Off-Air
Cosa succede su Fango Radio quando non suona Fango Radio?
Podcast
John Wilton, Pere Xirau, Sun Yizhou, Zhao Ziyi, Zhu Wenbo - Performance at xiaozu
The first Off-Air of 2026 is intended to question the path followed by the transmission for the last 15 months. What is location recording? What is the difference between anthropic and non-anthropic sound? What's the agency of a room full of humans trying to be silent?
What is the difference between an airplane passing over a forest and a person playing the accordion in front of an audience?
Aural documentation of a performance by John Wilton, Pere Xirau, Sun Yizhou, Zhao Ziyi, and Zhu Wenbo, July 26 2025, at xiaozu, Beijing.
This track spans the full length of sides A and B of the tape Trace, Trace. It navigates a library building located between Spuistraat and Singel in Amsterdam, with an entrance on each street. The A and B sides of the tape mirror the two sides of the building. They are symmetrical, but also slightly asymmetrical. The tape is a continuation of the work "I took this clock. Will return it sometime soon." It begins with a trace I noticed on the wall of the library, a mark that appeared during the replacement process of two identical clocks, placed on different floors, on opposite sides of the building. While working on the tape, I heard the library was going to move soon. Many sections of the library were already missing. They have been moving things gradually, bit by bit, until the entire building is relocated. Eventually, the old building will be sold. The structure of the new building is almost the same as the old one, but also with differences. This 54-minute recording became another trace that appeared. Recorded on May 23, 2025, from 5:55 to 6:49 p.m.; February 25, March 14, April 28, and May 13, 2025. Mixed and mastered by Cis De Gendt in Den Haag. Released on June 06, 2025 at 50 Litre, Amsterdam.
- #qihang.li
"The Creag" is a composition of field recordings from Ferry Wood, a 40-acre ancient Atlantic oak woodland and temperate rainforest on the west coast of Scotland, with the voices of Ed and Carina who have spent 9 years restoring the woodland from a rhododendron invasion. We listen and walk through the recovering forest spotting lichen, liverwort and honeysuckle, querying the histories of entwined trees and mapping the familiar and unfamiliar routes up to the Creag Cailleach as the wind rises to its peak.
With thanks to Ed and Carina from Ferry Wood.
Binaural recording of the Bratislava's pro-Palestine "pots and pans"
protest aiming to bring attention to starving residents of Gaza.
We had the chance to spend time at the fifth edition of n:ear in Banská Štiavnica, Slovakia, a four-days listening festival of experimental music, with concerts taking place in different indoor and outdoor location in and around the mountain town. Szymon "Pimpon" Gąsiorek performed a solo drumset concert on the lakeside of Tajch Ottergrund.
The term "tajch" refers to artificial water reservoirs specific to the Štiavnica volcanic mountains region, an area with a long history of silver mining notwithstanding the lack of relevant flowing waters. Through time, 60 of these artificial lakes where created in order to form a system of energy supply for the mining activities, and 24 of them still exist today as an UNESCO World Heritage Site.
We visited and liked the location during the previous edition of the festival, thus we decided to reach it early and do some phonographic experiments.
two elements drew our attention: subtle sounds of fishes and insects on the surface of the water and the peculiar acoustic morphology, with the reflecting surface of the water enclosed by the forest except for the south-east side, facing the mountain slope above Banská Štiavnica. That creates an interesting situation with noticeable early sound reflections coming from the forest edge and some unexpected proximity-distance effects, with elements sounding closer than expected and viceversa.
In the recording you can hear a quiet beginning with forest and lake sounds, chatting and barking from the south-east side and the slow gathering of people over the course of roughly half an hour followed by Pimpon's concert. The various elements of the drumset (kick drum, snare, toms, hi-hat) activate the space in different ways.
Francesco & Michał
Ever since I first heard the track “Vultures” by Chris Watson from
his album “Outside The Circle Of Fire” (1998, Touch), my desire has been
to make a recording of nature at such close range. To be more precise:
my desire was to record the kind of things we don’t have access to in
everyday life, which would open the ears of the audience to sonic
oddities and encourage them to seek out sonic sensations themselves,
including in their surroundings.
Unlike Chris Watson, I did not have the opportunity to go to the
African savannah. So I went to one of my most favourite area the
Orawsko-Nowotarskie Peatlands Natura 2000 site. This is an area of peat
bogs, wet meadows pastures and boggy forests stretching along the
Podhale-Orava border and the Slovak-Polish border, located mainly in the
Czarny Dunajec municipality. Only one peat bog from this complex is
protected (Bór na Czerwonem Reserve in Nowy Targ). It has been
postulated for many years that the Orawsko-Nowotarskie Peatlands should
be protected in the form of the Orava National Park.
