Bivouac Recording: Recent Episodes
Terence LLoren
Bivouac Recording is a sound label based in Shanghai, China. Bivouac Recording是一个录音品牌且提供录音服务的公司，致力于在中国推进独立现场录音项目。
For a richer experience of the field recordings and audio please read the descriptions for each track. Thank you!
Haruka mainly played metal bowls and a few other instruments in this session. She uses her voice to chant in melodic tongues. The tone and quality of her voice match all her instruments, like they were made for each other. Playing slowly with intention, she plays only the notes she needs. Her sessions feel deeply personal, unalloyed, and free.She starts this session with a flute that sounded like her voice. Her breath was so steady, pure and unwavering. She sings with the bowls, mimicking their pitch and sustain by holding the note as long as possible until she disappears.Listen to more live sound bath recordings from Asia at our Insight Timer page. https://insighttimer.com/sbsessions/
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This was the final composition during the performance. After several weeks of making 'prepared' reels to perform, I finally showcased the instrument for the first time. The entire 'performance' improvised even the preparing of the reels. I recorded some of the recordings on reels then improvised re-recording them on other reels. I also spliced and re-spliced the reels many times during this process. This led to many interesting reverse sounds and short cuts.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021.Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard.I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track is part of a collection of recordings that documented all the ferry boat crossings in Shanghai in 2021. The recordings were used in the Vital performance showcase in Shanghai at the Rockbund Museum in November 2021. Documenting the ferry lines in Shanghai was on my wish list for a long time and I was happy that I finally had a reason to do it. Over the span of one month, I went to the 16 ferry ports and made a round trip. I documented the areas around the ports and other interesting sounds that I heard. I used the recordings and recorded it onto reels of tape with my Generations instrument consisting of 4 Revox A77 tape recorders. Before the performance, I spliced and re-recorded the audio over several days to create interesting, pre-recorded reels to play during the concert. During the performance, I manipulated the reels with my fingers while controlling the recorders via MIDI to make a sound collage of the Shanghai ferry.The final track in this collection is the live recording of my improvised performance at the Vital concert.
This track was the final live event of the Emergence exhibition. The recorded audio livestream aired on May 7, 2024 featuring Yumi Taga at the Murmuring Moon studio in Sheung Wan, Hong Kong.To skip the guided introduction, please fast forward to 17:05.For more information about the Emergence exhibition please visit:www.sbsemergence.comSpecial thanks to:Yumi TagaMichelle ChowReleased by:Bivouac RecordingRelease date:7 May 2024
This track was the recorded audio livestream aired on May 6, 2024 featuring Michelle Chow at the Murmuring Moon studio in Sheung Wan, Hong Kong.For more information about the Emergence exhibition please visit:www.sbsemergence.comSpecial thanks to:Michelle Chow
This track was the recorded audio livestream aired on May 5, 2024 featuring Saravi Tsz at the Murmuring Moon studio in Sheung Wan, Hong Kong.For more information about the Emergence exhibition please visit:http://www.sbsemergence.comSpecial thanks to:Saravi TszMichelle Chow
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.Track 07:SOLO作曲：徐程徐程Guitar: Xu ChengVenue: TriggerArtists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Track 01:Solo for Violin, Viola, Cello, or Contrabass (1962)作曲：George Brecht乐团版本改编（2024）Guitars: MAI mai / Xu Cheng / 31 / Zhu SongjieSax: Jun-Y Ciao / Zheng HaozhongTrumpet : Tao YiCello: TIANViolin: AdiBass and electronics : FishDescription:Performers cleaned instruments throughout piece.Recorded April 9, 2024.Venue: TriggerFCMS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai.Track 02:Composition #7 （1960）作曲：La Monte Young吉他四重奏Guitars: MAI mai / Xu Cheng / 31 / Zhu SongjieRecorded April 9, 2024.Venue: TriggerFMCS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Track 03:卖卖演唱《my way》作曲：卖卖卖卖Voice and electronics: MAI maiRecorded April 9, 2024.Venue: TriggerFCMS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai.Track 04:作曲：徐程乐团Turntable and electronics: MAI mai / Xu Cheng / 31 / Zhu Songjie / Jun-Y Ciao / Zheng Haozhong / Tao Yi / TIAN / Adi / FishDescription:Ensemble gather around a turntable and electronics, taking turns to manipulate program.Recorded April 9, 2024.Venue: TriggerFMCS Artists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.Track 05:暴风雨是温柔的作曲：没腿的马和卷毛骑士没腿的马和卷毛骑士Sax: Jun-Y CiaoTrumpet and Percussion : Tao YiBass and electronics : FishVenue: TriggerArtists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.Track 06:公平演奏作曲：照骏园乐团Guitars: 31 / Zhu SongjieSax: Jun-Y Ciao / Zheng HaozhongTrumpet : Tao YiCello: TIANViolin: AdiBass and electronics : FishVoice: Xu ChengElectronics: MAI maiVenue: TriggerArtists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
This is a document of the Spring Concert of the Free Music Collective of Shanghai. Recorded April 9, 2024.Track 08:下午茶餐厅作曲：阿笛乐团Guitars: 31 / Zhu SongjieSax: Jun-Y Ciao / Zheng HaozhongTrumpet and Percussion: Tao YiCello: TIANViolin: AdiBass and electronics : FishElectronics: MAI maiRecording playing: Xu Cheng时间:2024年3月9日(周六)Venue: TriggerArtists: Mai Mai, Xu Cheng, 31, Zhu Songjie, Jun-Y Ciao, Zheng Haozhong, Tao Yi, Tian, Adi, FishRecorded by: Terence LLoren @bivouacrecording
Yumi gives regular gong baths around Hong Kong. Her humorous and welcoming character complements the emotional sound baths that she performs. Yumi has practiced Reiki for many years and spends her time between Hong Kong and Japan with her family.This was recorded in Zentral in Wanchai. I am always amazed how many sounds can come out of a gong. It can ground you and lift you up with a single stroke. Yumi’s connection to the moment and her ability to tell a story with sound displays her skill and mastery of her gong. An expression of herself through an instrument. Beautiful.
This is the recorded livestream of Kaman Yip's session for the Emergence exhibition at the Crystal Bowl Of Light's studio and gallery in PMQ in HK.
Sheung Ning began learning about sound baths a few years ago and regularly performs sound baths. A self- proclaimed introvert, she finds that sound baths allow her to express herself creatively and makes her more outgoing. These recordings were recorded one evening in Lai Chi Kok. In the recordings, you can hear the sounds of late evening in the building as the shopkeepers close their roll down gates, Jangle keys, and leave footsteps that disappear in the distance. It is a great description of place and location.I felt this recording was grounding and very comfortable. The sounds of shop closings and doors interrupt occasionally but describe the time and place of the recording and she plays through them anyway. She ends with a very quiet tone and silence before she plays her smaller bowls in a melodic fashion to bring you back from sleep.
Long time Hong Kong resident Nancy Trueman left a few years ago dividing her time between London and Whistler she regularly performs for charitable causes, art exhibitions, and sound bath sessions in beautiful locations. Recorded on her recent visit to Hong Kong, she brought two gongs with her just for the recording in her hotel room. In this session, she uses different tempos and rhythms to create a pace for the listener. Eventually striking the gong in the tempo of her own breaths creating a connection between the listener and her, everyone breathing as one. The session is divided into three parts that have their own distinctive sound. Each one is divided with an intentional moment of silence providing a much-needed respite from the weighty sound of the gong.More information here: http://www.sbsemergence.com
As I entered her studio in Kwun Tong, she had two small groups of crystal bowls. “I have a surprise for you, see if you can hear it.” She said. The piece started with a very somber tone. I felt there was a yearning, a calling in the beginning. She slowly transitioned to the second group which was more hopeful, and lively. This session was interesting because there was a predetermined concept for the composition that allowing her to freely improvise within its own limits. Ana has a large collection of crystal bowls and intimately knows each one. She does have a passion for music and her approach to singing bowls was more personal, molding her own style by exploring and experimentation. Her studio is next to a highway and a large construction site in Kwun Tong which is softly heard through the window of her space.More information here: http://www.sbsemergence.com
The third and final recording of Mic was back on the beach a Tuen Mun against a beautiful backdrop of breathing ocean waves and the distant throbbing of boat engines she performed he composition. Today her husband helped her bring a larger collection of bowls adding to the complexity of the days recordings. After the recording, we both had a really good feeling about the session. I felt as if she integrated the entire soundscape into the session, listening beyond the sound she made and treating life as an instrument. It is a beautiful piece.More information here: http://www.sbsemergence.com
Alfonso and Olivia are a couple that live in an intimate neighborhood in Kam Sheung. They are both artistic in nature which is what inspires their sound baths. Their sessions were more like abstract performances, an exploration of their instruments and their connection to each other while improvising. Alfonso played the metal singing bowls incorporating drones and various striking techniques while Olivia softly played broken melodies on a tuned tongue drum. The composition as a whole is a slow meditative performance that maintains its style throughout. An open door in their apartment welcomed the sounds from their neighbors and their daily chores to give it an identity and complete the piece.More information here: http://www.sbsemergence.com
This track is part of the Emergence exhibition. On a bridge over a small stream in Chung Uk Tsuen I recorded the last one of Wai’s sessions. Rainclouds were slowly approaching as we began the final recording. Wai starts by listening to the natural sounds of the stream for a few minutes before playing his metal bowls. It was then the soft drizzle began to fall but that didn’t distract him from his session. He began to play his shamanic drum in a sustained repetitive rhythm, its deep tones resonating like a heartbeat. Pools formed in his bowls as the rain kept falling but we remained until the end of the session. The natural atmosphere of the piece feels quite vast as there was no resonance to create a space. In contrast, his sounds are more direct and isolated.
Michelle Chow introduced me to her friends Lily Lau and Felis Hui, two women who play the shamanic drum. After two recordings with them in their studio in Tsuen Wan, they invited Michelle to play with them. They planned a little bit before the recording and just began playing. As the composition began taking shape, Michelle provided a constant drone and rhythm with her bowls while Lili and Felis began chanting with each breath, sometimes harmonizing and sometimes dissonant. There was a little bit of beautiful overtone singing at one point.More information here: http://www.sbsemergence.com
As soon as I heard her slowly twisting the shaker at the beginning of the recording, I knew this was going to be something special. Recorded in the comfort of her apartment, Martina has been practicing sound arts for many years and her mastery of skills can be heard in this recording.For this recording, she played her first collection of singing bowls. Her intimate knowledge of their voices was like a conversation between old friends. She begins chanting with overtone singing which softens the rigid, precise tones of the bowls. There is this embracing texture to the recordings that is owed to how the space reflects the tones. It has a comfortable air to them that is not overwhelming, nor too empty.More information here: http://www.sbsemergence.com
This was recorded at PMQ in Candace’s studio. Tata and Candace perform with a symphonic gong and crystal bowls. The mysterious gong paired with the flowing crystal bowls complement each other perfectly with their long sustained drones and multi-layered tones. Life beyond the space is also incorporated in the composition of the recording. A glass sorter on the street below mixes glass bottles together that creates a relationship with the bowls that Candace plays. The resonance of the bottles from the opposite buildings create an amazing sense of space.More information here: http://www.sbsemergence.com
I recorded Brenda at her teacher’s space about 10 minutes walk from the Kam Sheung MTR. The space is next to the teacher’s house and she also holds her sound baths there on occasion. There is a vegetable garden that is tended to by helpers and his students. It was a sweltering early summer day and you can hear the cicadas, dogs, and caretakers wandering in the heat. Brenda plays several instruments in her sound baths including the shamanic drum, gong, and a small shruti box. The most unique instrument she uses is her voice as she chants harmonizing with the instruments and singing well-wishing mantras that she has learned over the years from her teachers.Brenda begins by playing the shamanic drum made with animal hide while holding chimes. The sound is more muted and direct with no sustain which complements her slow breathy chanting and singing. She transitions over to a great symphonic gong with this amazing minor harmonic. Every time she hit that harmonic it felt so uplifting.This track was bittersweet for me because as a dog was barking over the first half of the track which made it difficult to connect. But the sound of the Gong was just so amazing that it totally made up for it. I asked her if we should do it again and she didn't mind the barking. If I had stopped, would we have gotten what we did? Sometimes I regret stopping a recording because the second time just has a different destiny. This one is for listening. Enjoy.
It had been more than 6 months since I recorded Nicky, and was happy to schedule another session with her. Our last recording was not ideal as there was construction happening just down the hall which really contrasted with her soft and slow style. This time, we recorded in her studio space which was quiet, smaller, and more comfortable. The space was filled with her own things like furniture, a digital piano, and other things she used for her spiritual practice. The place had a great sense of identity.Nicky used her metal bowls again and added a couple of crystal bowls. Like before, she still used a sequence but it felt more free this time, perhaps because of the location but also of her own maturity of playing style. The session was really relaxing as I was almost fully asleep, occasionally twitching. I wondered how and why I could be in such a deep trance. Reviewing the track at home, I found that for me, tempo=depth. The time between each strike determined the depth at which I was in my trance. Longer time between strikes pulled me deeper down, while shorter times brought me up to the surface. Her space faces a highway so there is the soft swishing of passing cars throughout the track. All of these elements in the recording create a wonderful image of space.
I recorded Calvin at Room Ganesha in Mongkok. He combines the sounds of several instruments in his sound baths using metal singing bowls, tongue drum, and hand pan. Not formally trained in sound healing or music, Calvin’s approach is more about freely exploring sound for relaxation, meditation, and performance. He experiments with interesting combinations of instruments and sounds. The busy street below can be heard in the space.Calvin begins playing the tongue drum in a wonderful abstract fashion. I have mainly heard the drum played in a melodic, musical fashion so this improvised passage is quite dramatic and refreshing. It felt like he played the tongue drum like the metal bowls so that when he made the transition it was quite seamless. He also played with the depth of the stereo field by walking around the room with the bowl or by holding the bowl close to the microphone much like Michelle Chow did using tuning forks.
Giorgio has an amazing antique collection that encompasses many different styles of bowls, each with their own characteristic. Some had several amazing sounds both dissonant and harmonious all within one bowl. When purchasing new bowls, he prefers the adventure and serendipity of exploring and finding single bowls with character rather than purchasing complete sets. This creates his eclectic signature sound. Giorgio has a deep knowledge of music throughout his life and is the only practitioner I have recorded so far with formal music training. He enjoys wandering around the unstructured improvisations that sound baths allow always listening and experimenting for new sonic discoveries.This was the final recording of Giorgio. That day I had two other sound bath sessions already recorded and I got to his apartment at 11pm which was intentional so that the traffic sounds in Central would be less. He plays is collection again in a very slow fashion, letting each bowl fully ring out. He would sometime hold the bowls in his palm and play them which allowed him to ‘place’ the sound in the recording more to the right or left, adding some subtle movement.
I recorded Brenda at her teacher’s space about 10 minutes walk from the Kam Sheung MTR. The space is next to the teacher’s house and she also holds her sound baths there on occasion. There is a vegetable garden that is tended to by helpers and his students. It was a sweltering early summer day and you can hear the cicadas, dogs, and caretakers wandering in the heat. Brenda plays several instruments in her sound baths including the shamanic drum, gong, and a small shruti box. The most unique instrument she uses is her voice as she chants harmonizing with the instruments and singing well-wishing mantras that she has learned over the years from her teachers.Brenda begins with the Shruti box and a chant. She used another one of her gongs this time having deeper and moving sound. There was some yard work being done and the animals in the property can be heard in the background.
While I like to record all the tracks at once for efficiency, spacing out the recordings can create a more varied performance. Emma and Vicky could only record once track a month but each recording had a clear concept form the last one.In this one, Emma used the rain hoop and ocean drum during the piece while Vicky played the bowls in the background. This was unique because, the bowls usually take precedence in the session. This is also an example of how great having another pair of hands can really make each session unique.
Giorgio has an amazing antique collection that encompasses many different styles of bowls, each with their own characteristic. Some had several amazing sounds both dissonant and harmonious all within one bowl. When purchasing new bowls, he prefers the adventure and serendipity of exploring and finding single bowls with character rather than purchasing complete sets. This creates his eclectic signature sound. Giorgio has a deep knowledge of music throughout his life and is the only practitioner I have recorded so far with formal music training. He enjoys wandering around the unstructured improvisations that sound baths allow always listening and experimenting for new sonic discoveries.This was the first recording I made of Giorgio at his Apartment in Central with his collection of unique bowls.The beauty of this recording is that you can listen to the recording to admire his personal collection of sounds or for meditation purposes. When you listen try to hear the subtle nuances of all the bowls he plays. Some characteristics come out depending on how hard the bowl is struck. Others come out when sounded with other bowls. All in all, it is a very relaxing track.
In Tai Wai to record the second session of Kaman. This time we recorded in a piano room in her residential complex. After we started in what we thought was going to be a quiet location, a group of children invaded the playground area which happened to be in the same space! We carried on with the rest of the session with Kaman adding a few minutes at the end to compensate for any future edits.Upon playback I discovered there were only a few spots where the kids were too loud. There were other spots that the kids could be heard but I think I will keep it. It gives a sense of place.Kaman used her crystal bowls with the monochord this time. In the quiet room, I could finally hear the monochord’s sound, which at times sounded almost human-like. I could have sworn I heard it sing or speak. I think the pairing of the bowls and monochord was perfect and is one of my favorite sessions I have recorded.
Rosan Cruz is based in Manila and was one of the practitioners that I was able to record earlier this year on my visit to the Philippines. Her sessions were recorded in her apartment in Green Hills where she holds sessions. She usually plays planetary gongs which as I learned are gongs tuned to a specific frequency and have a more controlled sound. Symphonic gongs are more musical and random in nature yielding other-worldly, ethereal sounds. Planetary gongs also have spiritual meanings that sound healers use to create gong combinations according to clients needs. In performance, I feel planetary gongs lend a narrower, stable sonic spectrum within a wide and powerful image.For this session, Rosan used a single Pluto gong for this recording. Pluto is used to eliminate toxicity, clear emotional trauma and aid in major life transitions such as life and death. This recording is so moving and heavy. Prepare to be crushed.
Yumi introduced me to Queena whose studio is in the same building as Ore Art. They wanted to improvise a sound bath together. Improvising with other people is always a challenge but the rewards can be great. Trust is a big part of a successful performance and their performances were pretty amazing. Queena played a single medium size gong while Yumi played her large symphonic gong. Their improvisations yielded emotional and moving recordings and are some of my favorite. Even though they seldom play together, their connection and dialogue borders on instinct. For this recording, Queena and Yumi sat on opposite ends of the room with their backs to each other. I thought it would be interesting to have a separate rhythm and sound immersing the listener. The placement of the gongs resulted in an interesting dramatic imbalance.
Michelle Chow has been a sound bath practitioner for a few years and has recently been learning and using tuning forks in her therapy sessions. Michelle Chow has been a sound bath practitioner for a few years and has recently been learning and using tuning forks in her therapy sessions.In this recording, Michelle plays tuning forks. Recording tuning forks requires the practitioner to sit very close to the microphone resulting in a very intimate recording with no indication of place. Your hearing becomes very acute noticing very minute sounds. You can hear the distant streetscape, her adjacent tenants moving outside the room, and a tiny water feature trickling in her office. Her choice of tuning forks and the way she moves back and forth sometimes swirling, sometimes steady, rocks you back and forth lulling you to sleep.
This recording is a special one for me. It is a track is a track of 'firsts'. This was the first recording I did of Ravina. This was one of the first sound baths she did in her new space. And this was the first recording that I did specifically for Sound Bath Sessions before I even knew what this project was.Recorded in December 2022, the paint had just dried in her new space and not all of her instruments were there. I remember editing this recording afterward and no matter how many times I listened to it, I got so lost in my thoughts that I forgot what I was doing. And so, the seed was planted that was to grow into this amazing project.Ravina played metal bowls with the gong, gradually going from one to the other skillfully integrating the two instruments. Her bowls were bought from India and the resonance is amazingly long lasting each with their own character. Each hit from other bowls shaped the sound in such unique ways. Again her powerful improvised percussive style cuts through your thoughts and demands your attention. It was my first time for me to record a gong bath and I was surprised at how much power it had. From then on, I asked gong practitioners to do a sound test so as to limit the amount of power they use during the recording.Listen to full track: https://soundbathsessions.bandcamp.com/track/sound-bath-008-ravina-daswani
Manuela worked as a social worker for 10 years helping mentally handicapped children and adults before beginning her sound bath and yoga practice. Besides managing her studio, she gives sound baths and yoga sessions every month to senior citizens as several community centers in town to help them dela with stress, insomnia, and physical problems.This track was also recorded with the microphone placed on the floor. This time Manuela, arranged the bowls in a circle around the microphone in a different arrangement. Very immersive track.
Helen Kwok has been practicing sound healing for about 7 years and opened her own space in Wan Chai 2 years ago. Helen's style is very, v.e.r.y. slow letting each bowl ring almost endlessly as I was taken in their custody to the depths of myself. To have such great restraint demonstrates a deep understanding and mastery of her craft and instruments. Her interests have recently been distilled even further by studying the shamanic drum, perhaps the most primitive healing tool, having only a single tone but using infinite rhythm patterns to trigger different conscious states. She feels the drum is more powerful than the bowls and regularly incorporates it in her sound baths.In this track, Helen plays the metal bowls. Like her shamanic drumming, the cadence is slow and steady, striking the bowl on each breath and letting the bowl fully ring out before striking again. The bowls have an amazing sustain lasting at least 30 seconds with a gentle tap. Recorded several stories above the street, the busy sounds of Hong Kong can be heard in the background. Looking for a super slow and relaxing track, this is for you.
During the course of recording for the Sound Bath Sessions project, I wanted to see how sound baths were like in other countries around Asia. I scheduled a trip to the Philippines for a few days to see family and record a few sound baths. I was able to get in contact with three practitioners in or near Manila: Rosan Cruz, LJ Navera, and Arianne Olegario. Arianne began her journey of self-healing around 10 years ago when the life she had planned out for herself couldn’t happen. She has learned Reiki, Innerdance, and more recently sound baths for her own self-healing and the healing of others. Arianne works as a consultant for USAID specializing in gender equality for development projects in southeast Asia.Arianne plays metal singing bowls at Yoga Shala, Manila.
Candace sometimes organizes a collaboration between interesting people she meets. This collaboration is with Hafsa a spiritual alternative healer, and Karina a yoga instructor at Ikigai. Hafsa worked as a professional singer in the past and she improvises some lyrics and drum chanting over Candace’s crystal bowl drones. Karina also plays the bowls lending another layer to the performance.
