Posts Tagged: field recording
SP* Episode 37: QUANTUM BLUES – with France Jobin [podcast]
France Jobin has been exploring quantum theory for many years now, an interest that has shown up in her compositions, sound installations, and work with VR. But the pandemic finally afforded the Montreal-based minimalist composer time for deeper study with
SP* Episode 37: QUANTUM BLUES – with France Jobin [podcast]
France Jobin has been exploring quantum theory for many years now, an interest that has shown up in her compositions, sound installations, and work with VR. But the pandemic finally afforded the Montreal-based minimalist composer time for deeper study with
Pedro Vian, Merzbow ~ Inside Richard Serra Sculptures
Inside Richard Serra Sculptures, a new album by Pedro Vian and Merzbow, begins with the sound of distant, sonorous droning buried deep underneath layers of crunchy, dirty, dense swirls of feedback. It sounds as though wind is ripping apart the
Pedro Vian, Merzbow ~ Inside Richard Serra Sculptures
Inside Richard Serra Sculptures, a new album by Pedro Vian and Merzbow, begins with the sound of distant, sonorous droning buried deep underneath layers of crunchy, dirty, dense swirls of feedback. It sounds as though wind is ripping apart the
Viv Corringham ~ Soundwalkscapes
What is the value of listening to someone else’s soundwalk? It’s a reasonable question. Hildegard Westerkamp defined soundwalking as a practice of listening to one’s environment. A means of intentionally tuning in to one’s surroundings. But listening to someone else
Viv Corringham ~ Soundwalkscapes
What is the value of listening to someone else’s soundwalk? It’s a reasonable question. Hildegard Westerkamp defined soundwalking as a practice of listening to one’s environment. A means of intentionally tuning in to one’s surroundings. But listening to someone else
Paul Liam Walker ~ Liapades
There’s a delicate art to the field recording based composition: How present should the recordings be? Should they stand alone as a sonic element or merge seamlessly with the other elements of the work? Should they barely register their presence?
Paul Liam Walker ~ Liapades
There’s a delicate art to the field recording based composition: How present should the recordings be? Should they stand alone as a sonic element or merge seamlessly with the other elements of the work? Should they barely register their presence?
a closer listen 