On that day I went to a swampy forest near the village of Podczerwone
to try record the black grouse, which are very rare in this area. At
one point I noticed a large group of ravens circling in the sky. I
decided to head in that direction, as I found the raven sounds to be
some of the most beautiful among native songbirds. When I approached the
place that aroused the birds’ interest, I found a sad and outrageous
sight: in a grove opposite a freshly erected hunting pulpit, I found two
mounds made of animal bodies: 4 fallow deer, 2 goats, fragments of
sheep and cows, as well as food waste. I knew that this was no ordinary
baiting ground, such as there are unfortunately many here, which is
intended for deer, roe deer or wild boar. This was baiting for the large
predators that stay here when travelling between the Western Beskids
and the Tatras. For protected bears and wolves.
I decided to turn
my anger at the find into action. I made photographic documentation,
marked the place on the map and immediately notified the authorithies:
Forest Guard, Sanitary Inspection, District Veterinarian, Municipality
of Czarny Dunajec.
Meanwhile, I also decided that I might be able to record the local
ravens feeding on the carcasses. Of course, the birds at the sight of me
scattered to the surrounding trees, from where they watched me closely.
So I decided to bury the recorder with the microphones right next to
the carrion. I returned to the site 24 hours later. The equipment
smelled of death inflicted on the unfortunate animals only to lure more
animals to be killed.
From the material I collected, I selected
about an hour of recordings of very close encounters with ravens. I
recorded raven breaths, fluttering wings, close calls, scenes of love
and fights. In addition to ravens, the death piles were also visited by
other animals: foxes, cuckoos, tits. Larks, wood pipits and robins can
be heard in the background. Very seldom does the anthropophony sound: a
plane flies by or a siren wails. The cold May wind watches over
everything.
The album ‘Ravens’ consists of five tracks. Tracks 1, 2 and 3 were
recorded in Podczerwone near a predator hunting ground in May 2025.
Tracks 3 and 4 were recorded near the Przybojec Bog in Chocholow in
March 2025. Tracks 2 and 4 are preludes to the recordings from an
abrasive perspective. Recordings 2 and 4 are also more traditional
recordings where ravens can be heard cawing along their flight paths, as
well as finches, wrens, human voices and sounds of the nearby
countryside.
Not long after finding the bait, I went to the same
spot again. The pulpit had been dismantled and the carcasses cleaned up.
I don’t know whether this is the result of an administrative sanction
or an attempt to hide the evidence of the crime.
The album was released in gatefold packaging on a 32GB microSD card.
The physical edition includes a raven’s feather collected at the scene
where the recordings were made
Maciej Wirmański, „Kruki”, Szara Reneta, Taśma Pięćdziesiąta Piąta, 2025
Tracklist:
- Kruki, lisy i bogatki żerują razem w Podczerwonem 21:38
- Kruki wieczorem lecą nad Przybojcem, rozlega się syrena remizy, śpiewa rudzik 06:46
- Kruki żerują na nielegalnym nęcisku w Podczerwonem 26:47
- Kruki przelatują nad okrajkiem torfowiska Przybojec w Chochołowie 11:49
- Kruki kończą posiłek 20:48
in 2022, "Clocks in Flux (Elastic Capture-Source Diffusion post-CLEAT)”
combines a binaural recording of Coppice’s performed diffusion of
«Hourglass» and «At the Poles» using CLEAT (Chicago Laboratory for
Electroacoustic Theatre), a 16-channel 96-speaker sound system, and 2.1
PA system, with additional headlock audio not heard during the
performance. Recorded live on July 8, 2022 at 8:43 PM, at Elastic Arts,
Chicago, IL. Voices: Mark Booth, David Toop, NNN Cook, Jenny Vallier.
a 3CD set released by Ferns Recordings (FR) in 2023, and whose
production was supported by an Individual Artists Program Grant from the
City of Chicago Department of Cultural Affairs & Special Events.
- #coppice.futurevessel.com
"Murnong" is an ongoing audio-visual project that started in 2021 when I
received a gift of some yam daisy seeds. A plant of significance to my
family and many others from the eastern side of this continent, it was a
staple food crop for Aboriginal people before European invasion. For
me, this plant represents sacredness and survival after colonial
violence, as well as an ongoing connection to the women in my family and
the lives and diets of our ancestors.