Yumi gives regular gong baths around Hong Kong. Her humorous and welcoming character complements the emotional sound baths that she performs. Yumi has practiced Reiki for many years and spends her time between Hong Kong and Japan with her family.Yumi gently begins by singing in her gong before enveloping you with sound. She had just gotten her new titanium gong and this was the first time performing with it. As it is a smaller gong, it has a higher, sharper tone than her large symphonic.
I traveled to Lipa City which was around 45 minutes drive from where my family lives. His name was mentioned by several people whom I contacted about the recording and luckily, I was able to record him on this trip. LJ is an artist that uses many mediums for his work. He uses many instruments in his sound baths, some of which he makes himself, such as his hand pan, mini gong, and digeridoos. His extensive bowl collection assures a unique performance every time. He also uses a loop pedal to create rhythms that he adds layers to as he improvises. Not your orthodox sound baths sessions, LJ infuses his creativity to create meditative music. In this session, LJ layers instruments over a drum loop he created before he solos on his hand pan.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
June has been a sound practitioner since 2016 and has developed a unique style creating interesting two-handed rhythms with the bowls or tuning forks. In this recording June begins with tuning forks which is unique. Tapping metal, the magic is revealed as she gets closer to the mic as another sonic world appears. She moves onto the singing bowls in a soft melodic song with higher tones. I enjoy her dynamic playing as she plays with tempo and loudness, varying the strength at which she hits the bowls. At one point she begins to play the tuning forks with the bowls, playing a sequence from the bowls and then answering with a strike of the tuning fork. She finally finishes with the tuning fork slowly awakening you from slumber as you take a deep breath.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-038-june-lam
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
During the course of recording for the Sound Bath Sessions project, I wanted to see how sound baths were like in other countries around Asia. I scheduled a trip to the Philippines for a few days to see family and record a few sound baths. I was able to get in contact with three practitioners in or near Manila: Rosan Cruz, LJ Navera, and Arianne Olegario. Arianne began her journey of self-healing around 10 years ago when the life she had planned out for herself couldn’t happen. She has learned Reiki, Innerdance, and more recently sound baths for her own self-healing and the healing of others. Arianne works as a consultant for USAID specializing in gender equality for development projects in southeast Asia.Another great one from Arianne. I like the way she strikes a single bowl multiple times before moving on, firmly embedding it in your consciousness before moving on. The sultry rim sweep allows the streetscape sounds emanate from below. It is as if she is playing with the world beyond the space.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-037-arianne-olegario
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
I recorded Calvin at Room Ganesha in Mong Kok. He combines the sounds of several instruments in his sound baths using metal singing bowls, tongue drum, and hand pan. Not formally trained in sound healing or music, Calvin’s approach is more about freely exploring sound for relaxation, meditation, and performance. He experiments with interesting combinations of instruments and sounds. The busy street below can be heard in the space.In this session, Calvin uses several instruments in this recording. He begins with a hand pan, ocean drum, crystal harp, and finishes with metal singing bowls. He concentrates on each instrument as he walks around the room with the more portable instruments. He also played to the stereo microphones moving back and forth, front and back.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-029-calvin-chan
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Michelle Chow has been a sound bath practitioner for a few years and has recently been learning and using tuning forks in her therapy sessions.In this track Michelle plays her metal singing bowls. Our final recording that night, it was a great finale to a long day. I didn’t know how much I needed this until I woke up at the end totally unaware of how the time had passed. Every time I listen to this recording, there is something just so comfortable, so familiar about it. Do you feel it?Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-036-michelle-chow
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Nicky’s playing style is very gentle and slow. Sometimes the bowl strike is imperceptible as if the bowl played itself. She has a prescribed sequence for her sound bath that she follows. Nicky plays slow and steady with restraint and a consistency that renders her almost invisible.Recorded at her studio in an industrial building in Kwai Hing. There was some construction sounds down the hallway that can be heard.In this session, Nicky’s playing style matches the precise and consistent sound of her bowls. Her own breathing is the tempo that you follow as she guides you through the session. If you need something slow, soft, and pure, this is the track for you.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-035-nicky-sum
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Sheung Ning began learning about sound baths a few years ago and regularly performs sound baths. A self- proclaimed introvert, she finds that sound baths allow her to express herself creatively and makes her more outgoing. These recordings were recorded one evening in Lai Chi Kok. In the recordings, you can hear the sounds of late evening in the building as the shopkeepers close their roll down gates, Jangle keys, and leave footsteps that disappear in the distance. It is a great description of place and location.This recording was done when the adjacent spaces were closing shop. I love this recording because it has these unscripted elements of place and life much like the improvised sound baths of these projects. The most memorable part is just when the rolling shutters close, she hits the bowl and begins her sequence. Such a great coincidence. Sheung Ning plays slow, and lets each bowl take its time to ring into your consciousness. As the air conditioner turns off, the room gets really quiet, magnifying each sound. The studio sound is ‘dead’ with no echo and no windows making the experience that much more intimate.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-034-sheung-ning
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
2023.10.07Haptic CollisionFeaston HQFeaston / Karen Yu / 龢wo4: objects, junk, tennis ball, cymbals, guitar, amplifierSeveral people played with the ball bouncing it back and forth to each other hitting objects like a drum or cymbal. Other people staged a workout sessions lifting guitars as if exercising letting the movements make sounds from the guitar. nnscya also played a background soundtrack.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
2023.10.07Haptic CollisionFeaston HQLiu Fang Yi- Objects and electronicsNelson Hiu- SynthesizerLiu Fang Yi used objects such as a portable fan and toys and played with a microphone and contact mics. Nelson played a Korg Monologue synth.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Yumi introduced me to Queena whose studio is in the same building as Ore Art. They wanted to improvise a sound bath together. Improvising with other people is always a challenge but the rewards can be great. Trust is a big part of a successful performance and their performances were pretty amazing. Queena played a single medium size gong while Yumi played her large symphonic gong. Their improvisations yielded emotional and moving recordings and are some of my favorite. Even though they seldom play together, their connection and dialogue borders on instinct.This session was recorded with Queena and her gong on the left and Yumi’s large symphonic and titanium drum on the right. Queena played a slow, subtle, monotonous rhythm as the sonic foundation for Yumi’s powerful playing. The steady rhythm is your anchor, guiding you through the wilderness of sound.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-032-queena-yumi
Recorded October 4 at the Rockbund Art Museum Public Square in Shanghai.Maimai led a workshop in the weeks leading up to the ‘Assemblies' event to explore concepts of music/non-music instrument/ non-instrument. Finally culminating in an improvised performance where people were improvising with each other's signal using oscillators and guitars.《电吉他与振荡器四重奏》时间：10月4日 14:30和15:30 （共两场）时长：每场25分钟地点：博物院广场艺术家：卖卖演出名单信号发生器：吴加利 冯伊帆 贾潇 信号发生器与声码器：赵潇潇电吉他：徐光祖 电贝斯：徐子煜 简介艺术家将用极缓慢的速度拉长一首吉他练习曲每个音符间的距离，并把用于测试的模拟振荡器当作演奏乐器，如此带领四位演奏者一起探索“音乐/非音乐，乐器/非乐器”的主题，最终用两把吉他和两台模拟振荡器完成表演。
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Rosan Cruz is based in Manila and was one of the practitioners that I was able to record earlier this year on my visit to the Philippines. Her sessions were recorded in her apartment in Green Hills where she holds sessions. She usually plays planetary gongs which as I learned are gongs tuned to a specific frequency and have a more controlled sound. Symphonic gongs are more musical and random in nature yielding other-worldly, ethereal sounds. Planetary gongs also have spiritual meanings that sound healers use to create gong combinations according to clients needs. In performance, I feel planetary gongs lend a narrower, stable sonic spectrum within a wide and powerful image.In this session, Rosan used the Pluto and Mars gongs with their amazing low, moving tones. Mars is used for motivation, enables self-mastery and deepen our resolve and determination to triumph despite any setbacks we encounter. The use of the second gong adds another dimension to the recording as the sounds from both gongs create more complex tones.Listen to the full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-031-rosan-cruz
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
I traveled to Lipa City which was around 45 minutes drive from where my family lives. His name was mentioned by several people whom I contacted about the recording and luckily, I was able to record him on this trip. LJ is an artist that uses many mediums for his work. He uses many instruments in his sound baths, some of which he makes himself, such as his hand pan, mini gong, and digeridoos. His extensive bowl collection assures a unique performance every time. He also uses a loop pedal to create rhythms that he adds layers to as he improvises. Not your orthodox sound baths sessions, LJ infuses his creativity to create meditative music. We recorded his sessions at his home in Lipa City. You can hear the quiet neighborhood sounds of dusk from his open window.In this session, LJ begins by playing his locally made hand pan he developed with a local Russian friend. The second half of the song, he begins layering a loop with a digeridoo and hand pan. It is a wonderful, improvised performance.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-030-lj-navera
This past China National Holiday (Oct 1-6) I just happend to be in Shanghai and was fortunate enough to attend an outdoor sound installation/ music event at the newly opened RAMA square area just behind the Rockbund Art Museum, (RAM). The square has been under construction for as long as I can remember (18 years) and was just opened to the public in time for the holiday. The square and alleyways serve as a gathering area and also links the various buildings around the city block together. All the surrounding buildings are historical landmarks and house galleries, offices, and restaurants.'RAM Assemblies' is a public performance art program that was curated for the grand opening of the space and included sound installations, performance art, and art installations set in RAMA square. The mainstays of the Shanghai sound art community were all represented in some way there. Curated by 殷漪 (Yinyi) and produced by 陈韵 (Chen Yun). The outdoor sound installations- 'Activations'- was one element of the program with speakers placed around the areas of the public area. The installations featured selected sound artists 孙玮 (Sunwei)，马海平 (Ma Haiping), 汪晚 (Wang Wan)， 王长存 (Wang Changcun)， B6，陈维 (Chen Wei).After a short tour of the area by Chen Yun I wanted to somehow document this event with a recording. I thought it would be best represented with a continuous sound walk that showcases the life of the area between each of the speaker locations. I began to record a first take with the intention of recording each speaker individually, but then thought it would be more interesting to create a loopable, continuous piece to paint a complete picture of the event- à la 清明上河图- if you will.So I started again.The walk took me through narrow alleyways with transient footsteps and the bang of the bathroom entrance door, to quiet pockets of respite in small squares, to the busy pedestrianized street along Huqiu Lu with photo takers young and old, past the lively main square, and finally ending with a tour group waiting and boarding their bus along Sichuan Zhong Lu before returning again to where I began. It was a great portrait of this area of downtown Shanghai in a nutshell. It felt so wonderful to record on the Shanghai streets again. Every time I go back, I still try to find the words to fully explain how I feel that represents how much the city has meant to me for about a 1/3 of my years so far. Is it possible to feel 'fernweh' and 'heimweh' at the same time?This time, the early fall weather was perfect with a slight dryness in the air, a gentle constant breeze and din that was so familiar to all my senses. Perhaps it is just meant to be unsaid, unquantified by words, and experienced silently with an open ear.[8090, R82 mini]
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Rosan Cruz is based in Manila and was one of the practitioners that I was able to record earlier this year on my visit to the Philippines. Her sessions were recorded in her apartment in Green Hills where she holds sessions. She usually plays planetary gongs which as I learned are gongs tuned to a specific frequency and have a more controlled sound. Symphonic gongs are more musical and random in nature yielding other-worldly, ethereal sounds. Planetary gongs also have spiritual meanings that sound healers use to create gong combinations according to clients needs. In performance, I feel planetary gongs lend a narrower, stable sonic spectrum within a wide and powerful image.For this session, Rosan used a single Pluto gong for this recording. Pluto is used to eliminate toxicity, clear emotional trauma and aid in major life transitions such as life and death. This recording is so moving and heavy. Prepare to be crushed.Listen to full track here: https://soundbathsessions.bandcamp.com/track/sound-bath-028-rosan-cruz
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This is a 5 minute preview of Brenda's full sound bath. To listen to it in full please visit our Bandcamp page: https://soundbathsessions.bandcamp.com/track/sound-bath-027-brendaPlease consider subscribing to support this project.I recorded Brenda at her teacher’s space about a 10 minute walk from the Kam Sheung MTR. The space is next to the teacher’s house and she also holds her sound baths there on occasion. There is a vegetable garden that is tended to by helpers and his students. It was a sweltering early summer day and you can hear the cicadas, dogs, and caretakers wandering in the heat. Brenda plays several instruments in her sound baths including the shamanic drum, gong, and a small shruti box. The most unique instrument she uses is her voice as she chants harmonizing with the instruments and singing well-wishing mantras that she has learned over the years from her teachers.This recording begins with the cicadas, the sound of the returning summer. She starts of playing a Remo drum which is different from some of the natural animal hide drums I have heard. The sound is more consistent and less maintenance than a one made from hide. I was quite surprised when she began to sing, which I imagine is a rarity amongst sound bath practitioners. Her confident, gentle voice makes the sound bath more intimate.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
I have recently started reading Ballard's 'Crash' and was intrigued by the human fetish of machines that is emphasized in the book. Perhaps it explains my own deep obsession with my mechanical tape recorders. Having stripped them down to their bare form, replaced parts and electrical components, experimented, amputated, implanted, and integrated into a digital system, all to extend its life way beyond expectations (50+ years) and intended capabilities. The raw, chunky sounds they make, the struggle to turn the reel, creaking of the brakes, and the unexpected nature of the recording/ or playback all have an erotic, exhilarating feel to it and is why I include these sounds in the final tracks.Just as 'The Peregrine' has been recommended as an inspiration for the obsessive, meticulous field recordist, I think 'Crash' further reveals the unsaid fetishistic relationship between us and our machines. Much like any professional that uses machines in their work, be it camera, keyboard, or retractable ballpen, I too do not deny the pleasure I feel every time I press record.This collection uses the newest Generations algorithm which builds upon the last version adding features, fixing bugs, and allowing more autonomous composition from the mixer and recorders. As the algorithm mutates, it is a step closer to total automation and almost no human interaction with the Instrument.The source tracks used contain the audio recordings of various pornographic short films that appeal to me. Over 100 unrecorded Generations had been composed before the final tracks were documented. All 6 tracks were evolved and improvised by the Instrument.The tracks are noisy and contain sexually suggestive sounds which may be offensive to some. Please listen with caution, or not.
This is a 5 minute preview of Sheung Ning's full sound bath. To listen to it in full please visit our Bandcamp page: https://soundbathsessions.bandcamp.com/track/sound-bath-026-sheung-ningPlease consider subscribing to support this project.Sheung Ning began learning about sound baths a few years ago and regularly performs sound baths. A self- proclaimed introvert, she finds that sound baths allow her to express herself creatively and makes her more outgoing. These recordings were recorded one evening at Mine Soul in Lai Chi Kok which is located in an industrial building. In the recordings, you can hear the sounds of late evening in an industrial building as the shopkeepers close their roll down gates, Jangle keys, and leave footsteps that disappear in the distance. It is a great description of place and location.Sheung Ning’s style is quite slow, and very minimal. In this recording she moves with the bowl around the room striking it at every breath. The rustle of her clothes as she moves adds to the mystery and anticipation of the experience. As she slowly swipes the rim of the bowls the pulsating sound draws you deep. Until everything stops. She plays with silence as if it were a sound. The power of stillness, of quiet.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This is a 5 minute preview of Manuela's full sound bath. To listen to it in full please visit our Bandcamp page: https://soundbathsessions.bandcamp.com/track/sound-bath-025-manuelaPlease consider subscribing to support this project.Manuela's (ig:@yoga_heartin) sound baths were recorded at her studio in Lai Chi Kok. Manuela also contributes her time at her local community center where she performs sound baths to the elderly community to help them with their anxiety and pain.This recording was the first recording I made of Manuela. The microphones were placed on a stand in a typical point of view. The bowls were in a triangle on the floor and sounds of her movements to play the different bowls can be heard. Her way of sounding the bowls were. Unique in that she would tap the bowls twice or three times in quick succession with the same rhythm- one long, two short. The spacing out of the bowls gave depth to the recording, describing the space with near/far subtleties in tone.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This is a 5 minute preview of Yumi's full sound bath. To listen to it in full please visit our Bandcamp page: https://soundbathsessions.bandcamp.com/track/sound-bath-024-yumi
Please consider subscribing to support this project.
Yumi gives regular gong baths around Hong Kong. Her humorous and welcoming character complements the emotional sound baths that she performs. Yumi has practiced Reiki for many years and spends her time between Hong Kong and Japan with her family.
This was recorded at Ore Art in Sheung Wan. It was the first solo gong bath I had recorded and it blew me away. I had no idea a single gong could have so much power. Her symphonic gong is very musical with each hit creating a new layer of sound upon the last resulting in an overwhelming wave of sound that fills your mind. I felt new ideas and inspirations emerge perhaps because deep down that was what I was seeking. I would anticipate our future recordings as a time of creation and release.
In the middle of the recording, I had heard a unique sound inbetween the layers. She revealed that she sang into the gong with her voice. It was amazing how it became one with the sounds of gong softening it, making it more human.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
During the course of recording for the Sound Bath Sessions project, I wanted to see how sound baths were like in other countries around Asia. I scheduled a trip to the Philippines for a few days to see family and record a few sound baths. I was able to get in contact with three practitioners in or near Manila: Rosan Cruz, LJ Navera, and Arianne Olegario.
Arianne began her journey of self-healing around 10 years ago when the life she had planned out for herself couldn’t happen. She has learned Reiki, Innerdance, and more recently sound baths for her own self-healing and the healing of others. Arianne works as a consultant for USAID specializing in gender equality for development projects in southeast Asia.
Arianne plays metal singing bowls for these sessions and all tracks were recorded at Yoga Shala in Quezon City. In the beginning of the track, you can hear her say in the beginning of the track, "creation and communication". This is the intention that the practitioner puts on the sound bath.
Her session starts by sounding individual bowls several times before moving onto the next. Sometimes each strike can have a different energy; tapping the bowl harder or softer can release hidden overtones in a bowl. She slowly begins to incorporate more different combinations of bowls with dynamic tempos that change the depth of your experience. The busy street below can be heard creating a great sense of place.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This was the second recording of Manuela (ig:@yoga_heartin) at her studio in Lai Chi Kok.
Manuela laid her bowls in a large triangle formation on the floor and said that for her individual sessions, her client would lie in the middle of the shape while she performed her sound bath. I thought it would be interesting to hear a sound bath from the client's perspective and placed my stereo microphone on the floor where the head would be. The result is a very immersive, intimate sound bath with a great sense of space and distance. Her movement between both sides of the body adds a dynamic, 3-dimensional feel to the performance.
Manuela also contributes her time at her local community center where she performs sound baths to the elderly community to help them with their anxiety and pain.
Please consider subscribing to support this project.
http://www.sbsessions.com
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Grace. South Bay Beach HK, 4am. Playing a lyre made by Andreas Lehman by the ocean.
"You know if you want to do this right, we need to record in the early morning.", I said. "Like how early?", she asked with a teary-eyed emoji.
I woke up at 3am after a sleepless night, anxious with anticipation. I met Grace and we drove to South Bay Beach. There was more sound than light there. Tiny ocean waves lapping on the shore. We set up near the waterline and she began tuning her lyre.
"Give me 10 minutes, I need to connect with my instrument.", Grace said. "Ok. I will start recording. Start whenever you want.", I said not wanting to distract her from her meditation.
She walks to the water's edge with chimes and stands still, listening. She comes back and begins, playing with the ocean.
She eventually stops and sits there, reconnecting to the moment. A distant fishing boat starts up and slowly drifts into silence. A ship's horn softly bleats. "Should I stop?", I say to myself, biting my lip. "No, let's just see what happens."
She picks up the chimes and walks along the beach this time, coloring with sound. She returns and plays again. Insects and birds begin stirring. Daylight breaks and I notice the tide came in. Did you hear it? You can, you know.
She looks at me and I stop.
I drive her home as the sun peeks over mountain tops. The city begins its daily rituals, unknowing to what had just happened.
Please consider subscribing to support this project.
http://www.sbsessions.com
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.
Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.
Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.
Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.
These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.
Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Sound Bath 014 featuring Queena and Yumi at Queena’s studio in Sheung Wan now available to listen on all major podcasting platforms. Search for Sound Bath Sessions on your favorite podcast app. See sbsessions.com for details.Queena and Yumi played together for their sessions. This is perhaps the most musical and expressive recording I have recorded so far and is representative of the kind of recordings I have been fortunate to record these past few months. It is the one that had the most effect on me. Every time I listen to this, I am just overwhelmed. It is just beautiful.They begin playing the bowls and titanium gong. Starting at the pace of life, it is full of energy and music. Heavy hits on the bowls shake the senses as mixed musical sequences create a pleasant environment. She shares the sonic space with Yumi as she awakens the gong- swelling, swallowing everything. As she retreats, the bowls slowly come up for air with their song. The bowls begin to become less varied as Queena strikes only a few bowls at a time, sometimes striking a single bowl until its constant ring fills your ears. The striking stops. Descent is imminent.A rain box is flipped as it creates a constant shower. The next scene begins. Everything slows way down. The last rhythm is played as Yumi signals a transition with a single hit of her large symphonic gong.What happens next is a dance. The synergy between them is amazing. You are enraptured with their song as it embraces you and takes you lower and lower until the veil is removed and you realize where you are. Love and loss. Light and dark. Everything and nothing. It is balance. It is powerful. It is deep. The pressure crushes you as you take shallow breaths. You find them again as they pull you to the surface. They conclude playing with the rain box. As the last few stones trickle down, they end with their final note as you break the surface and take a breath.Listen on Spotify: https://spotifyanchor-web.app.link/e/Qnry08pfbAbListen on Apple Podcasts: https://podcasts.apple.com/us/podcast/sound-bath-014-queena-yumi/id1689180116?i=1000614728100Listen on Amazon Music: https://music.amazon.com/podcasts/643a7b75-604c-4233-8d88-bfa272e23548/sound-bath-sessionsListen on Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lMjU1MjNhNC9wb2RjYXN0L3JzcwMore places to listen to here: https://bivouacrecording.com/post/sound-bath-sessions-2
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Replacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
This Generations release is a selection of 76 recordings from 500 randomly generated compositions made with recordings of the Feaston group on a rooftop in Hong Kong in October 2022.Generations compositions are made with a hybrid analog/digital instrument comprised of 4 reel to reel tape recorders, a digital mixer, and a customizable Pure Data program.Each Generation is unique as the content gets re-recorded over each other at random times. FX were gradually added by the Pure Data program during composition.Each unique track will be available for purchase at OpenSea.io as an NFT. Owners will get the original Field Recording as well as the original WAV file of their Generation.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
whereareyounowReplacement Soundscapes change your immediate sonic environment with natural sounds to enhance the mood and well-being of your space. Shuffle this collection and let it continuously play. Listen at home, commute, and work.These field recordings are from the Fengxian District in Shanghai, China. Mostly rural, new development is slowly creeping in. Recorded over the course of 1 year (2018/19), I left recorders overnight in rain or shine. Each visit I selected new and interesting locations to record.Hundreds of documented hours ensure each soundscape is unique.
