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The program quickly became a favorite of electronic music composers such as Terre Thaemlitz and Scanner, who used it to create disorienting sound shifts. these compilations are available exclusively to framework donors; to get one, donate €20 or more via the paypal buttons on that the album represents only the tip of the iceberg in terms of what can be drawn out from the
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Framework Seasonal -Issue 4 Spring VA Framework Review by Chris Whitehead Words can be sound art too. Gathered by Paulus during psychogeography drifts, unpredetermined physical and temporal explorations into landscape and composer cloud paypal, the recordings were composed into an altered reality using cut-up and fold-in methodology.
Beautifully rich and composer cloud paypal, distant rumbles occur far away as small clouds of bubbles rise and disperse close by. Was it there? The show will not be a programme about field-recording, it will be a field-recording composition in itself.
We have shut out nature. She creates a fully self-sufficient interior world. The crackle of vegetation, breaking stalks, possibly sheep cropping grass: A plane crosses the composer cloud paypal field at the end and emphasises the vault of https://allworldguns.ru/paypal/notion-paypal.html sky under which this document of sound cartography has unfolded.
Posted on.Across all this a Hawaiian dawn chorus sings in its many various voices. Waves gently swirl and break and ships can be imagined, hinted at by the odd metallic sound. Air-conditioned, glittery and burnished, a kind of temple music for a temple dedicated to money and chance. The framework radio site contains a poem by D. This particular path takes many twists and turns through synthetic plains and back into lush forests, we plunge beneath water and traverse mountain valleys, but it is as promised purely consecrated to field recording. Did it happen? Volta Do Castelo is a river, a swift river, trees full of birds and someone probably fixing a roof at a distance. Constructed with all the compact, structured logic of a song, it evolves from an emotional core. He never interferes. A gurgling stream gives way to bells clanging, an undulating drone underpinning their sonority. At just one point the hint of human speech: Just a sound. Nothing is real. This influx of barely leashed violence from the tower blocks dropped into the centre of this piece is the fulcrum around which the rest of it revolves: The nail on which it hangs. Track 6: Keening laminar sheets of sound converge and overlap in scoured metal layers. For me Gillie evokes that peculiar smell of waterside plants and exhaust fumes, a singular cocktail that only occurs at these small oases set within urban sprawl. Indeed the whole genesis of this track seems to have been a chance encounter with this lifeless tree. With the close proximity brought about by headphone listening it claws at the ears with pointed branches and dry twigs. Lawrence alongside this work. It lasts little more than four minutes. Intentional clipping occurs with various effect depending on your choice of listening apparatus. He never enters the recordings. Through speakers the room is full of desiccated creaks and peculiar crackles and feels prone to collapse. When disturbed people in films wake up sweating and say they feel things crawling all over their skin as they tug at their clothing, this maybe what they mean. The dark sky and cold air infuse into the fluid dynamics of this piece. Everything is real. As it begins to slowly fade the music becomes a veneer of peripheral sheen: As thin, superficial and temporary as the allure of shiny dollars, before it melts into silence. Here they form a songless choir of increasingly insistent, inhuman sound, unnervingly electronic in nature, closing in and enveloping, shutting down the senses. A tone akin to a trumpet is evoked, bizarre in its provenance, probably created by the rubbing of branches together. The hour will be consecrated, set apart for a purpose, the purpose of listening. Using material collected from the huge Morongo Casino, then stretching and polishing it into a sepulchral glow. After quite palpably being in the real world of trees, city, threatening dog and passing vehicles, France Jobin illuminates a placeless inner realm. This is a truly beautiful piece. We hear birds and sirens, vehicles pass and an engine throbs away some sort of pump? Because Antero belongs to these places in a spiritual and emotional way, it is tempting to think that his choices of site are informed by the land itself. Jay-Dea Lopez uses nocturnal recordings of insects to make this ever tightening tourniquet of gradual paralysis. Insects are often treated as little other than hard machines, with their robot like exoskeletons and their ability to make Geiger-counteresque stridulations in various ways.