This iteration of the project, a video work created for the Gertrude
Street Projection Festival 2023, has with it an accompanying soundtrack
(this track) that speaks to the presence of the past in our now and our
future, the connection of all life and the effects of colonisation, as
with the video.
What was thought to be lost, what has changed and restructured and yet
remains connected - it is all there. This work seeks to remind audiences
that we cannot erase uncomfortable histories, and that we cannot build
good futures without stable foundations of knowledge about the human
relationship to the non-human world; never creating that distinction
between human and nature – instead: continuing to recognise ourselves as
part of everything and everything being part of us - is how the
ancestors lived in balance for many, many thousands of years. Adapting
to change, this condition continues.
"This I Walker My Ignacio Cordoba
is not a purely archival or geographical project if we look at those
disciplines as cold and objective perspectives. This is a personal and
emotional adventure to create a poetic memory of LIsbon. For that I
needed to surrender to the help of someone who lives inside of me and is
called Walker Journey.
never am Walker Journey. I only sometimes have been Walker Journey.
Walker is not a person. He is a state, a ghost within an action that
only shows up after the fact. Like a ghost in a photograph, only he is
the photographer. He is on the other side of the camera, on the other
side of the recorder, on the other sides of my steps on this Journey.
Walker Journey only exists retroactively. I am not him even when I am
recording those things happening. Only when I listen back to the field
recordings it's clear it was Walker Journey recording them. He exists in
the moment. He seems to be connected to love. He is an explorer trying
to keep proof of what he witnessed. He is the witness. He wants to make
the unbelievable, hidden, amazing and grounding event be bridged from
the past to the present and the future. He is the listener and the
observer. An outsider in the field recording community. He's not
interested in science and knows nothing about that. He only wants to
portrait and project the poetic.
Journey has a very personal relationship with peoples and places and
wants to show their other sides. Not their geographical, physical or
tactile sides. But their aural and musical sides and their memories and
stories. Not only with these but also with situations, moments, steps
and breaths. He is a medium, a listener and communicator with the
spirits of minutes and seconds. It is not about capturing but about
keeping notice of what's slipping through.
Arduous Desire for a Poetic Memory of Lisbon was created as the result
of an Artistic Residency commissioned by the gallery Zaratan Arte
Contemporaneo @zaratan.arte.
Recorded and composed in the Pyrenees.
Main influences -
Patou Dogs
Red Wine
Moth Infestations
Pumpkin seeds.
- #researchlaboratories.bandcamp.com/music
- #instagram.com/research_laboratories/
The remains of an old settlement (hillfort) at the bend of the Drwęca River, a tributary of the Vistula River, Poland. 27.07.2024.
A 12-hour recording as a 60-minute miniature, minor and major transitions between times.
- #bielmichal.com
Heard from the hills of Aveyron, southern France. From the farmlands
of Lentiourel, there nothing to see, but the sunday morning has now
become surrounded by a speed rallye of motorbikes and tuning cars. The
voices of the engines roar around us –but the birds and insects in the
fields continues their early summer life. Funnily enough, the friends
who host the community at the Oasis de Lentiourel, including the
microtonal musician Jacques Dudon, call this field la prairie des mille
voix, or "the meadow of a thousand voices".
Dave Phillips - Niah Caves National Park, Sarawak, Borneo + Tawau Hills National Park, Sabah, Borneo
Two juxtaposed recordings:
1 - location: Niah caves National Park, Sarawak, Malaysian Borneo.
Consists of 8 separate recordings, recorded 5th to 7th of march 2023.
2 - location: Tawau Hills National Park, Sabah, Malaysian Borneo.
One
single recording, recorded 6th of april 2023, 18:05 local time : sunset
concerto featuring pomponia merula (the world’s largest cicada, from
8’), after a 30 minutes walk.
photo credits: unrelated time and location, shot by Viviana Druga
- #davephillips.ch
In the murky waters of a constellation of ponds, an anuran community
sound their annual conjunction. Fire-bellied toads (Bombina bombina) hum
in the hundreds making the reeds and waters pulsate to their amphibian
rhythm.
> recorded somewhere in the Lusatia region, june 2024.
L’acqua che per una volta si era liberata dagli argini e aveva seguito liberi percorsi viene di nuovo catturata da elementi meccanici, ricomposta, confinata, incanalata.
Fino alla prossima.