Recorded March 3, 2023 at Wontonmeen, Hong Kong.Great entertaining lively performance featuring a live band and tap dancing! The group had just finished a tour around Hong Kong combing Jazz and Tap and are continuing to perform in venues.Performers:Nate Wong (drums) @Scott Murphy (saxophone)Jerald Chu (piano)Cal & Zoe (tap dancers)
This is the monthly bonus track for the Sound Bath Sessions collection Featuring Paul Yip.Sound Bath Sessions is a subscription-only project that offers live recordings of exclusive sound baths from sound therapists and healers in Asia.
Recorded January 13, 2023, I was invited to record the initial performance in Travis' beautifully designed and newly opened space (ig: onenesshk) 太一 in Kwun Tong. The performance was an intimate affair with a handful of people in a room that was made for events and recording. Adam came with an eclectic array of pedals and two guitars he has built or modified. Eric played a nord lead and his electric violin with pedals. Travis had an expanded drumkit with more percussive accoutrements that he eventually passed out to the crowd near the end which was a nice touch.
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
Generations : Nelson Hiu (https://opensea.io/collection/brgenerations) is a sound collection of aleatoric compositions that are based on a live improvised performance recording of the musician Nelson Hiu in Peng Chau, Hong Kong. 'Generations:_' is a project that uses aleatoric methods to create compositions using field recordings. By using chance to make the final composition, more focus can be concentrated on gathering source recordings. This also allows a more organic evolution for each Generation process. In brief, the composition is made by compiling sequences of preprogrammed MIDI commands to control 4 reel to reel tape recorders with a digital sequencer. These functions are chosen by a random number generator. As the sequence plays back, both the sounds on the tape and the sound of the recorders are documented blurring the lines between past and present, time and space. The re-recording of previous passes further distorts this experience. There are 10 unique tracks in this collection. There will only be one mint made for each of the tracks after which the original tape will be erased and used for another Generation. Owner(s) will receive a link to the WAV file to download for non-commercial use. All audio is used with permission. For more information about the project:https://bivouacrecording.com/post/generations-nelson-hiu
A spacious and hopeful soundbath performed by Candace Cheung (@crystal-bowl-of-light)using Crystal Tones alchemy crystal bowls. A dreamy, sanguine recording that suspends you just below the surface where you are free to let go and explore your imagination.The title "Eyes Yet To Open" was inspired by the recording and has a double meaning: the description of that feeling on a quiet morning when your body is trying to pull you into back to reality but you don't let it, and the anticipation of becoming something, possibly a change or a realization.The first track of our new Sound Bath Series, more tracks will be released featuring various types of Sound Baths such as gongs and metal and singing bowls.To purchase the full 20:00 track please click the 'Buy' link above to go to our Bandcamp page.'Eyes Yet To Open' now available for licensing on Pond5:https://www.pond5.com/royalty-free-music/item/219590757-eyes-yet-open
Recorded 220806 at Eaton HK for the Unheard Sound & Music Festival. Organized by 現在音樂 Contemporary Musiking Hong Kong and Eaton HK
Jasper Fung (analog synth, diy) & Lau Hochi (analog synth) performed a live set. Jasper built and tuned the sound of the piece using subwoofers, foil sheets, electronics, and rubber bands all from scratch. Lau Hochi created the underlying rhythms and fills.
Recorded binaurally and rerecorded on old reel to reel tape.
Jasper Fung ft. Lau Hochi
Jasper Fung is an artist-researcher currently based in Hong Kong. His inter-disciplinary practices intertwine with free improvisation, sound studies and media arts.
Fung’s approach toward performativity wanders the relationship between the real and the imagined. His use of everyday objects and loudspeakers as an active instrument delve into how multi-sensory experiences are constructed through the penetration of sound in relation to its context. Recently, Fung started practicing a form he reclaimed as “Social patching” by remixing performances with limited apparatus into the cityscape at both public and private spaces.
Lau Hochi is an interdisciplinary artist that creates devices and situations. He tries to create a slower and meditative state through repetition and spaciousness in his works. He is interested in how interfaces organize and pace everyday life.
Recorded 220806 at Eaton HK for the Unheard Sound & Music Festival. Organized by 現在音樂 Contemporary Musiking Hong Kong and Eaton HK
Artists Drew Cappotto (music) and ALN (visuals) put on an audio visual performance. Drew's improvised beat making influenced the visuals that ALN manipulated with custom visual projections.
Recorded binaurally and rerecorded on old reel to reel tape.
Recorded 220806 at Eaton HK for the Unheard Sound & Music Festival. Organized by 現在音樂 Contemporary Musiking Hong Kong and Eaton HK
Artist Tsun Winston Yeung performed live coding while sampling his voice which evolved into using FX to manipulate the audio.
Recorded binaurally and rerecorded on old reel to reel tape.
楊俊 Tsun Winston Yeung
楊俊是一位電腦音樂家和即興演奏者。畢業於英國伯明翰大學，並於2019年取得音樂哲學博士學位。他的作品遊走於不同的範疇，包括數據聲音化、多聲道聲音、現場編程音樂和不同感應器之音樂應用等。他最近的研究包括利用人體產生的數據為聲音創作的素材。他的作品多為電聲音樂，現場電子音樂和聲音裝置藝術作品。曾於不同的音樂節和國際研討會中演出，其中包括國際電腦音樂研討會和國際現場編程研討會。
http://www.yeungtw.com
Tsun Winston Yeung is a computer musician and laptop music improvisor. Graduated from the University of Birmingham with a PhD in Musical Composition, his outputs mainly explore around the topics of live coding, data sonification, sensor-based performance and multi-channel audio. His recent research investigates computer music performance with the use of data from the human body. The result of his works comprises a variety of genres including acousmatic composition, live electronics performances, as well as installations. His works have been presented and performed in various events around the globe, including New Interfaces for Musical Expression (NIME), International Computer Music Conference (ICMC), International Conference on Live Coding (ICLC), BEAST FEaST, and various Algorave events.
http://www.yeungtw.com
City Moat/ The City Moat is dead water/ After its renovation, the water became less cloudy and quite scenic / It is free for visitors to visit and wander / Many couples come here to take wedding photos, doing many cute poses, day after day //
Recorded 220806 at Eaton HK for the Unheard Sound & Music Festival. Organized by 現在音樂 Contemporary Musiking Hong Kong and Eaton HK
Artists Olivier Cong and Karen Yu (duet) Use of contact microphones over heart and mixer FX box.
Recorded binaurally and rerecorded on old reel to reel tape.
楊俊 Tsun Winston Yeung 楊俊是一位電腦音樂家和即興演奏者。畢業於英國伯明翰大學，並於2019年取得音樂哲學博士學位。他的作品遊走於不同的範疇，包括數據聲音化、多聲道聲音、現場編程音樂和不同感應器之音樂應用等。他最近的研究包括利用人體產生的數據為聲音創作的素材。他的作品多為電聲音樂，現場電子音樂和聲音裝置藝術作品。曾於不同的音樂節和國際研討會中演出，其中包括國際電腦音樂研討會和國際現場編程研討會。 http://www.yeungtw.com
Tsun Winston Yeung is a computer musician and laptop music improvisor. Graduated from the University of Birmingham with a PhD in Musical Composition, his outputs mainly explore around the topics of live coding, data sonification, sensor-based performance and multi-channel audio. His recent research investigates computer music performance with the use of data from the human body. The result of his works comprises a variety of genres including acousmatic composition, live electronics performances, as well as installations. His works have been presented and performed in various events around the globe, including New Interfaces for Musical Expression (NIME), International Computer Music Conference (ICMC), International Conference on Live Coding (ICLC), BEAST FEaST, and various Algorave events. http://www.yeungtw.com
Recorded onlocation by Terence LLoren @bivouacrecording
Clock tower / Xi'an's city center / Within the city walls, all of the buildings cannot be taller than the clock tower / Already 16 years have passed since I have gone up the clock tower / It's too bad I didn't record the sound of it / Maybe it is because they don't allow people to ring it anymore //
Bus 604 / 604 is the only bus that stops at the City wall gate, I think / It is also the only bus that has not changed to an air conditioned car. During the winter I sit in the seat closest to the door / I go to Duan Lv Men, Qiaozi Kou, and many places I want to go //
Shuyuan Men / Shuyuan Men on the east side of the South Gate, directly facing the west side of Xiangzi Men / On both sides of the road you can buy writing brush and ink, paper, and ink stones- the 'Four Treasures' needed for writing Chinese calligraphy / There are many traditional arts and crafts stores here. Another kind of scenic flavor //
Xi'an Electric Science and Technology University / From 2001 I studied 7 years here / I met many interesting people and did many interesting things / I cherish these memories //
East gate antique city/ The one thing that old down is not lacking are antique shops / From the small east gate to the east gate, there are many street stalls and stores / Fake things, real things, this place has everything you one could ask for / Even if you don't want to buy anything it is still really interesting to walk along the road and hear the people tell the story of each of their objects //
My friend opened a coffee shop in the Zhuquemen's Shuncheng gang / After he opened it he moved to Canada and gave it to his partner to take care of / I often come here alone or with some friends to hang out, read books, and chat for a whole afternoon / Youth is beautiful, there's no difference between passing time and wasting time / I recorded the sounds of the coffee making process / One day I was thinking about finding fun sounds that I don't usually hear and it suddenly occured to me / You probably have tasted all sorts of big brand, small brand, instant, fresh ground, Kopi Luwak, etc. of coffee / But you probably haven't noticed the interesting sound of how a cup of coffee is made //
Facing the city wall / The recording of the past and present existing in both contrast and harmony //
Ba Xian Palace- Law / I came here several times to record the Ba Xian Palace- Law sounds and every time I missed it because the time was not right / This time I asked a Daoist Monk when the correct time was / At 9 a.m. and 3 p.m. was the times that they did their homework / They will hold events during the birthday of Luzu and the 99th Royal festival in September /You can listen to the differences between the Daoist and Bhuddhist music (With Track #1) //
Wangji Temple / The Taiping princess gave this royal monastary to pray for the good fortune of her mother, Wu Zetian / Through the Great Leap Forward, Destroy the four Olds, city expansion, and the renovation of the shanty town areas, the temple has been reduced to what you see today / Every year on the first day of the Chinese New Year, crowds of people will come to burn incense to pray for the next year to bring good fortune, good business, academic success, and a healthy newborn baby / I live near the back of this temple / Sometimes I will just come inside and see the good men and women, listen to the bible readings, or just stay a while, then continue on with my life //
Recorded at @20alpha in Hong Kong.
Act 1- Zheng Yui Ka Bonnie feat. Chan Hiu Man Act 2- Heyvard Act 3- E.A.T. Trio - Eric Chan, Adam Neutron, Travis Leung
Recorded binaurally then rerecorded onto deteriorating reel to reel tape.
Act 1- Zheng Yui Ka Bonnie feat. Chan Hiu Man Act 2- Heyvard Act 3- E.A.T. Trio - Eric Chan, Adam Neutron, Travis Leung
Recorded binaurally then rerecorded onto deteriorating reel to reel tape.
Act 1- Zheng Yui Ka Bonnie feat. Chan Hiu Man Act 2- Heyvard Act 3- E.A.T. Trio - Eric Chan (Drums), Adam Neutron (Electric Guitar), Travis Leung (Electric Violin)
Recorded binaurally then rerecorded onto deteriorating reel to reel tape.
This composition study was made during my trip in Hong Kong. I knew I was going to be here for a few months and rather than to pause my tape experiments, I brought a single portable tape recorder, Sony tc-5550-2, and other digital players to replicate conditions I had at home. The new limitations are quite interesting with a minimal kit. I wish I had made more custom cables to experiment more with routings. To top it all off, a plastic piece critical for the operation of the recorder had disintegrated and broke so I 3d modeled and milled a new part in metal, which unfortunately took a couple of weeks.
The audio is still from the Shanghai ferry and was layered at least 10 times, in random format, no breath tempo. I further improvised by cutting and resplicing the entire composition finishing up with another few layers of overdubs.
A few tweaks here and there. Adjusted mixer matrixing to curb self feedback Changed all scene matrixing to mono Added new scene matrixings to be selected via MIDI Randomly adjusted recorder calibration for subtle 'wrong' effects Recorded new midi 'Chunk' for playback in DP Switched mic from wide cardioid to omni.
The result is pretty nice. Some great unexpected feedback textures. Feeling I am almost there with this.
Ongoing goal to create/ find patterns to create an autonomous and organic song architecture. Diving deep with Christopher Alexander for this:
Nature of Order books Pattern Language Timeless way of Building
No FX, autonomously composed mono recording.
New Generations sketch! It has been a while because in the first half of the year I was upgrading the MIDI capabilities of the A77 in order to turn it into an autonomous instrument controlled by the MIDI sequencer in my DAW. Although the sequence is a repeatable digital structure, the field recordings are recorded and rerecorded over each other with every pass (at least 20-50 times), each time creating a completely different sonic (not notational) composition. This was made in one take composed with only field recordings with no FX. All sounds are made from the tape recorders. Mono recording.
I really got to thinking about the essence of this instrument, and any instrument for that matter. What makes an instrument an instrument? How do these parameters apply to new instruments made with modern technology? Recently have been researching the mechanical player pianos of the early 20th century and the impact it had on how people thought about performance and composition.
Will experiment with more splicing in the future to add some more texture. The chance of splicing audio backwards. Construction and Deconstruction. Also with microphone placement.
Latest recording for Generations project. 24 tracks of tape recorders. 12 tracks of FX. Improvised performance. 1 take.
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
artist: Kotra album: Volt (Fire I)
from: Kyiv, Ukraine
equipment: selfmade noise-generator, korg ms2000r, 4 old microphones, korg kaosspad II, behringer mixer ub1622-fx.
description: pure analogue overloads, sines
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
- Fougères (Near Rennes) - France
- Selfmade sound generators (vst plugs made with synthedit), sample, a vst host (Audiomulch) and a wave editor (audiacity).
- Pure Electro Donkey Style, that means nothing but it suits well to my stuff.
September 29, 2019 / 16:15 / Delavan-Canisius College Station to Allen/Medical Campus Station / Subway Going South / The Jacobs School of Medicine and Biomedical Sciences opened downtown in December of 2017, the midpoint of my first year at the school, which was previously located five miles northeast at the University at Buffalo South Campus / I enjoy the strange push and pull of the subway – reminiscent of the breathing of the city – as I travel downtown to learn, to struggle, to live / I enjoy the juxtaposition of present and future: I notice and care about the people that are around me on the subway as I journey through school to learn how to know and care for the people that will be around me in the hospital / I enjoy the feeling that I once wrote a poem, meaningful to me, on a subway long ago that I have since lost and forgotten, realizing my lapse in memory does not render poetry any less valuable / Everything is movement and stillness, expectation and persistence amidst entropy //
October 4, 2019 / 15:32 / Roswell Park Comprehensive Cancer Center, 665 Elm St / Roswell Hospital Lobby / Seven years and some months ago I volunteered in this lobby, a premedical student delivering mail and escorting patients around the hospital / Since then, how many have walked through and sat in this hospital lobby? / In what ways and to what extent did cancer write itself into each person’s story (and what is written in the epilogue)?/ I cannot fathom the words //
September 28, 2019 / 10:16 / 42.872444°N, 78.873476°W / Cancer Run Near the General Mills Factory / Solidarity. Tempering the tempest with togetherness; bearing the battle by bond / One of Buffalo’s epithets is the City of Good Neighbors and on Saturday the 28th of September the city participated in Purple Stride Western New York, countless persons embodying the Samaritan to assuage the suffering of those with pancreatic cancer / Such malignancy falls on us like robbers on the traveler to Jericho – its power to wound is not to be dismissed / But in the tumult and the misery, we are not alone / In the recording, cancer (so other, blighting, and present) was transcribed for factory, whose drone rises and falls along the route of the run / Sometimes the steadfast footfalls of the runner or the heartening cheer of the crowd predominates; other times, we must persist in spite of the prevailing atmosphere of that which is against us – other times, ““There is naught that you can do, other than to resist, with hope or without it. But you do not stand alone.”1
“We was all of us just tumbling birds hanging in the sky. And hauled our bones 'long troubling roads and didn’t none of us know why. And as we staggered towards a frightening dawn, I swear all I ever, ever, ever, ever, ever, ever, ever, ever, ever believed in was all of us together all along.” - Efrim Manuel Menuck
1: The Fellowship of the Rings by J.R.R. Tolkien
October 9, 2019 / 07:11 / Linwood Ave & Barker Ave to ECMC / Driving to the Hospital / As the saying goes, you are always 15 minutes away from wherever you need to be in Buffalo / While there are pockets of the city amenable to joyful walking, the city is largely one for driving / It is well to be only 15 minutes from meeting a friend for lunch, 15 minutes from a timely arrival at work, 15 minutes from the café offering coffee as respite, and 15 minutes, relative to wherever you find yourself to be, from home / But this time driving alone accumulates – what can be done with the time? / Sometimes I drive to work and think of the patients I will see and whether they were well overnight in the hospital / Somedays I remember past experiences I had driving these well-worn roads (e.g., a conversation with a friend in the passenger seat, a feeling of excitement en route to a concert, a panic attack on the way to the airport this past March) / Sometimes I think of nothing and everything as I listen to the road I travel, the engine I use, the vehicles I pass, the position I keep, my past, my present, my future, fantasy and serendipity / There is much to remember and to forget, to communicate and to keep, to narrate and to hear – the self, the sounds, the city… //
“Memory is the daughter of noise; forgetting, the child of silence.” - Juan Ramón Jiménez (1881 – 1958)
“Yes, in my life, since we must call it so, there were three things, the inability to speak, the inability to be silent, and solitude, that’s what I’ve had to make the best of." - Samuel Beckett (1906 – 1989)
“It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story.” – Patrick Rothfuss (1973)
September 24, 2019 / 17:58 / 25 Grant Street / West Side Bazaar / Traveling to the City of Buffalo on the New York State Thruway from the east there is a green rectangular sign with white letters: “Buffalo,” underneath which is “An All America City” / I have seen and have been puzzled by this sign since a child / I did not know the National Civic League (the organization that awards the title); I did not know America, much less how all its composite elements could be embodied by one place / Decades later I still do not know, but there are days I gain insight, fitting one more piece into the puzzle / One of those pieces – perhaps a corner piece, so significant in strength – is the West Side Bazaar, a microcosm of Buffalo’s immigrant and refugee milieu / Since its opening on March 3, 2011 in the Upper West Side neighborhood, this collection of retail and food shops have welcomed immigrant, refugee, and native Buffalonians into its cordial and spirited space / I come here to experience the world – as much as can fit in the space at 25 Grant Street / At the time of recording and after meandering the mosaic of Burmese, Mexican & Puerto Rican, Ethiopian, Indian & Pakistani, and Chinese conversation and cuisine, I sat down to enjoy a Thai beef salad across from my mother //
October 4, 2019 / 16:08 / Roswell Park Comprehensive Cancer Center, 665 Elm St / Roswell Hospital Fountain & Reflection Pool / Where is the pool at Bethesda, the flow from the Ganges, the Fount of Miriam? Will cancer see in us Gilgamesh or Utnapishtim; will God see in us Khezr, with his waters of immortality, or the companion he sought, who “impatiently prepares [himself] to die … as quick birds avoid a snare, to soar up in the free, untrammeled air?” 1
I sat beside the Roswell fountain and reflecting pool; I wondered if I could be healed: my mental health restored enough to finish medical school, to assuage suffering as a physician in Gilead, to one day sit beside this fountain and encourage another that “life is movement and we are healing and breaking and making and being made all of the time.” 2
1: The Conference of the Birds by Farid ud-din Attar, translated by Afham Darbandi and Dick Davis
2: It’s All Worth Living For by Levi The Poet
October 4, 2019 / 19:17 / Sweet Home High School, 1901 Sweet Home Rd / Soccer Game / A one-word distillation of my childhood could be ‘soccer;’ playing soccer when not studying, studying when not playing soccer – this was my modus operandi of living / This recording was taken at my high school; looking out onto the field from the bleachers, recognizing I was in their shoes a decade ago – this was the first time I truly felt old; the nostalgia (with all its heavy etymology) pressed in on that oldness to form a sort of aloneness: I am separate from whom I once was, I am other to all the families and friends in the stands, all the players on the field and on the bench / As I sat in that nostalgia, I did not allow myself to be overcome: there was still a chance to be present at a soccer match, something I have treasured and can still treasure with a youthful delight //
October 4, 2019 / 11:52 / Erie County Medical Center, 462 Grider St / Roswell Hospital Lobby
“Like a star, without haste, but without rest, let man revolve around his work.” – Johann Wolfgang von Goethe (1749 – 1832)
“Far and away the best prize that life has to offer is the chance to work hard at work worth doing.” – Theodore Roosevelt (1858 – 1919)
“But need alone is not enough to set power free: there must be knowledge.” – Ursula Le Guin (1929 – 2018)
“You can't ever reach perfection, but you can believe in an asymptote toward which you are ceaselessly striving.” – Paul Kalanithi (1977 – 2015)
“To study the phenomenon of disease without books is to sail an uncharted sea, while to study books without patients is not to go to sea at all.” – Sir William Osler (1849 – 1919)
September 23, 2019 / 17:15 / 42.931181°N, 78.867411°W / Hoyt Lake in Delaware Park / Hoyt Lake Fountain View / The mechanical din and textured rumblings of vehicles pervade the city of Buffalo, reputed by many to be a city of cars more than a city of people / Refuge from such an overwhelming static can seem elusive, but it is not impossible to appreciate moments of tranquility in the parks that abut highways – such is the tension that holds together life, anchoring us against constant flight from vicissitude / A dear friend and I seek refuge around Hoyt Lake at times, particularly as the rising tides of professional expectation threatens the small sandcastle walls we build so desperately to keep ourselves well / Amidst the permeating noise from failures, fatigue, and the fastidious pursuit of a profession in medicine, we have found a peace around this small body of water, within the vitality of a run, through the vivacity of our stories that transcend the quotidian present, and by the simple comfort of the visage of a friend //
September 28, 2019 / 11:22 / 42.885702°N 78.873808°W / Lafayette Square / Lafayette Square / Seeking the heart of a city may be a false quest: is not each human heart, each structure in the built environment, and every aspect of the natural world revealed or hidden throughout the peace and chaos of urban life irreducible constituents of the heart of a city, pulsating in balance the life and death of everything, unable to be localized to any one place? / How foolish the human spirit is to seek something which cannot be found / How foolish I was to sit at the monument, beneath the gaze of the Union and her soldiers and sailors, and seek understanding in the interlocutions, the laughter, the sparrows, the transit, the flags, and the play of children //
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. Grainger
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. Grainger
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
Three statements about the music:
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. -Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. -Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. -Grainger
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
Three statements about the music:
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. -Tristan Tzara But all shall be well, and all shall be well, and all manner of things shall be well. -Julian of Norwich Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. -Grainger
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
31°23'16.68"N, 119°59'12.23"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
31°23'16.68"N, 119°59'12.23"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
31°23'16.68"N, 119°59'12.23"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°23'16.68"N, 119°59'12.23"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
31°23'16.68"N, 119°59'12.23"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
31°23'16.49"N, 119°59'12.55"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
31°23'16.49"N, 119°59'12.55"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
31°23'16.49"N, 119°59'12.55"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
31°23'16.49"N, 119°59'12.55"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Noiseman433 is Jon Silpayamanant, a musician, performance artist, and visual artist.
