music, when he sits down in his studio late at night.

The album is a homage to what Hunter must go through each day of their life, living with Type 1 Diabetes.  No child or parent should have to go through this. No child should need to understand how it all works, but they are forced to wonder ‘why me’.  On top of the weight of the emotional trauma, there is a physical trauma that comes with being injected with devices and life-saving medication numerous times a day, until a cure can be found. Jones and his family are keen to remind themselves when they can, that the disease does not define the being, and they still celebrate all the positive splendour life can offer. These tracks are an emotional journey of the day-to-day; there is the good and the bad, days of hope and wonder, days of melancholy and sadness.  Above all, they are not alone in this fight, and they all work together as a unit, protecting their family bond fiercely, like bees.

At an age of around 18 months, Hunter adopted the nickname ‘B’, after being so enthralled with their bee costume for Halloween that they continued to wear on many occasions afterwards. The track titles for this album are all influenced by bee related terminology but also, in some cases there are double meanings, such as ‘Apiary’ (meaning home), ‘Castes’ (members of the family) ‘Mellitus Propolis’ combines Mellitus (Latin for sweet)) used in describing Diabetes Mellitus and Propolis (the resin that bees use to hold hives together).

The album package makes use of the artist’s wife Richelle Forsey, who is a visual artist. Richelle often employs a process using the energy of the sun (ultra violet) to expose a camera-less image on paper coated with iron salts. This is called a cyanotype and the paper undergoes a chemical reaction which fixes the image, thus creating an imprinted monochrome ‘blueprint’.

Cyanotype

wlr121 Fossil Hunting Collective - Cyanotypes

This record combines the work of two artists who have previously released solo and collaborative albums for Whitelabrecs. Andrew Heath is renowned for quiet, lowercase Ambient music, with his music appearing on labels such as Giraffe Tapes, Shimmering Moods, Rusted Tone, not to mention regular contributions for Disco Gecko and Whitelabrecs. Simon McCorry is a cellist and composer, who has been working for theatre, dance and film for over 15 years. His work in the contemporary Ambient sphere has seen releases on the likes of Naviar Records, Polar Seas, Shimmering Moods and Hidden Vibes.

Both artists are also keen collaborators, with discographies listing co-production work with the likes of Hans-Joachim Roedelius, Anne Chris Bakker, Anthéne, James Osland, Mi Cosa de Resistance and Toby Marks between them. For the first time, these two Stroud, UK based artists have worked together to create a soundtrack themed around the onset of Autumn, clocking in at almost an hour.

Andrew and Simon bring together their love of improvisation to create ‘A Is For Autumn’ which sits between tonal, electronic minimalism and neo-classical restraint - a warm balm for cold autumn days. Using a different palette of sounds for each of the recording sessions from instruments such as cello and modular, to piano and guitar, they engender a constantly shifting tone to these soundscape pieces, all influenced and informed by the time of year - a rich mellowing of landscape and of a withdrawing into a more intimate space as the year slows and the light levels fall away.

The rhythms of the world’s internal clock appear ever more skewed in these times, and the timing of the seasons are becoming more unpredictable. For some, Autumn may fall at a different time to the rest of the world and for some, not at all. This album is a homage to Autumn, as interpreted by the artists. For the listener, this might tap into your own memories of this colourful season. Or, it may transport you into the environment that has been created.

Credits:
Written and produced by Andrew Heath & Simon McCorry
Mastered by Ian Hawgood
Photography by Rita Kuklenko
Art and design by Andrew Heath

A Is For Autumn

wlr122 Andrew Heath & Simon McCorry - A Is For Autumn

FAKTOR4 -  Blair Fae (Senglar V2 Remix)

‘Floating World’ is an album by US based artist Todd Gautreau, who records as Tapes and Topographies. It was created in response to a collaboration project called Thirty-Six Views of Newland Island with British artist Jonathan S Hooper. The album follows last year’s ‘Amplitudes’ and is another entry to Todd’s discography, alongside music on labels such as Past Inside The Present, Dronarivm, Shimmering Moods and his own Simulacra Records.

Jonathan S Hooper is a mixed-media artist based in London, who works with paintings, photography, sculpture and film. Thirty-Six Views of Newland Island is an evolving multi-factorial project in which Hooper continues his exploration of ontological concepts of time and space through the landscapes of his native Cornwall. Specifically, the project focuses on a small uninhabited outcrop called Newland Island, which lies just off the Cornish coast in the Atlantic Ocean’s most westerly margins. The project’s title is inspired by Katushika Hokusai’s series of woodblock prints of Mount Fuji, drawing in Hooper’s broader interest in Japan’s artistic heritage. It also adds to the cultural connection between Cornwall and Japan first established in St Ives, in the 1920’s, through the collaboration of master potters Bernard Leach and Hamada Shoji. A collaboration that continued through much of the twentieth century.

A particularly fascinating consideration is that Mount Fuji is an instantly recognisable geographic icon, yet in contrast, Newland Island is unknown to most. This frees the project from the limits of preconception, opening up opportunities to explore further ideas of landscape, and our place within it. Through collaboration with Gautreau (who is based some 5000 miles away), Hooper sought to give creative licence to a composer, in order to encourage another viewpoint. He had first discovered Todd’s music through Elizabeth Alker’s BBC Radio 3 Unclassified programme, and subsequently reached out to invite him to work on a soundtrack, which has now become ‘Floating World’. He sent photographs of his paintings, scans of the polaroids and his studio notes; the work developed organically into a collection of nine soundscapes, in which Hooper sees as independent views of Newland Island in their own right.

Hooper will be working to share this project through galleries and installations and we felt it was apt to assign full creative control over the CD packaging design to these two artists. Todd, also a graphic designer, has pulled together some of the polaroids for the outer and inner sleeves. There is a 16 page booklet included, which contains paintings, further polaroids and text from both artists. This is also included with the digital version of this album.

Written and produced by Todd Gautreau
Mastered by James Edward Armstrong
Paintings and polaroids by Jonathan S Hooper
Design by Todd Gautreau

https://www.jonathanshooper.com/

floating world - reflections on 36 views of newland island

wlr126 Tapes and Topographies -Floating World - Reflections on 36 Views of Newland Island

Warped [single]

Full album in free download here https://yoshiwaku.bandcamp.com/album/remembering-the-comet
More free music by Yoshiwaku https://archive.org/search?query=creator%3A%22Yoshiwaku%22
More free eclectic music https://radiofreealbemut.tumblr.com/

Remember The Comet [Full Album in Free Download in The Description]

2023-07-01

NLS - 2023 - 07 - 01 - Birds

Deep Sleep Twenty Nine

Somewhere, something incredible is waiting to be known

yung lean - agony (traumesser piano cover)

Whitelabrecs was set up by Harry Towell in late 2015 as another outlet to put out experimental electronic/acoustic music. It followed Harry’s previous labels Audio Gourmet, Tessellate and Warehouse Decay and focuses on a collectable series of highly limited edition vinyl-effect CDr packaging, with the first 50 releases influenced by white label vinyl records. The label also runs a digital only series called eRecords, with each of these releases including a special PDF booklet.

https://www.whitelabrecs.com
https://whitelabrecs.bandcamp.com/

wlr122 Andrew Heath & Simon McCorry - A Is For Autumn

Whitelabrecs

Recent comments

Ir6n Dan9er

Related tracks