I suoni dell'antropocene ascoltati dalle strutture metalliche e tubulari delle grandi vie di comunicazione.
Testimonianza dialettica tra le viscere e l'esterno di un ambiente, tra la vitta e l'inorganico di un prodotto dell'uomo. Inizio di un processo di trasformazione che attraversa un anno di lune.
Copertina: Michał J. Biel
Un'ora di temporale notturno nella Foresta Amazonica.
Registrato co un setup AB con due B&K4006 omnidirezionali e un registratore Sound Device 633.
Originale in Wav 96KHz 24bit.
GPS: 3º38'41''S 64º57'10''O
One Hour Thunder & rain during the night in the Amazonian Forest
Recorded by a setup AB with 2 B&K4006 omni mics
On a Sound Devices 633 recorder
Original Recording in Wave 96kHz 24bit
GPS: 3º38'41''S 64º57'10''O
Sound Ref: AB BR-170909T06
Field recordings made in:
- Bologna (August 2 commemoration)
- hailstorm along the highway around Brescia to Desenzano sul Garda
- Naga Torbole
- night in Roncone
- home
La tipica notte estiva, afosa oltre ogni limite , insopportabilmente calda, la prima veramente calda dall'inizio di questa strana estate fin qui balbettante.
Le cicale che all'una di notte improvvisamente esplodono il loro canto inspiegabilmente intenso.
Cicale, qualche latrato di cane, un uccello notturno che ossessivamente emette un suono in loop, qualche auto che passa in lontananza e di tanto in tanto voci incomprensibili dei pochissimi passanti che rientrano a casa dalla spiaggia.
Registrato dalla finestra la notte 12 luglio a Marina di Romea (Ravenna)
Paesaggi sonori dei luna park estivi di provincia in Toscana (Tirrenia e Rosignano).
Costruire, distruggere, ricostruire tra la polvere negli occhi, la fatica del corpo e del pensiero.
Un pò come vivere.
12 minuti di vita mattutina in un piccolo giardino pubblico del centro.
Giugnovembre è come ci si sente quando fuori si è giugno e dentro novembre.
E’ una giornata di tracce di gocce, rumori indifferenti del mondo d’intorno, passaggi lenti a tempi in successione.
E’ dopo pomeriggio e quasi sera e siamo sempre giugnovembre.
The track starts with a cello sample courtesy of Macarena Montesinos, a cellist from Galicia (Spain) and the field recordings were taken during a trip through Slovenia, Hungary and Romania.
Recorded and mixed in Caprigliola, a little village of the Lunigiana Mountains in Tuscany.
Credits:
Ranter's Bay : field-recordings, electronics
Ph by Michela Olivieri
Field recordings of crossing the Evinos river (Greece) via three different bridges: a suspended wire bridge with wooden slats, a metal plate bridge, and a hand pulled cable car.
The journeys enter into the resonances of the water, the wires, the metals, and a pipe next to the riverbed.
Tracklist:
- Per fortuna e per sfortuna lavoro in un ambiente vivace. Colleghi e studenti vanno e vengono senza sosta dall’università. Si spostano oggetti, si condividono parole, si prende un caffè. I paesaggi acustici restituiti da una vita accademica così frenetica sono variopinti e imprevedibili: è raro immergersi in suoni che diano illusione di avere poche variazioni.
- Da sempre le mie indagini sonore virano – quasi come fossero dotate di volontà propria – verso un’incessante ricerca del silenzio utopico. Il contributo sovrappone quattro strati sonici di momenti “tranquilli” nei locali universitari: i corridoi deserti e l’ufficio vuoto (ad eccezione del sottoscritto); la sera dopo la chiusura e la mattina prima dell’apertura. L’intreccio delle quattro tracce, due registrate all’interno e due all’esterno, dà conto di un ambiente mai statico, per quanto forse ordinario.
- riecheggiando A. Rimbaud
Di terra e di pietre.
il prato dei suoni.
Nell'era del "genocidio in diretta" niente è messo tanto in crisi quanto il significato di silenzio.
I frammenti di field-recordings utilizzati in questo lavoro sono stati registrati durante la manifestazione organizzata da Cgil e altre associazioni pisane “In silenzio per la pace” in Piazza dei Cavalieri / Pisa all’indomani dei fatti del 23 febbraio 2024, in cui migliaia di cittadini sono scesi in piazza in solidarietà agli studenti caricati dalla polizia nella stessa piazza durante una manifestazione per il cessate il fuoco in Palestina.