As a musician, Silapayamanant has toured and performed nationally and internationally and has been a guest lecturer/instructor at DepPauw University. Recent projects saw him on tour with noise performance troupe Cock E.S.P. and power electronics group Think Machine, as well as organizing Indianapolis’ first festival of noise and performance art. He has performed in master classes for such musicians as Janos Starker, the Borromeo String Quartet, Gary Carr, Fritz Maag, Steven Kates, and the American String Quartet amongst others.
As a performance artist Silpayamanant has given performances or performance/installations at the Emison Art Center, the Peeler Art Gallery, Penn State University Conference Center, DePauw School of Music and others and was performance artist in residence at the Art Loft (Indianapolis). He has participated with workshops with such performance artists/troupes as Goat Island, William Pope L, Robbie McCauley, Rachel Rosenthal and Tim Miller. A recent project allowed Silpayamanant to perform Fluxus works for a Dick Higgins retrospective exhibition curated by Hannah Higgins.
In the past Silpayamanant has won several awards for his visual art and has had works published in carious publications. He has also participated in theater productions as director, musician, stage designer, and actor.
From Bivouac Archive 01 (2003)
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Noiseman433 is Jon Silpayamanant, a musician, performance artist, and visual artist.
As a musician, Silapayamanant has toured and performed nationally and internationally and has been a guest lecturer/instructor at DepPauw University. Recent projects saw him on tour with noise performance troupe Cock E.S.P. and power electronics group Think Machine, as well as organizing Indianapolis’ first festival of noise and performance art. He has performed in master classes for such musicians as Janos Starker, the Borromeo String Quartet, Gary Carr, Fritz Maag, Steven Kates, and the American String Quartet amongst others.
As a performance artist Silpayamanant has given performances or performance/installations at the Emison Art Center, the Peeler Art Gallery, Penn State University Conference Center, DePauw School of Music and others and was performance artist in residence at the Art Loft (Indianapolis). He has participated with workshops with such performance artists/troupes as Goat Island, William Pope L, Robbie McCauley, Rachel Rosenthal and Tim Miller. A recent project allowed Silpayamanant to perform Fluxus works for a Dick Higgins retrospective exhibition curated by Hannah Higgins.
In the past Silpayamanant has won several awards for his visual art and has had works published in carious publications. He has also participated in theater productions as director, musician, stage designer, and actor.
From Bivouac Archive 01 (2003)
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'45.28"N, 119°58'45.56"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Noiseman433 is Jon Silpayamanant, a musician, performance artist, and visual artist.
As a musician, Silapayamanant has toured and performed nationally and internationally and has been a guest lecturer/instructor at DepPauw University. Recent projects saw him on tour with noise performance troupe Cock E.S.P. and power electronics group Think Machine, as well as organizing Indianapolis’ first festival of noise and performance art. He has performed in master classes for such musicians as Janos Starker, the Borromeo String Quartet, Gary Carr, Fritz Maag, Steven Kates, and the American String Quartet amongst others.
As a performance artist Silpayamanant has given performances or performance/installations at the Emison Art Center, the Peeler Art Gallery, Penn State University Conference Center, DePauw School of Music and others and was performance artist in residence at the Art Loft (Indianapolis). He has participated with workshops with such performance artists/troupes as Goat Island, William Pope L, Robbie McCauley, Rachel Rosenthal and Tim Miller. A recent project allowed Silpayamanant to perform Fluxus works for a Dick Higgins retrospective exhibition curated by Hannah Higgins.
In the past Silpayamanant has won several awards for his visual art and has had works published in carious publications. He has also participated in theater productions as director, musician, stage designer, and actor.
From Bivouac Archive 01 (2003)
31°22'45.28"N, 119°58'45.56"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'45.28"N, 119°58'45.56"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
31°22'45.28"N, 119°58'45.56"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
31°23'11.83"N, 119°59'8.49"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'45.28"N, 119°58'45.56"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
31°22'22.00"N, 119°58'24.91"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
31°22'22.00"N, 119°58'24.91"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'22.00"N, 119°58'24.91"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'22.00"N, 119°58'24.91"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'11.24"N, 119°58'13.76"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'22.00"N, 119°58'24.91"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'11.24"N, 119°58'13.76"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'11.24"N, 119°58'13.76"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'11.24"N, 119°58'13.76"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'11.24"N, 119°58'13.76"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'4.46"N, 119°58'11.41"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'52.39"N, 119°58'2.68"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'52.39"N, 119°58'2.68"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'52.39"N, 119°58'2.68"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'52.39"N, 119°58'2.68"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'52.39"N, 119°58'2.68"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'32.58"N, 119°57'47.84"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'28.24"N, 119°57'45.48"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'28.24"N, 119°57'45.48"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'28.24"N, 119°57'45.48"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'28.24"N, 119°57'45.48"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'28.24"N, 119°57'45.48"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.25"N, 119°42'12.22"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.25"N, 119°42'12.22"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.25"N, 119°42'12.22"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.25"N, 119°42'12.22"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.25"N, 119°42'12.22"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
Five Reports from Eight Locations is a collection of five attempts to make music out of sounds that are already out there: cars and trains, wind and water, sounds made by people and other animals.
Tracks 1 and 4 were made from sounds recorded in parks in Sweden (Malmo and Gothenburg respectively). Track 2 is a collage of recordings from various towns in Europe: Swinoujscie (Poland), Helsinki, Zagreb and Amsterdam in order of appearance. A square in Helsinki is then the sole sound source used in track 3. The final track was recorded in Gothenburg.
From Gothenburg, Sweden From Bivouac. Archive. 02 (2004)
Five Reports from Eight Locations is a collection of five attempts to make music out of sounds that are already out there: cars and trains, wind and water, sounds made by people and other animals.
Tracks 1 and 4 were made from sounds recorded in parks in Sweden (Malmo and Gothenburg respectively). Track 2 is a collage of recordings from various towns in Europe: Swinoujscie (Poland), Helsinki, Zagreb and Amsterdam in order of appearance. A square in Helsinki is then the sole sound source used in track 3. The final track was recorded in Gothenburg.
From Gothenburg, Sweden From Bivouac. Archive. 02 (2004)
Five Reports from Eight Locations is a collection of five attempts to make music out of sounds that are already out there: cars and trains, wind and water, sounds made by people and other animals.
Tracks 1 and 4 were made from sounds recorded in parks in Sweden (Malmo and Gothenburg respectively). Track 2 is a collage of recordings from various towns in Europe: Swinoujscie (Poland), Helsinki, Zagreb and Amsterdam in order of appearance. A square in Helsinki is then the sole sound source used in track 3. The final track was recorded in Gothenburg.
From Gothenburg, Sweden From Bivouac. Archive. 02 (2004)
I have been making ambient music for about eight years now and have found that it is something natural that just comes out. I don’t think about it much, it is said that “thought is the disease of the mind.” I enjoy this music and feel that it is a way to express what would be difficult to transmit through another medium. It is easy for me to explain myself with sound. This music is about hope or the lack thereof.
From Bivouac. Archive. 02 (2004)
Opfuza Ekuf (keiu azuipo) is a suite of ten pieces all one minute long.
However, the suite need not contain all ten pieces and the listener should feel free to play as many or as few of the pieces in whatever order seems appropriate.
The length of the pieces is simply an arbitrary, formal element and the listener should not feel constrained by it. Listeners with the appropriate audio editing software are encouraged to "time stretch" the pieces to whatever length they feel works best for them. Practical experience suggests that the pieces can be stretch to any time between 15 seconds and ten minutes.
There is no "definitive version" of Opfuza Ekuf (keiu azuipo) For some listeners it might consist of three or four pieces all less than thirty seconds long. Some listeners might construct a version lasting over an hour. Each version is equally valid and in the spirit of keiu azuipo.
From Bivouac. Archive. 02 (2004)
Opfuza Ekuf (keiu azuipo) is a suite of ten pieces all one minute long.
However, the suite need not contain all ten pieces and the listener should feel free to play as many or as few of the pieces in whatever order seems appropriate.
The length of the pieces is simply an arbitrary, formal element and the listener should not feel constrained by it. Listeners with the appropriate audio editing software are encouraged to "time stretch" the pieces to whatever length they feel works best for them. Practical experience suggests that the pieces can be stretch to any time between 15 seconds and ten minutes.
There is no "definitive version" of Opfuza Ekuf (keiu azuipo) For some listeners it might consist of three or four pieces all less than thirty seconds long. Some listeners might construct a version lasting over an hour. Each version is equally valid and in the spirit of keiu azuipo.
From Bivouac. Archive. 02 (2004)
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
BBB is an experiment investigating into the wide world of noise and experimental music. The Baron tries not limit his work and uses any equipment that can make a noise. The objective of the experiment is to discover new sounds and promote new ways of thinking about music. The Baron is constantly researching into new ways of making noise and experimentation. The results so far have been pleasing and offensive to the untrained ear. Enjoy the test results.
From East London, UK. From Bivouac. Archive. 2004
This opus is devoted to life in an inorganic matter and absence of life in some human organizms.
Track one is actually the material and tracks 2-4 are approximations - birth, life, death.
Birth Ambience was recorded in Minsk 1st state clinic, October 2003.
Part of Bivouac. Archive. 02 (2004)
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'32.51"N, 119°42'51.06"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°22'37.42"N, 119°42'33.21"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.99"N, 119°41'52.18"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.99"N, 119°41'52.18"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.99"N, 119°41'52.18"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.99"N, 119°41'52.18"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'35.38"N, 119°42'36.69"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'35.38"N, 119°42'36.69"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'35.38"N, 119°42'36.69"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'35.38"N, 119°42'36.69"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'35.38"N, 119°42'36.69"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'51.49"N, 119°42'22.50"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'51.49"N, 119°42'22.50"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'51.49"N, 119°42'22.50"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'51.49"N, 119°42'22.50"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'51.49"N, 119°42'22.50"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
31°21'40.56"N, 119°42'3.32"E
This playlist contains the audio used in the Replacement Soundscape installation at the World Wildlife Fund (WWF) office in Shanghai.(December 2019)
The audio is recorded from 8am to around 8pm and is recommended to listen to these tracks between these times.
For more information about this installation, please see the information link above.
July 16, 2019 / 5:40pm / 39.7186548, -104.9740062 /Cherry Creek Bike Path / Right through the middle of Denver runs Cherry Creek, which empties into the South Platte River / It has a bike path alongside it which I used to frequently ride when I lived in Denver / I always enjoyed watching the motion of the water as I biked alongside it and seeing the mood of the creek change as the different seasons passed //
July 12, 2019 / 10:48pm / 39.7508855, -104.9852885 / Mercury Cafe / The Mercury Cafe is a space that feels too good to be real in the “New Denver” of shiny, ugly condos and concrete food halls / Mercury Cafe has existed in a few different locations since 1975 when it was opened by its present-day owner Marilyn Megenity / In the 1980s it occupied a space in Capitol Hill where many punk bands such as the Dead Kennedys, The Misfits, Black Flag and X played / The current location has a hippie-friendly restaurant serving locally sourced food along with two large rooms that host dance lessons, concerts, yoga classes, poetry slams, film screenings and a variety of other community events / The bright red interior is decorated with a web of twinkling white lights that give it a special sense of magic / In this recording my friends and I enjoy vegan chocolate mousse and tea after a trip to Lakeside //
July 12, 2019/8:08 pm / 39.7807912, -105.0539735 / Lakeside Amusement Park / My favorite place in the world! / Lakeside opened in 1908 and still retains much of its original art deco architecture and ambiance / Every summer I savor the nostalgic experience of riding the very same rides that my father and uncles rode as small children in the 1960s / There’s a particular sense of wonderment that comes from the park’s timelessness / As the name implies, Lakeside is set next to a large lake with a beautiful view of the Rocky Mountains behind it / All the rides are paid for with various amounts of 50 cent coupons, making it an affordable alternative to the commercial amusement park in downtown Denver / This recording captures the experience of riding the park’s most popular attraction - a wooden roller coaster from the year 1940 named The Cyclone //
August 2, 2019 /1:59 pm /39.731833, -104.987887 / Cheesman Park / In 1858 General William Larimer created the Mt. Prospect Cemetery on land that still legally belonged to the Arapaho tribe / In 1861, under the Treaty of Fort Wise, the Cheyenne and Arapaho tribes were pressured to cede most of their land, including all of present day Denver, in order to make room for white settlers who were arriving as part of the gold rush / By 1890 the cemetery had fallen into disrepair and the city planned to turn it into a park / Families were given 90 days to move the bodies of their loved ones who had been buried there, but few came / The city hired an undertaker to dig up the bodies and place them into new coffins to be reburied elsewhere / Since he was paid by the coffin, the undertaker quickly realized he could distribute one set of bones out amongst several coffins, along with some extra dirt, and receive two or three times as much money for the work of unearthing each body / The city canceled his contract and began construction of Cheesman Park in 1894 with an estimated 2,000 bodies still buried underneath that still remain today / In the 1910s my great grandmother Katharine Constant lived just a few blocks away from the park in a large house with her family / She wrote letters every day to her fiancee who was finishing his degree in Illinois / In this recording I walk along the east side of the park and read a letter she wrote in September 1914 after walking through the same part of the park //
About the Artist: Vladislav Petrov / Lives in St. Petersburg, Russia / Sound artist / Was engaged in the creation of sound installations, sound design for dance-move performances and sound design for documentaries and experimental films / Currently exploring urban and natural sound landscapes, making multi-channel field recording //
Recorded October 14, 2018
On any given Sunday, Luxun Park in Shanghai is a gathering place for everyone in the nearby residential areas. People come out to enjoy the weather, socialize, and exercise. You can hear hidden Saxophones tucked somewhere in the trees, KTV boxes with a flatscreen and an electric generator on a luggage trolley, several ballroom dance groups, and sometimes even the 'whippers'. Usually a group of men, the Whippers tote long, heavy chain-link whips with a piece of leather or plastic tied to the end that makes the 'crack'. The more experienced the Whipper, the longer and heavier the chain. Swinging these whips require alot of effort and so makes great exercise.
On this day, there was a group of 5 -6 men that put on a little show for me. The leader had a really long chain and seemed like the the 'bad-ass' of the group he started whipping with a cigarette in his mouth. As the other men started to join, it was a whipping orchestra as each one whipped to his own tune. The amazing thing was that there was a point that they all started whipping in perfect unison. What an amazing day for recording that was.
Recorded with (2)DPA 4061 binaural, SD 302, and WM-6DC.
This track is part of a new project featuring acoustic experimental musicians around China.
These recordings capture a portion of the right bank of the LA River as it meanders through a section of Los Angeles known as Frogtown / In contrast to the starkly beautiful concrete channelization for which the river is largely known, this area of the river is comprised of several soft-bottom sections whose natural springs have made any effort to pave over the river impossible / Coupled with the water that is released just upstream from treatment facilities, these narrows reveal something of the river’s pre-urban, natural state cast against the heavy industrial backdrop of Northeast LA / The project was undertaken during the month of August in 2019 / Recording locations were chosen at various points of confluence where the streets of Frogtown meet their terminus at the river’s bank / Each image documents a dead end; the recording itself, however, is captured just beyond, where navigable road turns into storm drain and empties into the river / The order of these recordings follows the course of the river, starting at the 2 Freeway and terminating at Barclay St., just upstream from the 5 //
Recorded by: Benjamin Bishop (https://soundcloud.com/benjaminbishop)
Zijin Lu was the 12th recording of Growing Up With Shanghai and was recorded almost 10 years ago. It was the first walk that Shen Yi took photos for and when I finally saw them developed I was so happy I finally found the look I wanted for the rest of the project. I remember it was a cold day on the street, and entering the narrow Nongtang, I felt it was freezing in the shadows. Celia takes us around her neighborhood just blocks away from the Bund around the area she used to live with her Grandma. In 2010, the Bund tunnel was about to open just in time for the World Expo, and the Shanghai Natural History Museum was in its old location under the shadow of the Yan‘an Lu Elevated road. She walks along her daily route to school and tells us stories of how it was growing up here with all her cousins and friends. We get lost a little when looking for the park that she used to learn Wushu with her friends after school. It’s a great story in a great location. I hope you enjoy it. 紫金路是“与沪成长”的第12段录音，录制于将近10年前。这次漫步是沈祎拍摄的第一次漫步，当我看到照片洗出来后十分高兴，感觉终于找到这个项目今后想要的效果了。我还记得那天街上很冷，走进狭窄的弄堂里，太阳照不到的地方冻得刺骨。Celia带我们参观了她以前和奶奶一起住的地方，离外滩仅仅相隔了几个街区。在2010年的当时，外滩隧道为迎接世博会即将通车，上海自然历史博物馆也还位于延安路高架下的旧址。她沿着曾经每天的上学路为我们讲述了和自己的兄弟姐妹以及朋友们一起成长的故事。在寻找她当时放学后和小伙伴一起练武术的公园时我们还迷路了。繁华的地段，精彩的故事。希望你会喜欢。
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
About how I make the sound, I use Wavestudio and Windows Recorder and really tiffy microphones. Also a tone generator for one of the songs I sent. And a tape recorder and guitar and can for the others (and so on…?).
-Michel Delage
From Bivouac Archive 01 (2003)
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring)
For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
This track is part of Replacement Soundscapes: Shanghai (Spring) For more information please follow this link: soundcloud.com/bivouacrecording/sets/replacement-soundscapes-shanghai-spring
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. Grainger
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Donki Ra began as an outlet for harsh-noise and theatrical gimmicks… the glitz and glam that noise should be. Focusing on the sexual, perverse, childish, and grotesque, I aim to keep things simple yet difficult as possible. Noise found its way not my life when Merzbow’s “Venerology” arrived at my home while I was in 7th grade, changing me forever. Aside from Donki Ra, I am a member of Ovaries!, The Laker McCabe Conspiracy, a guest on long-time friend Mark Koch’s project, M.I.M.I.C., as well as other collaboratives. I just really think that things should be more flamboyant, extravagant, and triangular. 8===D
From Bivouac Archive 01 (2003)
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
About how I make the sound, I use Wavestudio and Windows Recorder and really tiffy microphones. Also a tone generator for one of the songs I sent. And a tape recorder and guitar and can for the others (and so on…?).
-Michel Delage
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Meri von KleinSmid is a composer of music and sound art. She also participates in phonography, and occasionally performs live.
Equipment you use: Items from the Boeing Surplus outlet, sources from field recordings, computer software, short wave radio and miscellaneous.
From Bivouac Archive 01 (2003)
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
April 1, 2019 / 18:46 / 25.0521520, 102.7005799 / Tian Jun Dian Alley 天君殿巷 / At nightfall, I went to meet my friends at As You Like Café at Tian Jun Dian alley / It was a very hidden alley and bit narrow / There were only two very small restaurants, but the Café was a super cozy place / I arrived early and stood outside the cafe recording the sound / The Cafe staffs began to cook for the guests, and passers walked through the alley one after another / Suddenly it began to rain, I opened my umbrella, continued to listen to the sound of this pleasant alley, and continued to wait for the arrival of friends //
傍晚时分，我和朋友约在天君殿巷的有佳咖啡馆见面，这是一条非常隐蔽的小巷子，巷子很窄，只有两家很小的餐馆，有佳咖啡馆特别惬意 / 我提前到达，站在咖啡馆外面录音 / 咖啡馆开始为客人做饭，陆续有路人穿过这条狭窄的巷子 / 突然下起了小雨，我撑开雨伞，继续聆听这条惬意的巷子里的声音，继续等待朋友们的到来 //
About The Artist Luo Fei (b. 1982) https://soundcloud.com/luofeiart, an artist, writer, curator, based in Kunming China //
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
About how I make the sound, I use Wavestudio and Windows Recorder and really tiffy microphones. Also a tone generator for one of the songs I sent. And a tape recorder and guitar and can for the others (and so on…?).
-Michel Delage
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Donki Ra began as an outlet for harsh-noise and theatrical gimmicks… the glitz and glam that noise should be. Focusing on the sexual, perverse, childish, and grotesque, I aim to keep things simple yet difficult as possible. Noise found its way not my life when Merzbow’s “Venerology” arrived at my home while I was in 7th grade, changing me forever. Aside from Donki Ra, I am a member of Ovaries!, The Laker McCabe Conspiracy, a guest on long-time friend Mark Koch’s project, M.I.M.I.C., as well as other collaboratives. I just really think that things should be more flamboyant, extravagant, and triangular. 8===D
From Bivouac Archive 01 (2003)
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
December 15, 2018
Deity Microphones China sponsored my first 4 vlogs about field recording and also gave me some sweet mics to play around with in the meantime. Thanks Deity!
This was the first location of the first episode and after we filmed it, I felt that I could be better. Luckily the cameraman was still in town for one more day so I said I wanted to do it again but better.
We went back out to the same location and it seemed quite different. The water level was higher and the sky not as blue but still beautiful nonetheless.
In the vlog, I recorded one general soundscape of the water flowing into this small inlet. As I was walking and explaining about the recording I had just done, a sound caught my ear. I ignored it the first time but then it came back. It sounded like breathing. The man made jetty we were on had cracks and as the water of the Yangtze River slipped by, it created small waves which pushed the air in and out of these cracks.
