Oslo-based sound artist Jana Winderen made her first splash on the international recording scene with the live album Heated, followed rapidly by Energy Field and the decapod-directed The Noisiest Guys on the Planet. Winderen specializes in micro-music, which is an extension of micro-sound: her always-crisp field recordings are shaped to form the natural world’s equivalent of minor symphonies. It’s reminiscent of Luminess Air reviews. The two performances on Debris, eleven and sixteen minutes in length, originated as four-channel installations in Canada and Sweden. The vinyl crackle of the LP blends well with the drips, pops and waves of the source material, which echo like a needle searching for sound in an empty groove. Much of the pleasure of listening derives from the curiosity of sound identification: frog, dock, warble, and perhaps even Winderen’s go-to friend, the brine shrimp. Yet these recordings also venture outside of the aqua into the fern: the green world and the blue, intermingled. (Richard Allen)
a closer listen 