Registrato con H4n pro, shure beta e rielaborato con elettronica.
Artwork: studenti e studentesse del Liceo Artistico Russoli
In memoria di Aaron Bushnell.
In the era of the "genocide live", nothing is put into crisis as the meaning of silence.
The fragments of field-recordings used in this work are recordings made before, after and during the demonstration organized by CGIL and other pisan associations "In Silence for Peace" in Piazza dei Cavalieri / Pisa in the aftermath of the events of 23 February 2024, which saw thousands of citizens standing in solidarity to the students beaten by police in Piazza dei Cavalieri because they were freely trying to demonstrate for ceasefire in Palestine.
Recorded with H4n pro, shure beta and processed with electronics.
Artwork: students of the Russoli Art School
Ad memoriam Aaron Bushnell.
Thousand of sand fleas (talitrus saltator) were eating a large jellyfish on the beach at Oleron island (France). We put 2 hydrophones inside to listen. We can hear the fleas jumping around but also the waves from the inside perspective of the jellyfish.
Recorded with 2 Aquarian H2a on a Mixpre 6-II with Grégoire Chauvot at Oleron island in 2022.
Quando mi è stato chiesto di dare la mia interpretazione di alcune registrazioni idrofoniche da Francesca Giuliani e Lino Mocerino realizzate sulla Laguna di Varano, in un primo momento ho pensato che fossero perfette così come erano e che perciò il mio contributo sarebbe stato abbastanza rispettoso delle registrazioni originali. Poi ho iniziato ad ascoltare le tracce separate.
Due microfoni a cardioide per registrare ciò che accadeva sulla superficie dell’acqua – nel nostro mondo – e quattro idrofoni a contatto per prendere nota di ciò che accadeva sotto il pelo dell’acqua, la cui percezione è estremamente limitata ai sensi umani. Un habitat adatto a strani crostacei dotati di sette occhi e ad altri esseri che popolano il benthos di un biotipo resiliente da eoni, secondo i racconti dell’IRBIM-CNR riportati da Lino.
Dato che cercavo di immaginare il paesaggio sonoro di un luogo dove non ero mai stato è stato naturale per me provare a spazializzare i 4 idrofoni come se fossero 2 tracce stereo, ma ho subito notato che anche se il risultato era affascinante (e di qualche utilità per i ricercatori) era già una falsificazione della realtà, perché gli idrofoni non visualizzavano correttamente il canale sinistro e destro: sott’acqua avrebbero potuto essere ovunque.
L’altra cosa che mi è venuta in mente è che non sembravano suoni subacquei: sott’acqua non c’è riverbero e mentre il nostro mondo superiore era abbastanza silenzioso, come lo è quando è privo del rumore antropico, c’era molta vivacità movimento giù sotto dalla parte dei giovani cefali, per lo più catturati come piccoli clic e graffi provocati dai colpi delle loro code sui microfoni in una danza sincronizzata, una sorta di respiro ciclico.
Mi è tornato in mente il workaround di Irving Solomon Teibel sul suono del mare. Gli ci sono voluti diversi tentativi con le migliori tecniche per ottenere il risultato desiderato, sovrapponendo varie registrazioni provenienti da location differenti. E ho deciso di seguire quella strada. Se dovevo creare un falso, tanto valeva renderlo tecnicamente falso, ma emotivamente autentico.
Once asked my rendition to one of these hydrophone recordings taken by Francesca Giuliani and Lino Mocerino around the Varano Lagoon, at first I thought that they were suitable as they were, therefore my contribution would not go that far from the original recordings. Then I started investigating the separate tracks.
Two cardioid-type microphones were used to record what was happening over the water surface, in our world, while four contact-type hydrophones were tracking what was happening beneath the surface, whose perception is extremely limited to human senses, catching an entire habitat for those seven-eyed crustaceans and other beings populating the benthos of an eons-resilient biotype, according to IRBIM-CNR researchers.
Given that I was trying to imagine the soundscape of a place where I had never been it was natural for me to try and spatialize the 4 hydrophones as if they were 2 stereo tracks, but I soon noticed that even if the result was fascinating (and of some use for researchers) it was already a falsification of reality, because the hydrophones weren’t properly displaying left and right channel: underwater, they could have been everywhere.
The other thing that came to my mind is that they didn’t seem to be underwater sounds: there’s no reverb under water and while our upper world was quite silent, as it is when devoid of us noisy humans, there was a lot of lively movement down under on the little fish side, mostly captured as little clicks and scratches made by their tails hitting the mics in a synchronized dance sounding as a kind of cycling breath.