It was the most beautiful thing I had heard on the island. The breathing sounded like sleeping in bed with a loved one and their breaths slowly come in and out, not constantly, but sensually erratic. Fast, slow, long, short, it was so human. I had never realized or ever recorded how nature, not just animals, could 'breathe' or be 'alive'. This connection between man and nature that is always the basis and goal of my work could not have been more succinctly expressed. It was such a profound moment for me.
Recorded with Sonosax Minir82/ Sennheiser 8090 (ORTF)
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
Meri von KleinSmid is a composer of music and sound art. She also participates in phonography, and occasionally performs live.
Equipment you use: Items from the Boeing Surplus outlet, sources from field recordings, computer software, short wave radio and miscellaneous.
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Donki Ra began as an outlet for harsh-noise and theatrical gimmicks… the glitz and glam that noise should be. Focusing on the sexual, perverse, childish, and grotesque, I aim to keep things simple yet difficult as possible. Noise found its way not my life when Merzbow’s “Venerology” arrived at my home while I was in 7th grade, changing me forever. Aside from Donki Ra, I am a member of Ovaries!, The Laker McCabe Conspiracy, a guest on long-time friend Mark Koch’s project, M.I.M.I.C., as well as other collaboratives. I just really think that things should be more flamboyant, extravagant, and triangular. 8===D
From Bivouac Archive 01 (2003)
About how I make the sound, I use Wavestudio and Windows Recorder and really tiffy microphones. Also a tone generator for one of the songs I sent. And a tape recorder and guitar and can for the others (and so on…?).
-Michel Delage
From Bivouac Archive 01 (2003)
Donki Ra began as an outlet for harsh-noise and theatrical gimmicks… the glitz and glam that noise should be. Focusing on the sexual, perverse, childish, and grotesque, I aim to keep things simple yet difficult as possible. Noise found its way not my life when Merzbow’s “Venerology” arrived at my home while I was in 7th grade, changing me forever. Aside from Donki Ra, I am a member of Ovaries!, The Laker McCabe Conspiracy, a guest on long-time friend Mark Koch’s project, M.I.M.I.C., as well as other collaboratives. I just really think that things should be more flamboyant, extravagant, and triangular. 8===D
From Bivouac Archive 01 (2003)
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
Three statements about the music:
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. -Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. -Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. -Grainger
From Bivouac Archive 01 (2003)
Slow is the experience of all deep fountains: Long have they to wait until they know what hath fallen into their depths.
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. Grainger
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
From Bivouac Archive 01 (2003)
From Bivouac. Archive. 01 http://www.bivouacrecording.com
I make music that shakes me to my very core, using whatever sort of unconventional methods I can dream up.
-Andrew Witt Wisconsin, USA From Bivouac Archive 01 (2003)
Noiseman433 is Jon Silpayamanant, a musician, performance artist, and visual artist.
As a musician, Silapayamanant has toured and performed nationally and internationally and has been a guest lecturer/instructor at DepPauw University. Recent projects saw him on tour with noise performance troupe Cock E.S.P. and power electronics group Think Machine, as well as organizing Indianapolis’ first festival of noise and performance art. He has performed in master classes for such musicians as Janos Starker, the Borromeo String Quartet, Gary Carr, Fritz Maag, Steven Kates, and the American String Quartet amongst others.
As a performance artist Silpayamanant has given performances or performance/installations at the Emison Art Center, the Peeler Art Gallery, Penn State University Conference Center, DePauw School of Music and others and was performance artist in residence at the Art Loft (Indianapolis). He has participated with workshops with such performance artists/troupes as Goat Island, William Pope L, Robbie McCauley, Rachel Rosenthal and Tim Miller. A recent project allowed Silpayamanant to perform Fluxus works for a Dick Higgins retrospective exhibition curated by Hannah Higgins.
In the past Silpayamanant has won several awards for his visual art and has had works published in carious publications. He has also participated in theater productions as director, musician, stage designer, and actor.
From Bivouac Archive 01 (2003)
About how I make the sound, I use Wavestudio and Windows Recorder and really tiffy microphones. Also a tone generator for one of the songs I sent. And a tape recorder and guitar and can for the others (and so on…?).
-Michel Delage
From Bivouac Archive 01 (2003)
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)
Meri von KleinSmid is a composer of music and sound art. She also participates in phonography, and occasionally performs live.
Equipment you use: Items from the Boeing Surplus outlet, sources from field recordings, computer software, short wave radio and miscellaneous.
From Bivouac Archive 01 (2003)
I met Francis at 'Dialog In The Dark' which is a permanent installation here in Shanghai where people are taken through a designed landscape in the dark by a guide. Francis was our guide and guided us through the experience. The experience takes you through a walk in a park with plants and trees; an urban setting where you can cross a road and feel cars, curbs, ATMs, etc.; a movie theater where we listen to a movie, and finally a bar where we sit, have a drink, and talk about our experience. This is also where we learn that our guide is also blind which was a surprise to me since I didn’t read anything about it. 'Dialog In The Dark' is an installation that is designed to ‘facilitate social inclusion of blind and disabled people on a global basis’ and has installations setup in many cities around the world. Everyone loved the installation especially my kids who were quite uncomfortable at first but calmed down when they understood that they had to use other senses to ‘see’. I thought Francis would give Growing Up With Shanghai a new perspective of the city so I asked Francis if he would be interested to participate in this project. I thought about the similarities of how we experience the Growing Up With Shanghai recordings the same way Francis does everyday- through sound and memories. On a cold and windy winter’s night, Francis takes us around Huadong University where he went to school. He tells me a route that he remembers and I look on a map to plan it out before we start. I don’t give him any cues as to when we have gotten to places he wants to talk about and just let him talk freely about his memories of his surroundings and his time here at Huadong University. It was such an interesting experience and an honor to record such a great document.
For more information about ‘Dialog In The Dark’ please visit: http://www.dialogue-in-the-dark.com/
Koura Chicago, il Letting things lay as they fall source: gifu - ogaki - inuyama, japan headphone listening at a moderate fixed volume is recommended Equipment: Powerbook, da-p1, binaural mics
From Bivouac Archive 01 (2003)
We are Facemat. As of now we are one male (Victor Salazar) and one female (Brooke Sadler). We want to expand into much more. We are from our Nation's Capital, Washington, D.C. and the Maryland suburb of Prince George's County.
Our music is an ironic juxtaposition of free noize musick and odorless P(L)O P tendencies. We like open dripping synth vibes on top of blunted elecro/acoustic beats or percussion discussions. Brooke (synths/electronics/ percussions)gets us lost in other world soundcapes and dreamstates and Victor (electronics/guitars/banjo/percussions) provides the heart-beat beat to this upsurd street musick. Check out our cartunes. Have fun. We currently want to take our musick anywhere we can so contact us for shows/recording whateva. PEACE. ~
From Bivouac Archive 01 (2003)
Noiseman433 is Jon Silpayamanant, a musician, performance artist, and visual artist.
As a musician, Silapayamanant has toured and performed nationally and internationally and has been a guest lecturer/instructor at DepPauw University. Recent projects saw him on tour with noise performance troupe Cock E.S.P. and power electronics group Think Machine, as well as organizing Indianapolis’ first festival of noise and performance art. He has performed in master classes for such musicians as Janos Starker, the Borromeo String Quartet, Gary Carr, Fritz Maag, Steven Kates, and the American String Quartet amongst others.
As a performance artist Silpayamanant has given performances or performance/installations at the Emison Art Center, the Peeler Art Gallery, Penn State University Conference Center, DePauw School of Music and others and was performance artist in residence at the Art Loft (Indianapolis). He has participated with workshops with such performance artists/troupes as Goat Island, William Pope L, Robbie McCauley, Rachel Rosenthal and Tim Miller. A recent project allowed Silpayamanant to perform Fluxus works for a Dick Higgins retrospective exhibition curated by Hannah Higgins.
In the past Silpayamanant has won several awards for his visual art and has had works published in carious publications. He has also participated in theater productions as director, musician, stage designer, and actor.
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience. Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
Name: Andrew Lord Location: Adelaide, South Australia Equipment Used: PC, Bower Bird Collection of Freeware and Shareware
We have had enough of the intelligent movements that have stretched beyond measure our credulity in the benefits of science. What we want now is spontaneity. Not because it is better or more beautiful than anything else. But because everything that issues freely from ourselves, without the intervention of speculative ideas, represents us. We must intensify this quantity of life that readily spends itself in every quarter. Tristan Tzara
But all shall be well, and all shall be well, and all manner of things shall be well. Julian of Norwich
Too long has music been subject to the limitations of the human hand, and subject to the interfering interpretation of a middle-man: the performer. A composer wants to speak to his public direct. Machines (if properly constructed and properly written for) are capable of niceties of emotional expression impossible to a human performer. Grainger
From Bivouac Archive 01 (2003)
DCLXVI is a Montana based experimental/harsh noise/audio/visual project which began in 1998. The project began as a solo vocal only harsh noise project. Since then, DCLXVI has collaborated with many other artists and used many different sound sources to create a unique audio experience. In 2001 DCLXVI also began The Pi Project, which is a collaborative effort to somehow put the code for pi into an audio form using many different interpretations by many different artists. Past DCLXVI releases have included collaborations with Chicago based artist/filmmaker Kristie Alshaibi, photography artist Asya Schween, harsh noise artist Pop Culture Rape Victim and visual artist Fleeky Flanco to name a few. The DCLXVI project continues to expand and evolve providing a very unique and interesting audio and visual experience.
Equipment: Reaktor Sound Forge Acid Fruity Loops
From Bivouac Archive 01 (2003)
Location: Nashua, New Hampshire, USA
Equipment: Roland MC-303 sequencer/drum machine, Yamaha SU-700 sampler, Korg MicroKORG synthesizer, found objects, exotic instruments, various software, more to come.
Description: The Aethyrphlux project embraces change and random influence. The writer, J.H.Cakes sought out a method to communicate abstract ideas or concepts, in a manner consistent with his own thought processes, after becoming less and less satisfied with visual art outlets. The result was Aethyrphlux: The constant changing of the energy which binds all. The production process is random, and often non-linear. The product is a document of the time at hand.
From Bivouac Archive 01 (2003)
This journey begins along the Yangtze River bank near Hewangmiao with the sounds of shipping and transport barges then slowly winds inward along the banks of the lake. The group ends in the middle of a tree farm on the island in the middle of the reserve. Tian'ezhou begins with the sound of a goose farm across a lake near the reserve. Within the reserve, you stand along the bank listening to geese in the distance. Celebration music possibly for a wedding is carried by the wind from the other side. It starts raining while on a resting metal boat that is used to explore the lake on better days. Water laps and frog choruses eminate from all around. The album finishes at the sluice that connects Tian'ezhou to the Yangtze river.
The Hewangmiao and Tian'ezhou Nature Reserves are located in Hubei, China and are home to about 60 Yangtze Finless Porpoises. The lakes provide a refuge for the porpoises away from the large boats, dredgers and other dangers of the Yangtze river.
The shores of the reserves are mostly lined with tree farms to help curb erosion but also serve as home to many chatty birds. Beyond the line of trees are farm lands that have been there for generations. At Hewangmiao, cattle and horses graze along the shores and bathe in its cool waters. People fish and harvest wild flowers while the sounds of motorized vehichles run along the busy service road. At the quiet shores of Tian’ezhou, the sound of its namesake can be heard in the air as the honks of geese and swans are heard over lapping waters. Celebratory fireworks are always heard in the distance.
Water management programs at both sites ensure that the quality of wildlife and human population both benefit from a healthier ecosystem of the area. With the controlled openings of sluice gates, flooding can be controlled, water from the Yangtze can refresh the waters of the lake, and fish populations of the lake can be let into the Yangtze to provide food for its other native species.
While there are an estimated 1,040 porpoises that live along the Yangtze river and its lakes, the population has been in a steady state of decline and it is estimated that the porpoise could be extinct within a generation at its current rate. The WWF Finless Porpoise project is part of a comprehensive freshwater program that aims to improve the overall state of the Yangtze by creating solutions that establish a balance between humans and nature so that we can thrive and grow together.
We worked with WWF China to find out more about the finless porpoise program and the nature reserves. Their advice and information were invaluable to the realization of this album.
For more news and information about the Finless Porpoise project please visit https://bivouacrecording.postach.io/post/wwf-hewangmiao-tian-e-zhou-finless-porpoise-infographic
All audio recorded on location in Hubei, China in April of 2015 and 2016.
Special thanks: Yiqing and Zhang Xinqiao WWF Wuhan, Holly McKinlay WWF UK, and Mustafah Abdulaziz.
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado. Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it. Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones. Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks. Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible. For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes All audio recorded on location in Laramie, WY on October 7, 2016. 50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours. Purchase includes all audio in Mp3 256kbps format All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado. Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones. Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016. 50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: https://bivouacrecording.postach.io/post/matthew-shepard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado. Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
At around 12:00 AM on October 7, 1998 in Laramie, Wyoming, Matt Shepard was tied up and brutally beaten because he was gay. 18 hours later a passing bicyclist found his body and called 911. He died 5 days later in Poudre Valley Hospital in Colorado.
Made in the same location, time, and day, this 18-hour binaural recording commemorates the day when Matt was found as he would have heard it.
Recorded with a DIY binaural head with 3Dio Silicone ears and DPA 4061 microphones. Audio recorded with a vintage Sony TC-D5 and Sony EF Type 1 Cassettes. Comfortable, circumaural headphones are highly recommended as the audio is very quiet but also because a correct binaural image requires playback through headphones.
Level settings: The soundscape was very silent. Our general recommendation for your level settings is to set the level so that the tape noise is bearable, then lower it one or two more clicks.
Special thanks to: Michele Josue, Matthew Shepard Foundation, Laramie PD, and the landowner for making this project possible.
For more news and information about this album please visit: bivouacrecording.postach.io/post/matthe…epard-tapes
All audio recorded on location in Laramie, WY on October 7, 2016.
50% of proceeds is donated to the Matthew Shepard Foundation. After your purchase you will receive a copy of the donation receipt within 24 hours.
Purchase includes all audio in Mp3 256kbps format
All recordings © Bivouac Recording
16:37 / December 12, 2015 / Burning Corn In Cuxtitali / 16.742126, 92.613162 / This is one of my favorite sounds from San Cristóbal, while a person burns a wasteland to prepare the corn planting, another person in a house above changes the radio intermittently passing through genres from the reggae to ranchera / I like the way the music brings feeling to the intense sound bed that makes the fire / A very interesting soundscape that I recorded from my house in the forest in Cuxtitali //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
在西山公园录音，几个中老年在练歌，因为太难听、声音太大，被路过的人埋怨，但是他们依然很陶醉//
/At the west mountain park, the older generations gather to practice their singing / It is so horrible and loud / People crossing the road complain, but they still sing happily //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
在绵阳市西山公园，山下是一个火车货站，2008年我用ROLAND R09和SONY ECM907话筒录下火车经过的声音//
At Mianyang’s West Mountain Park there is a train staion at the bottom of the mountain / In 2008, I used a Roland R09 and Sony ECM 907 microphone to record the sound of a passing train //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
用电磁麦克风录了电脑、冰箱的声音//
/ During a cool summer night I recorded this insect while walking down the Anchang River //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
2016年在绵阳市平武县大印镇皇庙村采茶，用Fostex FR-2le录音机和Studio Projects c4话筒录下一段溪流声//
/ 2016 / At the Minyang Pingwu County Huang Miao City / I used a Fostex Fr-2le and a Studio Projects C4 microphone to record the sound of a small brook //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
新年总是要放烟花爆竹的，我记录下这些声音//
/ Every Chinese new year we light firecrackers. Here is their sound //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
夏天热的睡不着，深夜骑上自行车在绵阳最繁华的街道上录音，因为很晚，所以很安静//
/ Unable to sleep in the summer heat, I took a midnight bike ride down Mianyang’s busiest roads // It was very late and very quiet //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
圣水寺是绵阳市区内最大的寺院，每天香火不断，白天是非常热闹的/ 2016年年底的一个夜晚，我来到寺院门口，用ROLAND R09录音机记录下火车经过、犬吠等环境声音。这些声音在白天是不会让人注意到的，但是在寒冷的冬夜，却是如此清晰有力//
Sheng Shui Temple is Mianyang’s biggest temple complex / Incense sticks are burning everyday / Daytime is the noisiest time / One night at the end of 2016, I went to the entrance of the temple / I used my Roland R09 to record a passing train and some dogs barking / During the day, these kinds of sounds would not be heard / Even though the night was freezing, the sounds are still very clear //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
2008年在绵阳市圣水寺录得，应该是给地震遇难的人做的法事，全场近40分钟，做了剪切//
/ 2008 / Sheng Shui temple. Ritual for the victims of the Earthquake / The entire recording was 40 minutes long, here is an excerpt //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
临江市场很大，各种商贩聚集。2008年我用ROLAND R09做移动录音，在这里的宠物市场，我录到了这段动物叫声，现在这个市场已经搬迁了//
/ Linjiang market is very big / All kinds of merchants gather here / In 2008 I used my Roland R09 to record this soundwalk / In the pet market I recorded the animal sounds / Nowadays, this market has moved to another location //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
绵阳职业技术学院，我录到了新生入校的一些声音//
At the Mianyang Technical College I recorded the sound of the new students //
All recordings and Photos by Zhu Peng See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_mianyang
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Broadway Junction 1 / Intro / Van Sinderen Main Entrance Platform / We begin inside the cavernous main platform of the Broadway Junction with a dense array of sounds filling the stereo field / As crowds of people pass by, the most prominent noises are coming from the three story escalators around the corner, creaking and groaning like a cross between an injured flamingo and a tuba sample / Even closer are a bank of turnstiles, beeping incessantly as people swipe their MetroCards and hurry to their train / This particular corner of the platform allows for a wall of slightly distant sound sources to be equally present without any single one dominating the mix / A stream of smaller sounds colors the mix and allows us to adjust where we focus our attention / From a woman thanking the ticket officer for allowing her through, to an incoming L train announcement, repeat listens reveal the micro-sounds omnipresent in a bustling transportation hub //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16:14 / December 4, 2016 / Intersection of Atwater and Rue Delisle / 45.482815, -73.579732 / Listening To Motors And Autumn Shuffling At A Bus Stop / The motor idling on a moderately busy street belongs to an airport shuttle / It takes up the sonic space of the intersection, masking the heavy early-winter sounds of boots and jackets / The few passengers are invisible to the recorder as they hide inside the safety of indiscriminate noise / Yet an underlying urgency lurks in this atmosphere as the luminescent icons flicker from airplane to letters / These oranges signs, albeit unheard, reveal the final and only destination this bus has: an airport 40 minutes away / The motor continues idling for quite some time before a shift in gears is heard / As the intensity is lowered, the wheels peel away from the side of the road and the shuttle’s door sweeps inwards / When the bus finally dislodges itself from the sonic space, hidden sounds are unearthed / Whereas the rhythmic barrage of frequencies had protected them, shuffling and voices can now be heard more clearly speckled from left to right / There are few people walking and the chill is mild enough to warrant a slower gait from many a passerby / Cars stream in intervals, their presence small and insignificant compared to the shuttle / During this brief period of ease, the purposefulness of the atmosphere vanishes, replaced by a lack of intensity / The shuttle’s importance is informed by the stark contrast between states / However, without this element present, the activity heard is diversified and arbitrarily distributed, and moreover, sourced from people: living organisms in communication //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
‘If you are near the mountain, eat the mountain / If you are near the sea, eat the sea.’ / This pier is the meeting of many emotions / From here you depart, from here you return / Of course, here you may be lost / Gujia Island’s small dock, everyday people bring their harvest in sea back and the women on the shore count and sort the shrimp and fish / You cannot ignore this beautiful sight /
Track 6 is the sound of Gudu Island’s small dock /
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
16.11.27 / La Rotonde Café Bastille / I recorded this on a terrace in the neighborhood of Bastille on a Saturday evening / The café / bar is situated on a junction of small cobbled roads. The café itself felt fairly typical of the area, which is known for its bars and nightlife / Ambient lighting bathes the interior in reds and purples / Light from the heaters warms those outside, sitting around bistro tables / Modern art hangs on the walls / The service was rapid and the prices eye watering / I took my place on the terrace near the front on the right, and faced my recorder back in towards the café / It was important to me to include a recording of a terrace ambience / It is something quintessentially Parisian / I read somewhere that there are seven thousand cafes in Paris / Each one serves as a social hub for its surrounding community / Often the locals are well acquainted with one another / Its one the reasons that whole neighborhoods were devastated in the terrorist attacks of November 2015, when gunmen went into the bistros and restaurants / For me I had visited a fair few to meet different friends of Wendy / No one seemed to know the name of a specific terrace and the feeling was that you could go in pretty much anywhere expecting to receive good service / The sound of the cafés really gives me the feeling of immersion, as you peel away from the tourists and find yourself entirely surrounded by French speakers / Often when I was with Wendy and her friends I would lose track of the conversations and spend long periods of time observing individual groups and the sounds of their voices / It is strange to feel so isolated when so many people surround you / I didn’t mind because it meant I was free of distractions, ending up deep in thought / I was often described as “dans les nuages,” with my head in the clouds / As my language improved I settled in and began to really enjoy the experience of sitting in the terrace, looking out on the world with a coffee and not having to overhear anyone else’s conversation / I could just get lost in my thoughts //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Prayer Wheels / 11:44 / 16.08.27 / Temple of Boddhisattva Avalokiteśvara / Gandantegchinlen Monastery / These large metal prayer wheels are found in a large square around the copper and gold leaf statue of Avalokiteśvara at Gandan Monastery: the largest indoor statue in the world / It is of great significance to the Mongolian people, being rebuilt with their donations in 1996 after being dismantled in the Soviet era / This was my first opportunity to both spin and record Tibetan Buddhist prayer wheels, designed to accumulate good karma and purify negative karma / The image was taken at Choijin Lama Monastery, a museum since 1938, nestled up to more modern office blocks / Before 1778, Ulaanbaatar had changed location 28 times since its founding as a nomadic monastery town in 1639 / As the city grew, it moved less and less / The population in 2016 approaches 1.4 million: half of all people in Mongolia / It has been given many names in its history, the official name before 1911 being Ikh Khüree ("Great Settlement”) //
All recordings and Photos by Vortichez See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ulaanbaataar-_vor
All proceeds from 60 Minute Cities - Ulaanbaatar will be donated to Lotus Children's Centre. //
http://www.lotuschild.org/
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-receive-it
13:01 / January 19, 2017 / Intersection of Avenue Duluth E. and Rue Rivard / 45.521109, -73.575346 / Passing By A Nest Of Birds In A Tree On A Wet Street / Birds sing, perched at a moderate distance inside a pine tree while cars pass by, their wheels heavily plowing into puddles of melting snow / Drawn to the rare sound of birdcalls, I place my recorder near the bottom of the tree on top of the cement block, as close as I can get to the unexpected sounds in this fleeting attestation of pre-spring wildlife / In its long casting melancholy, the light grey sky stops time as I stare up into it and attempt to catch a glimpse of the hidden birds amid a mass of dark green / Back on the ground, the buildings are shades of orange, beige and grey; their rooftops shed water onto lower frames; drops fall into my orange hair / I wipe these away before putting my hands back into my pockets / I answer the questions of curious bystanders / I explain that this spot in time is unique and meaningful, and that I’d like to share these sounds with others who might like to listen //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
