I. Coral Groups is a live concert piece for 32 channels with an undefined duration. Various found objects, electronics, piano vignettes and field recordings are put into relation with each other in an improvised way, creating a panorama that’s both random and directional. I presented this piece between early 2013 and spring 2016, in Finland, Sweden, Japan, Mexico, United States, Italy, Germany, Denmark, United Kingdom, Belgium, among other. The excerpt here has been recorded close to the final performance of the piece, when things started to come together quite naturally. Recorded live at Gold+Beton Gallery, Köln, Germany, november 2015. II. Four Pages is a sonata. The seed of this work is a composition for piano notated on … four pages. Electronically transformed into particles in F-sharp Major, tucked between murmurous silences of a budget-friendly analog filter. Summer 2016.
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A portrait of the provinces.
Recorded in the hamlet of Teixeiró and the hills around Gestaço, north Portugal during a singeing August 2016.
How exactly does a small group communicate … ?
Factory dubbed cassette, limited to 150 copies. Lay out by Jeroen Wille, handdrawn map by Wietske Van Gils. Risograph printing by Jelle Crama.
Lieven Martens Moana “Estrada Do Caldeirão, A Sonata”
To get to know the people, is to walk in their footsteps. Thus by walking Corvo Island’s only road, the Estrada Do Caldeirão, I entered the mind of her dwellers.
Corvo Island is the smallest of the Azorean archipelago. It’s a rustic volcanic cone, housing one small settlement, the Vila Do Corvo with her 400 inhabitants, Aerodrome and several bars. The remainder of the isle is a rough patchwork of cliffs, rocks, farmland, steep slopes and a few human built walls and structures. The main and more or less only labour that is being performed on the island – thus the main raison d’être – is keeping livestock. An occupation more popular than the commercial fishing one would expect to be ever-present in a society surrounded by such rich fishing grounds.
In former times, Corvo held about ten thousand sheep, until the local wool fell out of favour in the early 80’s. Since then, the Corvonians started herding cows for their meat and milk. Most of these bovines graze peacefully inside a giant volcanic crater, referred to as the Caldeirão, on an abundant banquet of grass and weeds. Always accompanied by a few people, minding their own businesses. The ramshackle Estrada Do Caldeirão connects this crater to Vila Do Corvo, passing through pastures and farmland, thus being the centre of daily life for most Corvonians.
About three years ago, I tracked this road – a one-hour walk or a 10 minutes pick-up drive – by walking forth and back between the caldera and the village, only bringing with me my faithful Marantz recorder. This trip resulted in a few hours of sound recordings. Over the past summer, I edited out five movements from the raw material and structured these like a sonata. I slightly altered these movements with simple phasing and panning, energizing the composition.
Here’s to Corvo’s only road, a solitary story of expectations aligned by firm cemented certainties. Here’s to the people of Corvo.
Antti Tolvi “Piha, Metsä Ja Iso Mäki – Garden, Forest And Big Hill, Imagined Field Recordings”
The idea for these pieces came up when I heard Lieven’s side – early version – for this split cassette. The idea was to make music which is the same as, and also totally different from Lieven’s side. I decided to make different set ups with my analog synths, and let them play themselves. Then do field recordings out of those. Well, because I was there, I couldn’t stop my self to turn knobs a bit. I’m sorry about that.
In performing music, music should come through playing like a river or something. Just pure playing, no thinking, analyzing or anything. Just playing. In Tao and Zen traditions the main idea is to do things without doing. Let it just happen without forcing. Let the nature do the work. In field recording I feel that there´s lot´s of this involved. You make music, but you kind of not do it. You just let it happen. Find it. This has interested me a lot. Forget notes, forget instrument, forget everything. Just do it. Let it happen. To do this you need some kind of balance.
When you find/feel balance, our inner world match 100% with the outer world. This is natural state of being. The problem comes when we start to try/hope too much, try to stop never ending change of things and so on. As the outer world change constantly, we should let our inner world do the same. Let go. Here we need ultimate flexibility. Listening is one part to connect these two. Letting outer to become inner. By acting (playing for example) we make the inner world part of outer world. When these worlds match, we feel a balance. We are in the field. We are the field.
ps. During mastering these pieces, our cat Silli showed up huge attention to this music..
released December 15, 2015
Composed in Kiila – Finland, and Antwerp – Belgium, 2015.
Map drawing by Wietske Van Gils.
Lay Out by Jeroen Wille.
Risograph printing by Jelle Crama.
Fourth Expanded Edition On Vinyl, 170 copies
Mastered by Christophe Albertijn. Offset printed covers. Lay Out by Jeroen Wille and Anna Papanastasiou.
Recorded in Antwerp and on location, 2010–2014. Songs Of Gold are nine small portraits. Five tracks that where featured on the cassette versions PLUS four extra tracks for this vinyl version. Culled from compilations, limited run cassette releases, choreographies, and 7” singles. Some pieces were worked on for a length of time, others materialized in just about one take. All the songs are derived by an encounter with an object, a place or a person. Or by a combination of these. The events are translated into the work through the intermediary of symbolic sounds and notes. There is no thematic link between the compositions.
One time only edition of 25 hand cut flexi discs. Comes with a double sided Riso print including related photography and text.
“Aloiafi” is a series of limited run lathe cuts, flexi discs and cassettes. This is Part One of the series.
“The Bells From Above” is a cyclic poem in three parts.
“Magma”, where the voices mime wayward lines and movements of the unsettling thrusts in the magma chamber.
“The Eruption”, a transitive and ascending sound, increasing its vigor, bursting into an ecstatic silence.
The expiration, “Alle Menschen Werden Steinen”, where the birds and frogs sing the drums. And where the lava’s path embraces emblems of pahoehoe.
In the Divehi language, lava means “a song”.