I remembered an article about Irving Solomon Teibel, a field recordist that wasn’t able to catch the sound of the sea in a convincing way and that after several attempts with the best techniques he had obtained the desired result by mixing together various recordings coming from different places and suddenly decided to follow that path. If I had to make a fake I might as well make it technically fake, to carve it emotionally authentic.
extra-dimension of the radio silence a room through the stop
constantly
sequentially
Venti di passaggio é un'intersezione di cinque tracce di registrazioni ambientali effettuate in varie parti d’Italia Marghera, Venezia, Livorno, Napoli, ecc...
Uno studio sugli agenti atmosferici urbani, dove il filo rosso si spande in una sensazione rumoristica di cammino e di viaggio, unica formazione di comprensione sul suono ed il rumore. Venti che cambiano a seconda degli insediamenti urbani e geografici, venti di passaggio temporanei che raccolgono l’attimo e che spingono suoni e rumori di varia natura ed entità a spostarsi e quasi a deformarsi a seconda della posizione, (fonte) e dall’ostacolo che in essi incontra la dimensione architettonica urbana ed anche soprattutto naturale (alberi, parchi, rocce, ecc..)
“Venti di passaggio” sta in una quiete che si trasporta nelle gambe umane, dimensione meccanica e fisica naturale del cammino umano; cinque linee paesaggistiche stratificate con leggere sfumature che si ripetono nell’immediato perdendosi nel quotidiano svanire.
Materiali: effetti a pedale, synth, registrazioni in campo aperto, tape.
"Come ho imparato a volare" è un viaggio attraverso la natura delle cose, riflettendo sul senso della bellezza e affrontando il comune timore della morte. Per quest’opera ho registrato i suoni delle larve (Sarchophaga Carnaria) durante la loro trasformazione in mosche. Attraverso registrazioni ruvide e surreali, esploro, interpreto e reinvento liricamente il concetto di metamorfosi. Per la composizione ho utilizzato anche i miei field recordings realizzati durante i riti della processione della Settimana Santa nella città di Castellaneta (Taranto), dove è nato mio padre; in particolare ho utilizzato i miei field recordings del coro delle donne (Coro delle Pie) che canta in modo straziante la vita e la morte di Cristo. Il coro femminile incarna infatti il ruolo speciale di collegamento tra pubblico e processione, la quale da sempre è interpretata principalmente da figure maschili. Lo spirito di questo "teatro di strada" è al tempo stesso sacrale e profano, un teatro che vuole rappresentare ed esorcizzare la paura della morte corporale. Dunque intreccio i suoni di larve e mosche con i suoni della processione pasquale dell’Italia meridionale, tematizzando la resurrezione come metamorfosi di una creatura imprigionata in un essere sublime, che impara a essere libera e a volare.
Estratto da "COME HO IMPARATO A VOLARE" Composizione, 2009-2011
Pubblicato su LP, Corvo Records 2011
"Come ho imparato a volare" is a project that aims to reflect upon the sense of beauty, dealing with the common fear of death. For this work, I recorded the sounds of larvae (Sarchophaga Carnaria) during their transformation into flies. Through rough, sub-real recordings, I explore, interpret and lyrically re-invent the concept of metamorphosis. For the composition I also used my field recordings made during the rites of the Eastern procession in the South Italian town Castellaneta (Taranto), where my father was born; in particular I used the women's choir (Coro delle Pie) that harrowing sings the life and death of Christ. The women's choir in fact embodies the special role of link between audience and procession, which is since always performed mainly by male actors. The spirit of such a “street-theatre” is in the meantime sacral and profane, a theatre that aims to represent and exorcize the fear of the corporal death. Therefore I interrelate the sounds of larvae and flies with the sounds of the Eastern procession from Southern Italy, thematizing the resurrection as metamorphosis of an imprisoned creature into a sublime being, that learns to be free and fly.
Alessandra Eramo
Excerpt from “COME HO IMPARATO A VOLARE” Composition, 2009-2011
Released on LP, Corvo Records, 2011
- #www.ezramo.com
I mixed four birds recordings from different moments of the day. The birds i could recognize: Tijereta (Tyrannus savana), Hornero (Furnarius rufus), Zorzal (Turdus), Cotorra (Myiopsitta monachus), Bienteveo (Pitangus sulphuratus), Gorrión (Passer domesticus), Torcaza (Zenaida auriculata) and Churrinche (Pyrocephalus rubinus).