January 21, 2018 / 21:45 / Championship Celebration / On Broad Street heading north from Mifflin Street / The night the Philadelphia Eagles won the NFC Championship, I walked home along Broad Street, which is where the people of the city meet to celebrate major sports victories / There hadn’t been one since 2008, when the Phillies won the World Series / I decided to start recording / Besides the chorus of car horns and firecrackers, you can also hear the subway train honking, pick-up drumlines, party horns, and the like / It almost sounded like New Year’s Eve / The Eagles went on to win the Super Bowl two weeks later //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Bedford & 7th Avenue / Outside bars / Williamsburg / The roar of lower Penn Station runs right into the mellower scene of Williamsburg on as things begin to wind down in our journey through New York City / Perched on a stoop across from several small bars, friends can be heard bar hopping, a bus arrives, and Uber cars come and go / A block down on the corner a small group of friends with infectious laughter are speaking Spanish and telling jokes //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Outpost Fulton / The back and forth movement of water is replicated by light car traffic in front of the Outpost coffee shop in Clinton Hill / Light foot traffic, friends saying goodbye, and a passing moped that jingles its way passed the storefront finish out the mix //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 13, 2017 / 20:46 / 45.417721, 11.880126 / Stazione Ferroviaria- "Ci Scusiamo Per Il Disagio" ("We Apologize For The Inconvenience") / Da tre anni abito a Padova, studiando presso l’Accademia di Belle Arti di Venezia sono anch’io un pendolare sulla tratta che unisce la città del santo alla città lagunare / Con un treno regionale veloce l’attraversata dura 30 minuti scarsi, i due centri distano circa 45km / Viaggio su questa tratta tre o quattro volte a settimana / Spesso e volentieri, quando il treno subisce un guasto lungo la linea e ritarda, la fredda e pacata voce elettronica che esce dagli altoparlanti della stazione recita una frase che, ormai, suona come un’ironica litania per lo sfortunato pendolare: “il treno ha maturato 70 minuti di ritardo, ci scusiamo per il disagio” / Non resta che attendere e far passare il tempo //
For three years I have been commuting between Padua, where I live, and Venice, where I study at the Academy of Fine Arts / With a fast regional train, the 45 km journey takes 30 minutes / I do this trip three to four times a week / On the numerous occasions when the train is delayed due to a breakdown, the cool electronic voice coming out from the station speakers intones the unescapable litany that is the curse of the unlucky commuter: "The train is 70 minutes late, we apologize for the inconvenience” / You just have to wait and let the time pass //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.12.18 / 13:44 / 6911 Old Westham Road / Forgotten African-American Cemetery On Old Westham Road / According to the book Built By Blacks by Selden Richardson, this address was the site of an African- American cemetery in the 19th and 20th centuries / Though the book reported the location to still be actively American cemetery in the 19th and 20th centuries / Though the book reported the location to still be actively visited by folks wishing to pay respects, no graves were evident in the densely wooded lot sandwiched between a suburban residential neighborhood and a fast-food drive-through / In this recording, orders are placed through the drive-through window as cars pass on the wet cement of the parking lot //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
16.12.20 / 11:59 / James River Near Belle Isle / 319 Tredegar St, Richmond, VA 23219 / This recording is taken at the intersection of three major arteries throughout Richmond's history: rails, river and roads / In the first 50 seconds, the passing of CSX cargo train is heard overhead / Then my footsteps are heard as I approach the James River, the original mother of Richmond's community / The river is quiet on this day, leaving space to hear the passing of automobiles on Route 301's bridge //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
Sanlian Island, is an inaccessible area near Qingdao’s Yin Tan / When it is low tide she extends out to the sea as a single piece of land / When the tide comes in, she turns into three small beautiful islands / There the beach is littered with small and large pebbles that shimmer in the sun, coloring the water /
Track 2 is at the reef the extends to the sea / The waves slip along the irregular cracks and crash into the holes, composing a flowing symphony of water //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
Sanlian Island, is an inaccessible area near Qingdao’s Yin Tan / When it is low tide she extends out to the sea as a single piece of land / When the tide comes in, she turns into three small beautiful islands / There the beach is littered with small and large pebbles that shimmer in the sun, coloring the water /
Track 1 is at the gently sloping shore / The washing of the waves against the shore and the foam of the broken waves can be heard /
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
16:30 / January 17, 2017 / Berri-UQAM / 45.514886, -73.559727 / Standing In A Narrow Passage At Rush Hour / In the middle of rush hour, I find myself navigating a tunnel to get from the metro to the outside / This place strikes me as different from any other place I’ve listened to as it’s a relatively narrow transition place connected to a university; instead of passing by in silence or rushing to get home, people walk in small groups filling the space with sounds of conversation / A bookstore is embedded into the tunnel on the right of me; a man advertising content solicits people on my left / The environment is far from stagnant, and while standing still in the middle of a passage, I assimilate the high energy content and record the sounds of movement and dialogue //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.12.16 / 22:41 / Freak House / This is a recording of an intermission during a house show fundraiser for a local LGBTQ* nonprofit working to build safer spaces for queer folks in Richmond / In the recording, members of femme avant improv ensemble Womajich Dialyseiz are warming up their instruments and joking while audience members converse. I chose to record this part of the show to articulate the importance of the DIY community in Richmond / Spaces like Freak House are integral to the healthy function of the Richmond arts community and events like this one illustrate the power of artists to come together to work toward collective growth //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
Caiyi Street / Caiyi Street is a very unique old street in the Yanzhou old district. The east side of the street meets Guan Street from the Song Dynasty and the west meets the Siwang Pavilion from the Ming Dynasty. When I walk along this street it always brings back childhood memories / There are a lot of stores here that sell famous Yangzhou snacks / There are also shops here for traditional artwork framing and copper smiths/ Here you can see the old craftsman at work //
All recordings and photos by Chen Zhen
June 2, 2018 / 02:30 / South Philly Air Conditioners / Starting at Mifflin and Hicks Streets / I love the middle of the night—the darkness, quiet, and solitude / 3am is my favorite time of day / In the warmer months, this meditative time is accompanied by the constant hum of the legion of air conditioners perched in the row home windows in South Philly / This has been the soundtrack of my late night walks home for many years / Although they can sound like soothing white noise en masse, each individual air conditioner has its own unique sounds that puncture the texture of the soundscape as I walk past / I started this particular walk after leaving South Philly Taproom at Mifflin and Hicks Sts, walked north on Hicks to Morris Street, then south on Mole Street //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.26 / Jardin Du Luxembourg by the tennis courts / In this recording I took to the park for some respite from the busy weekday sounds of the city / You can still hear the car horns blasting and sirens in the background, but they are no longer intrusive / Instead I enjoyed positioning myself on a bench between a game of tennis / The tennis courts are behind me and in front we have rows of trees that you can hear blowing in the breeze, shedding the last of their auburn leaves / The sky was overcast and it was markedly colder than previous weeks / Some children play around me, and a pair are gearing up for a lesson with their tennis coach on the near court /
In front of me was an empty play park, with all the older children busy learning at school / Between us was a couple with their backs to me, locked in an embrace that lasted the duration of my visit. Empty chairs lay scattered, facing nowhere / I remember feeling a little lost in time / I had been in the city for nearly two months but with the park so empty it was a reminder that most people were at work. I had up and down days //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.26 / Marché Des Enfants Rouge/ Situated in the fashionable Haut Marais neighborhood, Le Marché des Enfants Rouge was created in 1615 and is the oldest covered market in Paris / Whilst it contains typical market stalls for fish, cheese, fruit and veg etc / It is well known for its street food style eateries from around the world / I saw food from Morocco, French Polynesia, Lebanon and Japan to name a few / I switched on my recorder and squeezed my way through between two adjacent queues to reach a more balanced point in the room, between the florist and the fishmongers, with some form of mini restaurant to my right and a fruit and veg stall on my left / As time went by the market got busier / I was able to hear many languages, and with the fairly low tin and glass roof overhead, everything was reflected back into the building, muddying the voices, everyone straining to be heard / As hundreds of people continued to pack into the relatively small market, the ambience reached a fever pitch / You have Parisians ordering their fresh produce and bantering with the grocers / You have diners enjoying a lunch together, socializing, catching up, discussing / And you have tourists excitedly marveling at the delicacies on offer, exclaiming to one another /
My senses were slightly overloaded as I walked around / With the variety of sounds, smells, colours and the constantly changing crowd to weave through, it was difficult to focus on one single thing / Instead I was immersed and a little overwhelmed. It was hectic but pleasant / I chose this recording to start the album for the vibrancy of the sound and business of the recording / In fact it’s the busiest recording on the album / It is lunchtime on a Saturday afternoon – a peak time for the market /
For me it reflects a period when I first arrived in Paris / Keen to explore and become accustomed to my new habitat, I visited the more famous and frequented touristy parts of the city / The sound typifies my feelings of arriving in the capital city and being thrown into the fast lane / Life suddenly seemed very busy and it seemed important to do everything and quickly / The recording captures the injection of vitality that being in Paris gave me / I embraced it and enjoyed it, although it could leave me exhausted, as I expect too much of this would leave your ears exhausted //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
12:33 / July 17, 2015 / Tzotzil Prayers At Santo Domingo / 16.741486, 92.637132 / The feeling that prayers in Tzotzil gives me is very similar to what I feel inside a Buddhist monastery in Tibet, an incredible peace that is achieved through repetition of words in combination with silence, a rythmn that hypnotize the soul / I have found it very difficult to record these prayers since people are very reserved with their customs /What has worked for me is to start recording before I get into the place, to hide the recorder and microphone in a backpack and to approach the person who is praying, I put the backpack aside, I get comfortable and enjoy the prayer without disturbing anyone //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
January 13, 2018 / 14:30 / 37°48'38.4"N 122°24'40.4"W / Pier 39 / Pier 39, near Fisherman’s Wharf, is a popular tourist destination / There are shops and buskers and ferry trips… and there are the sea lions / A very potent symbol of what San Francisco tries to achieve, these enormous animals have found a way to co-exist with a city of 870,000 people; the water is kept clean and in return wildlife thrives / As many as 1,700 sea lions can be seen at one time, lounging on the docks / Tourists come from all around to watch the animals swim and call to each other; and as this is still a working pier, to watch the boats gently navigate around them / A seaplane flies overhead and seabirds call, it’s January in San Francisco and the sun is shining //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
15:55 / December 4, 2016 / Snowdon Station /45.4854823, -73.627968 / Lingering At Snowdon Station / I frequently find myself on the blue line at this station / It’s the last connection between lines to get to school, or the first one when I’m on my way home / The predominant sound in this recording is a high frequency buzz, a circuit embedded within the lit up map of the underground city / I’m standing right next to it with the recorder pointing towards it / The image shows my point of view, omitting the sound source itself and focuses on a scarcely populated platform, where some conversations are taking place / I’ve noticed this same buzzing sound emanating from street lamps before, and having recognized it numerous times at Snowdon Station, I decided to record it / These repetitive sounds colour my aural experiences, especially now that I’ve focused on them and singled them out / I find a strange comfort in the predictability of continuous noise; I can almost hide inside of it, continuously, while the rest of the sounds sources are nearly masked //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
17:51 / December 24, 2016 / Langelier Station / 45.582878, -73.542608 / Regenerating At Langelier Station / When the recording begins, the place is mostly deserted / The steady pulse emanating from the escalators is both the background and the foreground; it supports itself, mobilizes itself, folds into itself in a constant regeneration / There is sometimes a hint of syncopation or a minor slip, the motor works in a predictable and measureable way, but the sounds betray the uniformity of its gears / Were the gears to stop churning, an environment otherwise saturated in deflected frequencies would maybe settle in time and space / Instead, the rhythm continues, syncopated by the sounds of boots shuffling forward, pierced by high frequencies caused by the friction of rigid materials all fighting for space / The ensemble can be considered akin to a factory as it creates gestures that are shaped and amplified by their enclosures / After passing through these first steps, the gestures are then sent off to the larger space that is simply a larger enclosure, where drenched in reverberation, they resonate freely / And standing nearby, my gaze momentarily drifts from the escalators to people: splashes of color on grey / But their sounds are masked by the factory churning away //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Khustain National Park / 10:24 / 16.08.30 / Khustain Nuruu National Park / Covering 500 square kilometres, 100km to the west of Ulaanbaatar, this reserve has been a member of the world biosphere natural reserves since 2002 / Alongside 44 species of mammals including the only remaining true wild horse in the world (the Takhi, or Przewalski’s horse, reintroduced here in 1992 after extinction in the wild in 1966), and 217 species of birds, some of the 385 species of insects can be heard in this clip / It sounds like a fair representation of the ten species of bush cricket and 29 of grasshopper / This image captures my first sighting of Takhis / More than 300 horses now live in Khustain National Park, descended from nine captured in 1945 //
All recordings and Photos by Vortichez See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ulaanbaataar-_vor
All proceeds from 60 Minute Cities - Ulaanbaatar will be donated to Lotus Children's Centre. //
http://www.lotuschild.org/
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-receive-it
January 10, 2018 / 19:45 / 37°45'36.5"N 122°25'16.8"W / The Mission / A rainy Wednesday night in San Francisco’s Mission District / For a city noted for its exciting lifestyle and large population it can surprise you with a more humble presentation / Those few people who had business this evening can be heard passing: to the left is the rattle of a street elevator’s lid as passers-by stomp it with their heels / This neighborhood has been the historical Latin heart of San Francisco but gentrification is changing the demographics day-by-day, while the people who live here fight to save their art and culture //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
August 26, 2017 / 12:30 / 37°46'17.4"N 122°25'26.1"W / On The March / Donald Trump’s election was in direct opposition to the values this city holds dear, and his agenda has emboldened groups not normally found in San Francisco / On August 26th, a group calling itself Patriot Prayer organized a “free-speech rally” that many felt was a thinly-veiled attempt to introduce hateful rhetoric into the public consciousness / Thousands of protesters organized peacefully in opposition to the group and several marches took place; this one began at the top of Market Street in the Castro District and ended at San Francisco’s famed Civic Center / One can hear old civil rights songs and new chants for equality / In between, there is the comforting chatter of protestors bonding over a shared agenda //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
17:33 / April 3, 2016 / In Mexico corruption has rotten into all levels of government and the people no longer trust the authority /Walking downtown I ran into this military march in the middle of Plaza de la Paz / The funny thing was that it wasn’t a national holiday to make such a big march / At the end of the act, I asked one of the soldiers what the march was for, he replied that it was a request from the people, which seems strange because the people do not like them because it’s them who have been displacing and killing people of the communities around / The march was an act of intimidation to the people since in previous days there were clashes between teachers and police that ended with the new municipal palace set on fire //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
June 24, 2017 / 18:00 / 37°45'36.1"N 122°26'05.4"W / SF Pride 2017 / San Francisco’s yearly ‘Lesbian, Gay, Bisexual, and Transgender Pride Celebration’, called SF Pride, is always a big event- nowhere more so than San Francisco’s historic gay community in the Castro District / Here are the sounds from the street, where bars have thrown open their windows against the summer heat and revelers from around the world meet and celebrate / At some point, firefighters responded to a minor emergency; partiers catcall from a 2nd story balcony and the firefighters egg them on, announcing their departure with a ring of the bell and the honk of a horn //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
August 26, 2017 / 13:30 / 37°46'47.1"N 122°25'03.3"W / Civic Center Protest / On this day of large protests against “Patriot Prayer”, all roads led to the Civic Center / As each separate march returned to this bastion of resistance, those groups already there would cheer their arrival / The sound of helicopters overhead breaks in to remind the listener that this is still a protest, still an act of dissent //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
January 13, 2018 / 13:30 / 37°47'32.8"N 122°23'33.6"W / Rincon Center / Housed in a 1940’s era former post-office, Rincon Center is a business park with a unique feature; in the atrium, where several restaurants share dining space, a water fixture perpetually rains from 85ft up / Part of the cooling system as well as a fascinating feature for the eye, this “water column” is an interesting backdrop to the sounds of a busy restaurant catering to its Sunday brunch crowd. Headphones are recommended for this recording //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
11:30 / July 17, 2015 / Tzotzil Prayers At Templo De Guadalupe / 16.738111, 92.625507 / I went up to Templo of Guadalupe, it was empty and almost silent, in the distance there were some indistinct prayers, I approached and the prayers became more and more present, in the chapel annexed to the temple was a lady on her knees praying in Tzotzil, very magical and hypnotic prayers, very similar to the Tibetan mantras / That day I didn’t have my microphone and I regretted it, I went back to get my equipment and when I returned the lady was no longer there / The next week I went back and magically the same lady was kneeled in the same place at the same time praying in Tzotzil. This is the recording I got //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
07:04 / September 18, 2016 / Illegal Felling Of Pines In Cuxtitali / 16.742948, 92.613484 / There is nothing sadder than waking up to the sound of a tree falling in the woods / Behind our house there is a forest reserve that was invaded by more than 40 Chamula families who are deforesting the woods so quickly. I have tried to talk to them but they argue that the trees are angels that God sent them and that is why they cut them for sustenance / The landlady told me not to mess with them because they are brave people and even our house could get burn / In less than 2 years they have almost completely depredated what was considered a forest reserve //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
16.11.26 /In this recording I revisited a square that I had been meaning to record for a while / It sits in the 4th arrondissement (area) of the city, next to the Centre Georges Pompidou, a library and modern art museum / The museum itself is an interesting building, with a scaffolding styled exoskeleton / However each time I have visited I have sat down with my back to it, preferring to observe the little square /
The square looks out of place with the style of central Paris and for that I like it / Its dominated by a huge piece of graffiti on an uncharacteristically featureless building side / The woman with eyes wide and finger to her lips looks down starkly on the square / Below it are a number of graffiti tags, the exact style that smother the walls of every autoroute (motorway) and railway line leading from Paris for a hundred kilometres /
The adjacent church is markedly shabby for central Paris / Whilst still ornate, it is as though time has worn it / I sit on a metal bench with the Stravinsky fountain behind me / Sixteen modern art sculptures sit in the fountain / However the fountain has been drained and the result is an ugly one, with the rusted chains holding the sculptures in place and tubes for pumping water revealed /
The other side of the square holds a row of cafes with terraces / The sound of café chatter can just about be heard on the left side of the recording /
I sat enjoying the sense of space and rest bite from traffic sounds that the square brings / It is punctuated by people jumping on to the long metal bench for pictures and a workman drilling behind me / In the background you can hear bells ringing out and several languages being spoken / Opposite me small groups sit on the steps / A young couple share a cigarette / Pigeons take flight from their nests in the church. Children chase each other across the square, content and carefree /
For me the graffiti is the important element here as it is a reminder of the other side to Paris that I was becoming accustomed to and intrigued by as the initial tourist blindness began to wear off / As I was living outside the limits of the city I spent a fair amount of time travelling in and around, sometimes via some of the less desirable areas / Gone are the ornate buildings and avenues. Instead warehouses, vacant spaces, towerblocks and autoroutes dissect the neighbourhoods /
The streets are often messy / The walls covered in graffiti and broken furniture lies strewn on the pavement / Whilst it is impossible to miss the beggars in the city centre, I was more struck by seeing the homeless in the suburbs / Not begging, just sitting there on mattresses or sometimes tents / I sat remembering how on my first weekend in the city, walking to a nightclub in the outskirts was the first time my Wendy and I had felt vulnerable / As I came back from my thoughts to the safety of daylight in the centre, I was still looking at the graffiti of the woman with the finger to her lips telling me - don’t break the spell //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.27 / Rue Mouffetard Street / As I have tried to explore different elements of Paris through my recordings, I think this is the one that explores the dream of Paris / I found myself smiling, enjoying just how quaint and stereotypical the scene was / It is Sunday lunchtime / The sun is shining down through the clouds onto the beautiful cobbled streets of Rue Mouffetard, one of Paris’ oldest neighborhoods / We are opposite the café Tournbride, two men sit with their espressos / Another man sits alone, newspaper in hand / The busker on the corner sets the ambience; a scruffy, middle-aged man in a dark jacket and beanie who sits on the pavement and performs wistfully and soulfully / Its a slow, relaxed Sunday for the road /
The narrow pedestrianised street is a mixture of Parisians and tourists, enjoying alike the window displays of the boutique shops, working their way down towards the market at the end of the path / A young woman cycles past on a vintage bicycle and a cat disappears down an alleyway / Even the graffiti a little way further down hides in the morning shadows, evicted by the bright sunlight that had descended on the road / This is the Paris that lives in the minds of many and indeed I would like to use this recording to keep a little bit of it like this for myself //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 13, 2017 / 17:46 / 45.435683, 11.845091 / Parco Degli Alpini / The Alpini Park is a green lung of 80,000 square meters located northwest to the city of Padua, in the Valsugana district / It is a border area, a filter between the city and the countryside / The remediation operations, started in 1987, turned this former landfill for excavation material and polluting waste into a public green area / When listening to this place, you can distinguish different sound perspectives: sounds can be recognized and located in space / To me, the Alpini Park has always been a small oasis where I could get away from the city stress / An exemplary case of protected area //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 17. 2017 / 19:50 / 45.416232, 11.882119 / Linea S835 / The S835 Bus Line connects Padua to Agna, a small village in the southern province of Padua / I took this line during my high school years / Now I take it about once every two weeks to visit my parents in Arre / Even though I have traveled this road countless times, I haven’t yet tired of that monotonous and flat countryside landscape / At every trip, whether coming or going, I look out of the window and try to focus on new and different views in search of details that I previously missed //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
10:58 / November 11, 2016 / Commemoration / Elgin Street at the National Arts Centre with Parliament Hill on the left and Chateau Laurier Hotel on the right / Ottawa is many things, including home of the Government of Canada, with its numerous national institutions, monuments and places of contemplation such as the National War Memorial (The Response) a tall, granite memorial arch with accreted bronze sculptures / Ottawa is a place where decisions are made to send women and men to war / This recording was made on 11 November, Canada’s Remembrance Day: the national day to remember those who died in military service – the anniversary of the Armistice agreement in 1918 that ended the First World War / The sounds recorded on this cloudy November morning are the singing of the national anthem ‘O Canada’ by a children’s choir and the public (a mix of English and French), a trumpet call, 11 bells on parliament hill, distant guns, flags at half mast, a minute of silence, a helicopter and a bagpipe //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