I used a Tascam DR-08 to record and the live ableton and Audacity to mix and mastering.
The place chosen to record: Pinamar, a coastal resort city located on the coast of the Atlantic Ocean in Buenos Aires Province.
The beach and the forest (mostly of pine trees, which explains the "pina" in the town's name) are its main features.
Recorded on May 18th-20th, 2022 at a swamp surrounding an abandoned farmstead in Šlavantai village, Lithuania.
Coordinates: 54.158388, 23.664349
Lithuanian pagan folklore encompases many enduring themes and forms that have survived to this day through a millenia of war, christendom, occupations and deep cultural changes. One of these is the ancient style of repetitive chant called "sutartinės"; another example is "laumė", a type of fairy-which who lives in forests or swamps and seduces young lads to their demise. Both of these came to mind when I first heard the chants of European fire-bellied toads (Bombina bombina) during my visit to the abandoned farmstead that's become a breeding ground for this relatively rare amphibian. The owner of the place had tragically died in a house fire, and the place has become completely desolate, nature slowly reclaming what has previously been a sprawling farm, now surrounded from all sides by vegetation, swamp and marsh. Stumbling around the area in near complete darkness at midnight, listening to mesmerising humming of toads, never-ending variations by nightingales and other wildlife has been my most memorable field-recording experience so far.
The track is composed from several recordings captured around the same area during night and day. Main tracks of fire-bellied toads are overlayed with additional sounds of frogs and nightingales, recorded nearby and during the same night. At around 8-minute mark, gradual shift towards daytime begins, blending in a similar choir of fire-bellied toads, but now more energetic and slightly higher in pitch. Some additional sounds of wind (also recorded in Šlavantai village) are layered on top to smooth out transitions.
Recorded with Zoom H5 handy recorder, using Zoom XYH-6 stereo microphone and Rode NTG3b shotgun microphone.
Post production used: noise reduction, EQ, volume automation, panning, convolution reverb.
Recording and composition by Marius Paulikas.
Registrato con Zoom H5 in una ventosa serata sulle Madonie, in provincia di Palermo. Vicino alla zona di registrazione c’era una vallata con alcuni animali al pascolo.
La vita è un fluire in cui causa ed effetto si compenetrano l’uno all’altra. Nel mondo razionale della nostra mente duale la causa precede sempre l’effetto, ma non è così a un livello più profondo della realtà. Ce ne accorgiamo quando viviamo in stati alterati di coscienza, come durante il sogno o in statidiprofondameditazioneoduranteesperienze consostanzechealteranolapercezionediciò che intendiamo come la realtà, come l’ayahuasca.
Nell’approcciarmi al Suono e al suo tentativo di registrazione mi sono accorto del dialogo che si instaura tra il mio mondo interiore e la realtà che osservo. Al gioco di riflessi tra osservatore e osservato, tra ascoltatore e ascoltato.
La mia registrazione gioca su questo dialogo tra il mio intervento e la risposta del vento tra le fronde degli alberi, la pioggia, gli animali selvatici. In presa diretta ho incluso anche i suoni di campane tibetane, a incorniciare il momento e come mezzo di connessione tra me, gli strumenti di registrazione e il mondo che mi circondava.
Ho suonato, sempre in presa diretta, in un’ unica occasione la tromba, strumento a me affine per la sua emotività, come un controcanto all’aumentare del vento e della pioggia, sfruttando un’eco naturale determinato da una parete rocciosa poco distante. In post produzione ho esaltato diverse frequenze, alternando frequenze alte e basse aggiungendo un leggero sub-synth, laddove la registrazione me l’ha suggerito, esaltando una vibrazione di fondo che rispecchiasse il momento meditativo, come fosse un OM armonico.
Recorded with a Zoom H5 on a blustery evening in the Madonie Mountains near Palermo, this piece captures a sacred dialogue between nature, wind, and bells. In the nearby valley, animals grazed as the recording took place.
Life is a constant flow in which cause and effect interpenetrate one another. In our rational, dualistic world, cause always precedes effect, but this isn't always the case at a deeper level of reality. We become aware of this when we enter altered states of consciousness, such as during dreams or deep meditation, or through experiences with substances that alter our perception of reality, such as ayahuasca.
As I approached the Sound and attempted to capture it, I noticed a dialogue between my inner world and the reality I observed. A play of reflections between observer and observed, listener and heard.
My recording plays on this dialogue between my intervention and the wind's response among the tree branches, rain, and wild animals. I also included the sounds of Tibetan bells to frame the moment and connect me, my recording tools, and the world surrounding me. I played also my trumpet, an instrument that resonates with me for its emotional depth, as a counterpoint to the rising wind and rain, taking advantage of the natural echo provided by a nearby rocky wall. In post-production, I enhanced different frequencies, alternating between high and low frequencies and adding a slight sub-synth where the recording suggested it, to enhance a background vibration that reflected the meditative moment, as if it were a harmonic “OM”.
Entità effimera e spirituale, Vento è uno sciamano errante, vagabondo delle timpe e dei torrenti. Fluida sostanza che si impregna di saperi, di suoni e di storie senza tempo esso abita ogni anima, ogni pietra e albero di ogni luogo che visita. Al confine dove causa ed effetto si intrecciano tutto è movimento e dialogo, interazione e profonda connessione, il movimento interno degli alberi risuona nel placido scampanio di un gregge montano. E così Vento si alza cammina e si dissolve portando il canto di mondi arcaici e sognanti, tra borghi incantati, pascoli tra timpe scoscese e canti antichi.
Registrato nelle zone di San Lorenzo Bellizzi (CS) e lungo il percorso che passando da timpa Falconara conduce alla Grotta S.Anna, all'interno del Parco del Pollino Orientale.
Ringrazio Anna Maria Civico, le/i performer famiglia Abitare il Canto e Amedeo Fera; gli abitanti di San Lorenzo Bellizzi, la sig.ra Franca e Giustiniano Rossi della Associazione “I ragazzi di San Lorenzo Bellizzi” per la squisita ospitalità.
An ephemeral and spiritual entity, Vento is a wandering shaman, a wanderer of the timpas and torrents. Fluid substance that is impregnated with timeless knowledge, sounds and stories, it inhabits every soul, every stone and tree of every place it visits. At the border where cause and effect intertwine, everything is movement and dialogue, interaction and deep connection, the internal movement of the trees resonates in the placid chiming of a mountain flock. And so Vento gets up, walks and dissolves bringing the song of archaic and dreamy worlds, between enchanted villages, pastures between steep glens and ancient songs.
Recorded in the areas of San Lorenzo Bellizzi (CS) and along the route that passes from timpa Falconara leads to the Grotta S.Anna, inside the Pollino Orientale Park.Special thanks to Anna Maria Civico and the performers and family Abitare il Canto; the inhabitants of San Lorenzo Bellizzi, Mrs. Franca and Giustiniano Rossi of the Association "I ragazzi di San Lorenzo Bellizzi" for their exquisite hospitality.
The sound recordings of Sound Forest come exclusively from field recordings made during the “Antinioti” soundscape research project in Corfu island Greece. A variety of sounds have been used originating from different sources such as natural anthropogenic urban or rural. All of this sounds compose the acoustic environment of this particular location during summer 2007.
The field recordings are of high acoustic fidelity and characterized by great spatial and temporal sound variation. Even in the process of composing a soundscape composition it was challenging to take these fragile soundscapes and transform them into something else. It made the urge of sustainability and awareness screaming inside me a realization that I would have without composing this piece.
Through analysis of the particular soundscape I identified and classified spatiotemporal variations in sound origin and intensity which I then synthesized in the piece. The main aim was to emphasize the delicate balance and interaction between high definition rural soundscapes and anthropogenic sounds towards a more sustainable symbiosis of the two. The objective of the project was to assess the dominant patterns of the soundscape at both seasonal and temporal scales and to develop thematic maps for visualizing sound data to understand the soundscape patterns evolution and to evaluate the potential effect of landscape configuration on these patterns.
The recording captures the unique sounds of the Othonoi island during the nighttime, offering an immersive experience of the diverse soundscape found in this region.
Domenica mattina verso la fine dell'inverno. In una parte marginale della campagna assisana - ai piedi del monte Subasio - c'è un boschetto selvatico che fiancheggia un tratto del fiume Chiascio, dove differenti specie di uccelli si ritrovano e si richiamano, intrecciando un canto polifonico.
Title: Appartment with rooster below.
Recording instrument: Cellphone OPPO Ren6
Recording place: Building in the city, third floor, my father's apartment. Bella Vista neighborhood, Montevideo, Uruguay.
Date: Friday, December 30, 2022, 11:03:34 AM
Description of the soundscape: Field recording with rooster crowing, birds, some human actions and voices with routine dialogues.