08:40 /November 16, 2016 / Commute / Chapel Street to Corktown Footbridge / I commute to work by bike every working day, all year long / It’s an important part of my daily routine: a form of meditation and connection to the earth / I love the fresh air and the changing soundscapes around me / This recording starts at my home on Chapel Street in Sandy Hill and turns west onto Somerset Street / You hear me … going up a steep hill on my way to the University of Ottawa campus, under construction / … gliding under a pass way where the City is building a new light rail transit (scheduled to open in 2018) / … turning onto the Corktown Footbridge (Corktown was a series of shanties along the the Rideau Canal, a UNESCO World Heritage Site, erected by Irish labourers during its construction, many of whom came penniless from County Cork in Ireland, hence its name) / … crossing over the Rideau Canal and biking along the canal pathway to downtown Ottawa //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
11:28 / January 1, 2017 / Run / Adàwe Crossing, Strathcona Park / I’m a marathon runner and triathlete / I run almost every day / Running for me is a way to connect with the city, one step at a time / Ottawa has great running trails and green spaces / You hear me breathing, saying ‘goodmorning’ to neighbours, passing a snowblower / My run ends at the Adàwe Crossing, a bridge that connects pedestrians and cyclists on either side of the Rideau River / The bridge features a sculpture by Ottawa artist Ken Emig : two stainless steel reflective spheres that offer a reflected panoramic views of the area / It’s joyful to run by this sculpture and see a 360 degree reflection of the landscape while listening to ducks and geese below //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
11:00 / January 21, 2017 / March / Corner of Elgin and Gloucester / On this day, all around the world, women (and men) marched in solidarity with the The Women’s March on Washington: a grassroots effort to protest the Donald Trump Presidency (one day after his inauguration) and to stand together in solidarity and to recognize that vibrant and diverse communities are a strength / The significance of this sound for me was in capturing the energy of c. 8000 protesters in the streets of our nation’s capital, with its mix of public servants, high tech workers and diplomats / The sound of a public march has always been moving to me: inspirational chants, solidarity slogans, cries of anger, echoes of hope / In this Ottawa women’s march you hear the slogans ‘no limits for women’, ‘the people united will never be divided’ and ‘tiny hands, tiny feet, all Trump does is tweet-tweet-tweet’ //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.12.16 / 12:05 / 37° 32.271 N, 77° 25.646 W / Burial Ground For Negroes On 1500 Block Of East Broad Street / Estimated to be active between 1750 and 1816, Richmond's Burial Ground for Negroes was the final resting place for uncounted numbers of Africans enslaved by Europeans / The mass grave has been abandoned and repurposed a number of times since the last body was laid to rest there / Misappropriations of the site have included the Richmond City Jail, and in the 1930s, the City dog pound / Finally reclaimed and memorialized in the 1990s, the Burial Ground is now partially paved over by Interstate 95 / In this recording, you hear the sounds of automobiles passing on the directly adjacent interstate, as well as helicopters traveling to and from the neighboring VCU health center //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
June 11, 2018 / 20:00 /10th and Callowhill / I like the hypnotic effects of repetitive, robotic announcements, which I’ve made use of before / A friend of mine tipped me off to the announcements at this intersection, which is in a gentrifying area just north of center city that still has a lot of artifacts from its more industrial days—abandoned factories and rail lines, not to mention warehouses / The speakers at the intersection are not entirely synced up, creating an echo effect that’s magnified by reflection off the nearby buildings /There was also a bit of a misunderstanding between a few drivers, who provide a chorus of angry honking toward the end of the track //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 4, 2018 / 17:00 / 13th Street Turnstiles / Market-Frankford Line 13th Street Stop / Within the past few years, SEPTA, the local transit agency, installed new turnstiles as part of their emerging key card rollout / Various interactions with the turnstiles create different sounds / Sometimes a three-note motif is played when a pass is used or the cashier lets someone through; other times, it’s a repeated beep / When something doesn’t work, there’s a repeated buzz while a red X flashes on the screen of the turnstile / As a whole, these sounds come together to make a random, unrepeatable melody based on the circumstances of the moment //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 16, 2018 / 16:45 / Schuylkill River Trail / Schuylkill River Trail, just south of Walnut Street / This is one of many recreation areas the city of Philadelphia has to offer, and a relatively new one / It’s a great place to sit along the river and listen to the footsteps of runners and the clicking of bicycles as they pass by / The river itself doesn’t make much sound, so I decided to set up next to a leaking water fountain, which a few passers by tried out while I was there / Farther into the distance are the sounds of passing jet skis on the water and the traffic on I-76, the frequently-gridlocked Schuylkill Expressway //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
November 4. 2017 / 12:00 / 37°47'16.5"N 122°24'28.5"W / Before the Rally / An organization called “Refuse Fascism” planned a rally protesting Donald Trump’s administration on November 11th, 2017 / There was a large turnout that culminated in a march, speeches and chants / I found myself fascinated by the sounds that happened beforehand, while organizers milled about and handed out fliers in Union Square, a park centered in San Francisco’s shopping district / Around me, the city’s life goes on while protestors gather to peacefully disrupt it for a moment //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
October 27, 2017 / 16:30 / 50°64'04"N 5°57'15"E / Trib / La Cittadella" Management Center is located in the northeast area of the city, between the Padua Fair and the Railway Station / This office complex is host to the Trib, an area frequented by skaters who, especially on Saturday afternoon, give life to the space with theirs tricks / The Trib is a spot between adjoining squares, surrounded by arcades / The smooth marble surface is perfect for skating / The visual configuration is extremely geometric and orthogonal, with a strong interplay of symmetries / Photographing this place is a great stylistic and research exercise / In the past I used to skate here a few times a month //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 28. 2017 / 11:50 / 45.411007, 11.930600 / Stabilimento Birra Peroni / The Peroni Beer Factory is located in Padua’s Industrial Zone / It is one of the three Peroni national factories together with those of Milan and Bari / The road facing the establishment is called Viale dell’Industria / It is only a few hundred meters from the exit and entrance of the freeway that runs around the city / The traffic is regular and fast, although it is 12:00 AM on a Saturday morning / The darting cars remind me of mathematical vectors: they give a smooth, cyclical and constant feel to the track //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 22, 2017 / 15:10 / 45.392497, 11.898312 / Parco Iris / Iris Park is located in the south-east area of Padua, in Zona Forcellini / It is a green public area of 32,000 square meters close to the historic center / The park has a small central lake inhabited by turtles, and next to the lake there is a hill that commands a view of the entire area //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 20, 2017 / 08:30 / 45.424305, 11.875465 / Santissima Trinità / Three years ago I moved to Padua with a couple of friends / Our flat is about 1km away from the Railway Station, in the Arcella district: more precisely in a part of town called Santissima Trinità / The Arcella district includes a large slice of the northern Padua area / Santissima Trinità is located between the two main arterial roads of the district: Via Annibale da Bassano and Via Tiziano Aspetti / It is densely populated and one of the most multiethnic districts / Over the years it has been absorbed into the city center following the urban expansion of the first periphery and the “urban belt” / After all these years I still have to get used to the vertical geometry of the buildings and to the city frenzy because, before moving here, my eyes and habits were shaped by the horizons and quiet of the Veneto countryside / This recording was made in the morning from the window of my studio-bedroom / Although we are in a central area of the city, the soundscape is not chaotic //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
13:30 / February 17, 2017 / Signals / Corner of Rideau and Sussex Street / Rideau Street is a major downtown street and one of Ottawa's oldest and most famous streets, running from Wellington Street in the west to Montreal Road in the east / Sussex Drive runs roughly parallel to the Ottawa River and is the street of the residence of the Prime Minister and the Governor General / This recording is of the ‘beep beep’ sound at each corner of this busy street corner / The beeps are intended as signalisation for sight impaired citizens but they also make for an interesting urban sound event / During this recording I walked around the four corners of the Rideau and Sussex Street intersection for 6 minutes, recording conversations and experiencing the overlap in the beep signals //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
13:34 / January 17, 2017 / River / Ottawa River / The Ottawa River (in French : Rivière des Outaouais, in Algonquin: Kichisìpi or Great River) divides the provinces of Ontario and Québec and is a major tributary of the St. Lawrence River, which leads to the Atlantic Ocean / The river is impressive : 1,271 kilometers in length with a drain area of 146,300 square kilometers / Fur traders, voyageurs and coureurs des bois, assisted by Algonquin guides, used this route to access Canada's interior during colnisation / This recording was made upstream of downtown Ottawa before the Chaudière Falls / The current is strong and the sound is a deep rumble of rushing water and ice / The recording includes the high pitched sound of cross-country skiers along a path by the river / The people of Ottawa love their great river / It is a source of energy and peacefulness for me //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
11:58 / February 17 ,2017 / Parliament / Parliament Hill / Home to Canada’s House of Commons, Senate, Members of Parliament and Senators / Ottawa’s parliament hill and the Peace Tower in Centre Block is a special place for all Canadians / People gather here to protest, to mourn or to celebrate, but also to play frisbee and do yoga / Tourists from all around the world come to admire the architecture and make a wish at the Centennial Flame, build in 1967, a fountain whose ledges contains the shields of 12 of Canada’s provinces and territories (only Nunavut is absent as it was created in 1999) / This recording features an international youth delegation taking photos in front of the Peace Tower / I recorded the conversations of visitors and slowly walked my way towards the Peace Tower, knowing that it would ring 12 times at noon //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16:40 / December 2, 2016 / Salle Claude-Champagne / 45.509098, -73.609055 / Reflecting At The Top Of A Hill Over A Quiet Drone / Université de Montréal’s music building is a steep walk up the street, and I’m often out of breath trying to get to my classes on time / This is my first semester in a French university despite having lived in Quebec my entire life / After finishing this Friday’s class, I find myself feeling excited about what I’m learning and hopeful for the future / I walk outside and hear a street lamp buzzing: I sit down next to it, my view overlooking bare trees and lit buildings down the hill / The sounds are evenly spread and calmly consistent for nearly the entire duration of the recording / The wind is cold but subdued; cars are nearby but not too close / This makes for an undisturbed environment with only a street lamp defying the medium frequency range / My thoughts expand and retract in a meditative oscillation as I tune in and out of deep listening //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
January 20, 2018 / 15:30 / 37°45'32.6"N 122°25'37.0"W / Dolores Park / Recently revitalized, Mission Dolores Park in the Mission District has become a regular weekend hang-out for the city’s youth / People bring in their own drinks or buy from the vendors who push their carts and ring their bells through the crowds / Park visitors lay on blankets in the grassy field, dogs roam off-leash and children enjoy a nearby playground //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
Qingdao is a developed and industrial city, from the old Government owned cotton factories to the large number of present-day manufacturing factories contribute to the economy of Qingdao / Within the sounds of the city, the sound of the machines, although it is the least characteristic, is the sound of the times //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
17:18 / April 26, 2016 / Teachers Demonstration At Plaza De La Paz / 16.737544, 92.638473 / Mexico has experienced difficult times full of violence, crime, corruption and impunity / The government is disappearing and murdering anyone who interferes with their plans to plunder the country's resources / Recently in Chiapas a conflict broke out between the education workers and the government / In this march the teachers demand the disappearance of the 43 normalists of Ayotzinapa and call for an indefinite national strike to revoke the new educational reform //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
12:17 / December 11, 2015 / Virgin Of Guadalupe Fireworks / 16.742619, 92.613849 / In San Cristobal every day is a day of celebration, or at least it seems like this because every day you hear fireworks in the sky / One of the most important festivals is the Virgin of Guadalupe Day on December 12th / Since early December the pilgrims began to arrive to San Cristóbal from all parts of Chiapas, some of them walking, others on bicycle, others on the top of trucks / It is a great celebration full of music, dances, food, fireworks, especially fireworks, every day, all month long / For more than an hour the fireworks were exploding to celebrate the Virgin of Guadalupe and this a recording I made from my house in the forest in Cuxtitali //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
16.12.20 / 15:43 / 200 N. Boulevard / Lobby Of The Virginia Museum of Fine Arts / In this recording, you can hear folks entering and exiting the Virginia Museum of Fine Arts, a worldclass museum located in the Museum District / The sounds of vistors' voices and footsteps bounce off the high ceilings and tile floors of the museum's drafty lobby area / Admission to the museum is free - making it truly available to any visitor / I chose the VMFA because of the wide variety of art lovers who patronize it - and because of the bustling sonic architecture of the space //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
13:49 / February 03, 2017 / Scrap Metal Truck /16.737863, 92.628269 / One of the most characteristic sounds in the streets of San Cristóbal is the infinity of cars and trucks that pass by announcing with speakers what they sale or buy, anything from scrap metal, to water bottles, gas, shoes, food, fruits, vegetables, ice cream / I collect them all, I have a large collection of these sounds / One of my favorites is this track because the recording never loops, it seems like a loop, but it’s not, in the 6 minutes that the track lasts there is non a single syllable that is identical to the rest, the girl who recorded the ad had in mind to make an endless recording //
All recordings and Photos by Erick Ruiz Arellano See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_cristobal_de_
116.12.20 / 15:08 / 116 S Addison Street / Lamplighter Roasting Company on Addison Street / Arguably the best local coffee shop in Richmond, Lamplighter is a centrally located meeting place for artists, activists, intellectuals, students, business owners, wannabes and coffee-drinkers of all walks / Like Ipanema, Lamplighter is an central space for a variety of conversations / Spaces like these - bustling, caffeinated, and friendly - make the possibilities of underground and DIY culture available to Richmonders / In the recording, loud rock music plays behind the voices of baristas and customers, punctuated by sounds of the espresso machine and doors opening and closing //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
The marketplace, in the past, was the essential activity for local Qingdao people / You can buy anything here, from everyday items, to food and clothing / The cities growth has affected the market / The ‘going to the market every five days’ tradition has gradually faded out of people’s lives / On the west coast of Qingdao, small villages have been swallowed by the development of large buildings, but the marketplace tradition still remains / The cries of the shopkeepers have been replaced by recorded loops on loudspeakers but it is still effective / Surrounding the marketplace are large supermarkets / The marketplace and the supermarkets, juxtaposed, seem as though both past and present meet here //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
‘If you are near the mountain, eat the mountain / If you are near the sea, eat the sea.’ / This pier is the meeting of many emotions / From here you depart, from here you return / Of course, here you may be lost / Gujia Island’s small dock, everyday people bring their harvest in sea back and the women on the shore count and sort the shrimp and fish / You cannot ignore this beautiful sight /
Track 7 is near the treeline of the shore. The birds are twittering in the trees, as if discussing the story of the pier //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
16.12.16 / 16:39 / 50 Evergreen Rd / Maggie Walker's gravesite in Evergreen Cemetery / Built in 1897, Evergreen Cemetery was designed to be an African-American equivalent to Richmond's very expensive and fashionable Hollywood Cemetery / After changing ownership a number of times, the cemetery is now overgrown with weeds, trees and kudzu vines / The cemetery is the site of the graves of many of Richmond's most prominent African American families / While some gravesites have been reclaimed in the past few years, many have become completely inaccesible due to the overgrown vegetation. In this recording, you can hear distant sounds of trucks working in the neighboring landfill and recycling plant / The noticeable absence of other nearby automobile or human sounds - other than my own rustling - is drawn in contrast to the sounds of Hollywood cemetery's many and frequent visitors //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
16.12.18 / 15:57 / 412 South Cherry Street / Confederate Memorial At Hollywood Cemetery / This recording was taken on a sunny day at the foot of the 90-foot tall stone pyramid memorializing the 18,000 Confederates buried in Hollywood Cemetery / 50 years older than Evergreen Cemetery, Hollywood is just as spectacular as when it was designed in 1847 / In the recording, several cars are heard slowly passing on the paved roads that guide visitors through the deliberately manicured cemetery / The distant rumble is from the James River, which runs adjacent. I chose this location as a interesting contrast to the relatively abandoned and derelict Evergreen Cemetery //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
October 18, 2017 / 16:30 / 50°64'57"N 5°58'07"E / Capolinea Sud / The tram’s south terminal is situated in the southern tip of Padua, after the Guizza district and just before the village of Albignasego / At this time the station is not very busy: only a handful of people get up and off the public transport vehicles / The traffic is smooth and there are few cars nearby / The electrical sound of the tram fascinates me: after a while, it feels like listening to a drone or industrial track / It has a swirling and sometimes psychedelic impact, as new elements are gradually integrated into the sound amalgam //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Central Park / Columbus Circle & South 6th Avenue Entrance / Park Bench on south end of The Pond / Contrasting dramatically with the mechanized drone of Broadway Junction, the woods of Central Park offer a beautiful sanctuary for huge numbers of chirping birds / As leaves fall all around The Pond, the sun is nearly set and the last few visitors make their way around the winding path / Seemingly out of nowhere the birds stop making noise all together, darting from one tree to another further into the distance / Train whistles, a symphony of sirens, and a circling helicopter are a constant reminder that the real city is not far//
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
9:34 / November 17, 2016 / Les Halles d'Anjou / 45.597492, -73.566159 / Going For Breakfast With My Mom / While sitting on a bench in the middle of an indoor mall rife with sounds of people and their machines, the idle visitor can bask inside a flux of mechanic frequencies / Ventilation systems drive drones into a reverberant space, topped with windows and a soaring ceiling; an empty bakery is brightly lit / Another day might have seen clearer light streaming in, but this morning bears the cloudy remnants of a rainy evening / I watch as people disappear further into the mall on the right or out the doors on the left / Determined workers on the clock walk purposefully, puncturing the stagnant drones with the sound of rusty trolleys, while patrons walk slower, barely making any noise at all / I'm going to have breakfast with my mom, bagel and cream cheese //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
On the west coast of the Qingdao’s Huang Dao, ('Qing' in Chinese means green and 'Huang' meaning yellow) there is a phrase in Chinese called 'green and yellow do not join' (which means 'temporary shortage of harvest') / The ferry has for many years connected the east and west coasts of Qingdao (Qing and Huang Island) /After the undersea harbor tunnel was opened in 2012, the busy commuting ferries on the water surface could no longer be seen / But the Ferry’s whistle with the Jiaozhou Bay’s beautiful views still warms the heart / The end of an era still close to the hearts of many //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
17:22 / November 18, 2016 / L’Escalier / 45.515032, -73.559054 / Eating And Drinking Amid Conversation Swarms / Warm and indoors, I'm quietly sitting across from my partner as music and conversations flit in and out of my aural periphery / Basking in the familiar sounds of francophone Montreal creates warmth in and of itself / Music from Montreal band Swoon Quartet, albeit heard muffled from my perspective, creates a jovial background and contains dynamic variations in amplitude, rhythm and pitch; conversations cut more dryly across the recording in a constant swarm / Most people are here to enjoy each other’s company in a light and engaging atmosphere / The lightness can be attributed in part by the saturation of sound from a mix of sources including the human voice; surrounded by a calmness instilled by conversation, I can disappear and reappear by tuning out or listening //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
20:03 / January 10, 2017 / Intersection of Boulevard Langelier and Rue Chauvin / 45.585660, -73.552195/ Working To A Street Sign Clamour / A metal sign caught in an open space clamours against the pole it hangs off of / I can see this sign from outside my window, while I work and occasionally glance out of the haven of my space / Tonight the rickety noise emanating from below my second floor apartment reveals the strength of this winter wind / I place the recorder on my balcony inside a makeshift snow enclosure where it cannot fall / Mobilized by the howling wind, frozen snow sputters around the recorder and its windscreen, imitating the sonic effect that might be created by snow falling on a hood and winter clothes / Cars stream by, unheard in their redundancy as the street sign punctuates the space //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
13:26 / December 29, 2016 / Metro Plus Domaine, 6550 Rue Sherbrooke E. / 45.582043, -73.542743 / Sitting In A Warm Spot On A Bench At A Grocery Store / Although the door to this grocery store is only a few steps away, and stays shut for a few moments before triggering open automatically, a sweet spot of warmth can be found right here, on the bench facing it / This time, the bench is empty, and I decide to sit down to record / Many familiar sounds can be heard in a stream or an endless flow: the rickety shopping carts being wheeled individually and more quietly by patrons or in larger groups and more loudly by employees; the heating system droning dutifully on while acting as a buffer against the bitter cold and wind that often accompanies snowfall in Montreal; the opening and closing of the automatic doors causing a rubbery friction that creates short sounds not unlike the cooing of a pigeon / To the left of where I’m sitting, patrons stream inside the grocery store with empty carts, or leave with full ones on the way to their cars / To my right, carts get wheeled and cans are exchanged for coins / This store called Métro Plus is conveniently located a few meters away from the metro / It reminds me of the kind of groceries stores found deeper inside the city, where artisanal beer sections are often found, and where the convenience of location is countered by the inconvenience of price / The muffled beeping of scanners barely cuts through the sound barrier, but operated by cashiers, it signifies time moving forward //
All recordings and Photos by Joey Zaurrini See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_montreal
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Broadway Junction / Outro / Almost home and departing Broadway Junction, Van Sinderen avenue traces the front of the building with dim lighting and an overgrown industrial lot beneath the tracks /As a few cabs await the next batch of people to stream out of the station, subway cars pass high overhead on the same platforms visited earlier / From within this dark, cluttered block of construction materials and junk comes a few bizarre sounds including a brief alarm and the screech of what must be a giant rainforest bird imported from Central America (could be the brakes on a subway car but is very odd and hard to pinpoint) / With these last few scenes the night is over and home is just a few blocks away //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.27 / Bellvile Parc / As with most things Parisian, the parks often hold surprises, even the small ones / When I had grown tired of standing in queues for art galleries, I started exploring parks and markets in an attempt to see more of the Parisian life I was experiencing in the cafés and on the trains /
With Bellville, the neighborhood intrigued me / Its multicultural charm stands out / I crisscrossed my way up narrow streets, up to the park / I passed walls of graffiti art, torn music event posters, spray painted dustbins, litter blowing across the street and some rough looking guys sitting on a parked car drinking / It wasn’t mode Paris but it still felt like Paris /
The light was already dipping on an overcast afternoon when I entered park. Its a haven of green surrounded by tall apartments / It sits on a hillside, with winding paths through the foliage that lead upwards / I climbed my way to the top and turned back to find a breathtaking view / Paris splayed out before me, hugged by the grey winter / The Eiffel tower and Montparnasse tower were both visible in the distance / I climbed back down some steps to make a recording from a more central spot / On a bench on my right, a young man played guitar / Ever present, the rumble of traffic remained to remind me where I was / Families pass and a runner does several laps past me / The most interesting part of the recording to me is the echo of voices / Some children playing near the top of the park above me scream out, and as their cries hit the apartments below, they ricochet back with startling clarity / To me it was certainly an unusual reverberation for a park / Perhaps for those used to living in big cities the experience is more common / Finally as I finished recording, the sun had ripped through the grey clouds for the first time that day, spitting out its orange rays / I quickly climbed back up to the viewpoint to observe a spectacular sunset over a city that continues to reward its habitants with spontaneous bouts of beauty //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Lorimer & Driggs / The only recording not made from a stationary position - this track is essentially a walking tour of Greenpoint's McCarren Park / The crisp autumn air can almost be tasted as shoes crunch down on fallen leaves and a slight breeze leaves a chill behind / Children of all ages play in every corner of the park, most notably teenagers playing basketball in the courts nearby //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Awning on street /Leaving the Outpost we are suddenly caught in a rainstorm, seeking refuge under the awning of a shop that has gone out of business / For an area with such a high population density there is a surprising lack of road traffic / This allows for the fairly heavy rain to be the main sound source / Children playing and sparse birds round out the minimal mix on this cold, wet afternoon //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Coney Island / Large rock formation directly South of 601 Riegelmann Boardwalk, Brooklyn, NY / The track fire is washed away by the churning surf of Coney Island's Brighton Beach / A massive pile of charcoal colored boulders spill out from the beach into the Atlantic, creating a wall that blocks the late November winds / The beach has more seagulls than people, allowing for the soothing tones of the rushing water to flow uninterrupted until a small boat rounds the bay //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Broadway Junction 2 / Manhattan Bound L Train Platform / Darting back into reality, we return to the Broadway Junction, this time on the upper platform where passengers await the Manhattan bound L train / The arriving and departing trains of other platforms create a pounding rhythm of steel while a computerized voice counts down the minutes until the L train will appear / A rarely used recording alerts the station to delays because of an "investigation" - while a second one clarifies the problem even further ("track fire") //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
15:27 / January 17, 2017 / Skate / 6 :00 / Rideau Canal Skateway / Ottawa is home to the largest skateway in the world (7.8 kilometres long) / The 202km Rideau Canal was opened in 1832 as a precaution in case of war with the United States and remains in use today for boating and skating / You hear skating along the canal, ending in a quiet area where skaters practice their skills / I like the sound of metal on ice and the excitement of skaters voices, some of whom are new to Canada and are experiencing skating on frozen water for the first time / The photo is of a panel by the National Capital Commission about the skate way / People in the background are waiting in line to eat ‘beaver tail’ pastries //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
19:13 / February 17 ,2017 / Elevation / Canada Council for the Arts, 150 Elgin Street/ Ottawa is many things, including a city of bureaucrats and office tower workers / My employer, the Canada Council for the Arts (Canada’s national arts funder), is the anchor tenant of Performance Court, a tall glass building at 150 Elgin / I like to spend time exploring the sounds of my workplace : it’s hums, clicks, resonances, voices, drones, rhythms, patterns, etc. / This recording explores the spaces where people enter and exit the building / I travel up and down the elevator (which ‘talks’ in French and English) and walk up and down stairs / I also ‘perform’ on the metal guardrail in the staircase, which I often do on my way from one meeting to another //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 27 .2017 / 11:40 / 45.406965, 11.874773 / Mercato Cittadino / The Piazza delle Erbe Market is the heart of the city center / It is located in the most ancient and important point of Padua, next to Palazzo della Ragione, which was the political, administrative and commercial center of the medieval city / The impressive Palazzo della Ragione has a characteristic shape due to its “upturned hull" roof / It contains a cycle of allegorical frescoes based on zodiac signs / The background sound is typical of the hustle and bustle of a city in the late hours of the morning / This meeting point blends multiple voices: street vendors, buyers and simple passers-by / The sound of passing vehicles contributes an additional ingredient to the city frenzy soundscape //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.12.20 / 14:25 / 3 E Roberts Street / Barton Heights Laundry Mat / In the Barton Heights neighborhood where I live in Northside district, many of the almost 100-year old houses are without washer and dryer / I chose to record inside the laundromat to represent a simple moment in the lives of my neighbors / In the recording, the voices from a television echo off the floor tiles. The rumble of the dryers lays below the voices of people doing laundry, including a child and her mother //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
16.12.18 / 14:58 / Intersection of N Davis Ave and Monument Avenue / Monument To Jefferson Davis / This statue representing President of the Confederate States Jefferson Davis has been the site of ongoing struggle between protestors representing a variety of causes, from Black Lives Matter to Sons of Confederate Veterans and Virginia Flaggers / The Jefferson Davis statue is one of several representations of historical figures that mark the median of the central thoroughfare, which is walled on either side by the wealthiest residences in Richmond / Other figures include massive monuments to Confederate generals Robert E. Lee and Thomas "Stonewall" Jackson. In this recording, we hear cars passing on either side of the Monument / The statue has been repeatedly vandalized by anti-racist protestors / It stands as a painful testament to Richmond's all-too-recent history as the burned-out capitol of the Confederate States //
All recordings, text, and photos by Katie Wood See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_richmond
20:59 / January 17, 2017 / Pipes / Gas meter at Rideau Terrace in Lindenlea-New Edinburgh / We rarely listen to the sound of heat production / My mother, artist Jeannine Schryer, is from Ottawa and lives in this 1960’s era high rise apartment building / Each time I walk by this gas meter I am mesmerized by its unique sound : an enchanting ‘hiss’ that pulsates in a musical way / I recorded the sound on a cold winter evening, starting close up and slowly walking away (you can see the footsteps in the photo) / This Ottawa sound is significant to me because the heating of buildings is such an important part of life – of survival - in a cold winter city / I wrote this poem about the recording: moving through sound, punctured, filtered, listener controlled, distance felt, pushing into the sound //
All recordings and Photos by Claude Schryer See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_ottawa
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
October 16, 2017 / 20:49 / 45.416475, 11.882741 / Corsia 5 / On Lane 5 of the Padua Bus Station, I am waiting for the bus to Arre, a small village of the lower Padua area where my parents live and where I grew up / The Bus Station is adjacent to the Railway Station / The sounds and noises of the two neighboring places are intermingled, although those from the Bus Station are more present and incisive / Although this (non)place is a central hub of city traffic, you can still perceive a faint sound perspective, probably because I am recording in the evening / These (non)places have always fascinated and intrigued me in terms of architectural, urban, sonic and anthropological design / There is something enigmatic to the almost uninterrupted and constant flow of people passing through the (non)place and marking it with their presence //
All recordings and Photos by Nicolò Masiero Sgrinzatto See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_padua
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.27 / Bassin de l’Arsenal / This was the final recording I made in Paris, so it felt right to use it to finish my album / I had seen the boat basin a few times, but this was my first chance to get down there and record / The basin sits down between the surrounding roads / It takes about 15 minutes to walk the length of it and holds many beautiful quirky houseboats and longboats / It was already dark and just a few groups of people could be seen here and there on the dimly lit pathway alongside the boats / Whilst beautiful, the sounds of the basin were disappointingly generic / The water was still and the boats sat silently at their moorings / The sounds of the basin largely consisted of traffic bombing down the two boulevards that run parallel / At the end of the basin, behind a zigzagging metal bridge, a single light illuminated a pathway, which I guessed ran under the roads and through to the river Seine / In all honesty it didn’t look very safe / Although my confidence had grown massively since arriving in Paris, I was very keen to stay street-smart and not have my microphones robbed / Nevertheless after seeing a jogger emerge from the pathway, I decided to take a look / As the stone of the basin walls and the metal of bridges encompassed me, the noise of the roads and emergency sirens died away to a blurred background / I was able to pick up the sound of running water escaping from the basin lock gates / I loved the dankness of the sound as it bounced off the metal surfaces /
It was then as I was setting up to record, a deep roar came out of nowhere and this cataclysm of rhythmic sound erupted from above me / Looking up I realized I was standing directly underneath a rail line, and layered beneath the shuddering of the bridge were the distinctive whistles and metallic zips of the Parisian metro / In fact I was actually standing fifteen meters from Quai de la Rapée station / The sound of the distant sirens, the draining water and the screeching metro left a lasting impact on me / It was just what I had been waiting for / I spent a while trying to work out why I was so attracted to these sounds and why I was standing there when I could be recording at the feet of the Eiffel tower, or on the Champs-Élysées or the ambience of an art gallery / I think its because in the end I don’t appreciate Paris for its art alone, or for its famous buildings or for its perfect beautiful tree-lined streets / What makes the city lovable to me is that it has very visible flaws / It can feel dangerous, it can be messy it can be gritty / It is sometimes hard work / It isn’t just some kind of primetime regulated, carefully calculated show for the world / It only holds integrity because it continues to be a real functioning city with all the vivacity, spontaneity, mess and ultimately charm that comes with it / In the end, one season doesn’t begin to touch the edges of what can be discovered in this constantly changing metropolis / It has however made an impression on me; a tiny addition of something Parisian, which I will carry with me until I return //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.27 / Marché d’Aligre / This is one of my favorite recordings that I captured whilst in Paris / Its the sound of a proper French market, captured early enough that the din of traffic is barely present, giving the recording room to breathe / This alone would be something to get out of bed for on a Saturday morning as a Parisian /
As I arrive in the neighborhood, the quarter is just stirring / I see virtually no one on the streets / Suddenly as I turn a corner I find the market / Rows and rows of vegetable stalls, with just the last few boxes still being unpacked from graffiti plastered vans / As I walk down the road I am invited to view the produce / The call that rings out in the recording is simply the price – “un euro, un euro, un euro…” /
Only when I reach the central square do I become aware of how big the market is / To one side stands an indoor market selling meats, cheeses, fish, flowers, and vegetables / To the other is a flea market / It holds all sorts of things, including second hand books, old vinyls, a plethora of bric-a-brack and a several stalls with a wide selection of African artifacts / The flea market rests in the shadows of a semicircular 8-storey apartment block / Between the flea market and the indoor market, a long row of fabric-roofed market stalls stretches into the distance; each one selling fresh produces from across the world /
Before I start recording I do several laps of the market to get a feel for it / By the time I’m in position to record, the market is already twice as busy / Parisians commence their weekly ritual, exploring the vast options available / The rustle of vegetables being picked and placed into plastic bags can be heard throughout the recording /
Adjusting to the French way of life and actually enjoying it were two different stages that I wasn’t expecting to encounter individually / Spending time with a French family included such practices / Each week we visited a market in the suburbs / Whilst I wasn’t obliged to come it was seen as a family event / Again the traditions continued from the market right to the dinner table / Often we would spend hours for a food sitting, starting with an aperitif, followed by a starter, then the main course, then desert, then cheese, and finally a coffee /
In my family household in the UK, the other aspects of life would take priority / Eating, if together, would often have been a short lived affair, usually with a television playing in the background / Convenience was the only thing that mattered when buying food, which was normally acquired in the form of the antithesis to the Parisian market: an online supermarket shop /
Only when I started visiting markets on my own did I begin to understand the enjoyment of the process / There is a sense of contentness in the voices that we can hear in the recording / The purposefulness, repetition and simplicity of waking up early to choose good quality food for you and your loved ones to share, has an air of integrity to it //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
16.11.16 / Le Panthéon / One of the first things I did upon arriving in Paris, before making any recordings, was to take advantage of the free entry to museums, monuments and galleries / Only upon embarking did I realise just how many there were, and how utterly stunning they were / I still don’t know just how many there are, but I do know that with the few months I had I was only able to scratch the surface / Often the acoustics of the buildings were as impressive to me as the contents / Unfortunately the more impressive the building, the more the security resembled that of an airport / Anxious not to be turned away, I held back with the recording equipment until I grew more confident / In mid November, whilst returning to the Latin quarter to record other points of interest, I came across the Panthéon, the 83m tall church, modelled after the Pantheon temple in Rome / Made of stone and marble, it’s an imposing structure with a large central dome / Beneath it lies a crypt dedicated to French men and women who had served their country exceptionally / It includes the likes of Voltaire, Marie Curie, Victor Hugo and Emilie Zola /
Upon entering I explained to the security that no, I wasn’t a journalist, I wasn’t planning to record, and that I make recordings of the “paysage urbain” (cityscape) / Its true, I wasn’t planning to record, but as soon as I heard the acoustics I realised that the opportunity was too good to miss /
Possibly my favourite thing about Paris in an objective sense, is the level of detail put into making things beautiful / It seems to cover every inch of the city in one-way or another / From the ornate floral patterns adorning lampposts, to the stone carvings on the bridges, which can only be appreciated if traversing the river Seine by boat / It is truly a city of art and I love how proud the French continue to be of it and the care that they invest / As awestruck as I was by the beauty of the Pantheon, I struggled to retain the respectful silence / With the Marble floor, huge surrounding pillars and giant concave roof I was dying to excite the frequencies and see how long they could hold a sound and how they would colour it / It is still possible to hear the traffic outside, but now its just a low rumbling reminder that Paris continues madly on around the circumference of the tranquil space / My recording was cut short after 10 minutes of sitting on a bench to the side of the main dome / A security guard approached me / I quickly reached into my bag and shut down the mixer / He told me that I wasn’t allowed to listen to music in the Panthéon / I took that as my cue to leave //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 12, 2018 / 12:40 / Suburban Station / Suburban Station train platform, 15th Street and JFK Boulevard / Suburban Station is one of the busiest on the Regional Rail grid that reaches points such as Newark, DE and Trenton, NJ / This is a place where robotic announcements are always spinning around in the air, not to mention the characteristic rhythms and melodies of train noise / The oscillation of fans and announcements from the conductors can also be heard //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 11, 2018 / 16:45 / Race Street Pier under the Ben Franklin Bridge / Race Street Pier, Race Street at Christopher Columbus Boulevard / This pier, which is nestled right next to the Ben Franklin Bridge, affords a great view of the water and the surrounding urban landscape / I’ve always been attracted to the sites and sounds of this bridge, and the pier was the perfect place to record it / There’s the PATCO train running to and from Camden, NJ across the river, the hum of the traffic on the bridge, and even an occasional whine from the Market-Frankford Line train as it emerges from underground to head towards northeast Philly / Rush hour is the best time to capture all these sounds, along with the runners, pedestrians and skateboarders on the pier itself //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
January 14, 2018 / 12:00 / 37°47'05.9"N 122°25'53.7"W / Japantown / Japantown has many unique features; it is mostly indoors between 3 buildings with a bridge connecting one set and a wide amphitheater connecting the other / Shops are built into the bridge, maximizing space / Inside are Japanese restaurants and shops where one can buy fine incense or the latest anime movie / On the day of this recording, a group of kimono-clad women prepared for a calligraphy demonstration; you can hear their stockinged-feet crunch a plastic tarp as they ready the area //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
January 13, 2018 / 12:30 / 37°47'37.7"N 122°23'51.6"W / California @ Davis / San Francisco is famous for its cable cars; these unique modes of transportation work by gripping an underground cable that pulls the trolley along / They are a wealth of sound- there’s the rattle of the wheels, the traditional bells, the grinding brakes / As I prepared to capture the distinctive sound of the cable running under the street, a choir began to sing… and before I could find out who they were and why they were singing, they were gone / When I listen to this recording I’m struck by how the song seems to continue even after the chorus has stopped- and the music fades into the sounds of traffic, the ever-present cable, and the sounds of cars crossing the tracks //
All recordings and Photos by Randy Johnson See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_san_francisco
11:35 / Domkerk / January 20, 2017 / 52°5'27.32"N, 5°7'20.12"E / We're inside the Dom Church itself, a place of peace and quiet, even for the non-religious / The large reverb of this ancient place smooths out voices and footsteps / A homeless lady can be heard praying softly to the right, just small whisps and clouds of voice / It's hard to remind oneself that even a building this old is at heart impermanent //
All recordings and photos by Harrold Roeland See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_utrecht
May 29, 2018 / 18:00 / Six O’Clock at St. Clement’s / St. Clement’s Church, 20th and Cherry Streets / I’ve played a few gigs over the years at St. Clement’s and have always loved the sound of the bells there / This track features the ringing of the Angelus—a prayer said in some Christian traditions three times a day—followed by a melody that goes along with the ringing of the 6 o’clock hour / In a way, this sounds to me like a more classical version of the turnstiles in the previous track //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
Penn Station / Underground 34rd Street Station / ACE Platform / The only subterranean recording, Penn Station can almost seem like an ultra diverse mini music festival / Buried beneath Manhattan, the echoes of hundreds of passengers mingle with subway cars and a group of four men perform traditional Hare Krishna music on the opposite side of the platform / The instruments and voice echo through the surrounding cement and stone, blending with the subway ambiance and creating a unique, singular drone //
All recordings and Photos by RJ Stefanski See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_nyc-_rj_stefanski
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
In the hospital, people are born here and people die here / Qing Hospital is Qingdao’s most famous hospital / To her east, east and north are European-style church / Not far southwest is Qingdao’s landmark Pier / Many beautiful views surround this hospital, so many people unexpectedly gather here /
Track 8 is Qingdao Hospital’s busy outpatient service hall. On this day, many people are sick /
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
16.11.26 / Beneath Rue de Turbigo / I recorded several metro and RER (city express train) journeys whilst in Paris / I think this one’s my favourite, not because it represents my experience, but because it sounds the least like my typical voyage, and as such I can listen to it without experiencing fatigue /
During my time in Paris I predict that I spent more than a hundred hours travelling by rail / It was the most convenient way for me to reach the city centre and took approximately thirty-five minutes to get to the metro metropolis of Chatlet Les-Halles, which takes seven hundred and fifty thousand travellers per day / The trains were always busy and at rush hours completely crammed / It was here that you would see the casualties of Paris, the faces of the worn out and defeated; those who work in Paris but spend hours each day commuting in stressful conditions, because house prices in the city are too high / It was easy to see how the travelling would wear you out / The specific noises of my line are still engrained in my mind: the specific beeps and clunks, the rattle of the carriages and the alarms of the door / I was able to recite the “please mind the gap” phrase in French before I could explain exactly what it meant /
In this recording I enjoyed sitting on a bench in a much quieter than normal metro station / You are able to clearly discern the zipping noise of the rails, warning of an incoming train / Even the trains themselves sounded calm and quiet / The doors flick open, slightly out of time with one another / For me the older trains feel more playful and human than the fully automated modern lines / They have some character and I think that it lives in the sounds too / The train pulls away, leaving a relaxing sense of space / After a few minutes a train pulls in on the other side and like clockwork shoots off again / Soon after, another train reaches me. I stand up and step inside the carriage, holding the central bar / The doors close behind me and carry us away / The ambience is calm and life feels a long way away from the commuting stress of the coming Monday //
All recordings and Photos by Ben Gale See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_paris-_ben_gale
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 8, 2018 / 11:55 / Penn Square / Penn Square South, just east of Broad Street, next to the statue of William McKinley / I work just across the street from Penn Square and sit out there every day for my coffee break, and sometimes my lunch too, listening to the traffic roll by and the impatient drivers honk at each other / Nearby is the Founder’s Bell, the world’s largest tuned bell, which sits atop One South Broad, though many mistakenly believe it is housed in the tower of City Hall underneath the famous statue of William Penn / It rings the noon hour at the end of this track //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
June 13, 2018 / 15:20 / 30th Street Station / 30th Street Station, 30th and Market Streets / The Solari board at the train station that announces arrivals and departures will soon be replaced by an LED screen, which will deprive us of the ticking and tacking of its mechanical action / I thought these sounds should be memorialized on this album / 30th St. is one of the few grand train stations remaining in the United States, and its sheer size and marble walls create a lively, cathedral-like acoustic space //
All recordings and Photos by Michael Lawrence See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_philadelphia
To know more about purchasing an album from us please see: https://bivouacrecording.postach.io/post/i-just-bought-an-album-when-will-i-recieve-it
In the hospital, people are born here and people die here / Qing Hospital is Qingdao’s most famous hospital / To her east, east and north are European-style church / Not far southwest is Qingdao’s landmark Pier / Many beautiful views surround this hospital, so many people unexpectedly gather here /
Track 9 is Qingdao Hospital medical center’s Hepatobiliary and pancreatic surgery nurse’s station on the west coast //
The marketplace, in the past, was the essential activity for local Qingdao people / You can buy anything here, from everyday items, to food and clothing / The cities growth has affected the market / The ‘going to the market every five days’ tradition has gradually faded out of people’s lives / On the west coast of Qingdao, small villages have been swallowed by the development of large buildings, but the marketplace tradition still remains / The cries of the shopkeepers have been replaced by recorded loops on loudspeakers but it is still effective / Surrounding the marketplace are large supermarkets / The marketplace and the supermarkets, juxtaposed, seem as though both past and present meet here //
All recordings, text, and photos by Liu SiYuan See the PDF: https://issuu.com/bivouacrecording/docs/60_minute_cities-_qingdao
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Part of the Bivouac. Archive Released Nov 20, 2005
The name of the album is "And Energy". All ten songs have never been sold by me previously.
I'm from New York City. Originally Detroit.
The equipment I use, instruments or otherwise, changes pretty wildly according to what I have available to me. Whatever it is, it generally gets run through my Digitech RP-1 effects pedal. That's pretty much the only constant from song to song, and even that's not an ironclad rule.
I'm Green Andy. I'm a little sad that I've become a recording musician too late to profitably release albums on cassette, because that was always my dream as a kid, and the rectangle seems much more conducive to album artwork than the square. Oh well. Anyway, I make lots of music. Some of it is with instruments. Some of it isn't. I hope you like it. Actually, I just hope you buy it.
I once purchased a fully-functioning time machine from an ad in the back of UFO Universe Magazine, went back approximately 17,000 years, and left a Green Andy CD in a cave in Lascaux, France. Scientists are still baffled by that one. Also, I highly recommend checking out my MySpace pages at http://www.myspace.com/greenandy and http://www.myspace.com/askgreenandy.
Psychic Space Invasion is an attempt to create an ambient music that is truly part of the listener’s environment and not merely a soporific.
- Ian Holloway From Bivouac Archive 01 (2003)