Kate Carr “Holding My Breath In Imaginary Ponds” from Endings has been featured on The Wire’s first Resonance FM show of 2017, by Daisy Hyde. Enjoy.
We are so excited to announce that “endings” by Kate Carr has been released today 21st december 2016. Click on the image below to go to the release page.
Check also the film “A long meditation on airports (no fire/fire)”, shown at the Transition exhibition at the Leksands Kulturhus from October-November 2016.
endings Australian-raised, currently UK-based field recordist and sound artist Kate Carr creates sound worlds based on field recording with an intellectually daring approach, focusing on sound as a sculptural matter and opening a conscious space for listeners where to discover unexpected gateways of significance. As twentieth release of the Galaverna catalogue, “endings” is an album that brings together ten pieces made in the last four years, which came to symbolise a finishing of some sort, combining different tones and moods, some quite humorous, other more serious.
It draws on an imaginative sound manipulation and collage process that combines a wide range of sonic materials collected in various places and situations, as an ending year tribute full of acoustic memories of imagined and real worlds, as she states. “Given it is an end of year release, and also how much of a difficult year 2016 has been in many ways and for many different peoples, I thought this was a nice theme to bring everything together.”
In its multilayered soundscape, “endings” appears as a journey in which we can cross places and memories, experiencing them while listening as emotional geographies not only to inhabit but also to shape as a continuous resonant space.
Tracks 1,3,4,7,8,10 mastered by Kate Carr.
endings by Kate Carr is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Permissions beyond the scope of this license may be available at www.galaverna.org.
Kate Carr is a global sound student. Her journeys, both physical and metaphorical, have opened her ears to the possibilities inherent in space-based sound: the ability to pinpoint a sound to a specific location, as well as the threads that connect related sounds found in different locations. endings is a tribute to places and things left behind: countries, friends, years. On this album, she collects various pieces from her travels, revisiting and re-contextualizing her experiences. When listening, one track seems unlike the others; but watch the video (below) and everything makes sense. "A long meditation on airports (no fire/fire)" frames the blur of travel: rain-soaked windows, yearnings, arrival and departure charts. And over it all, an announcer who seems at first comforting but eventually clueless: "there is no fire in the building", then "please leave the building immediately." The dichotomy of "fire/no fire" summarizes our thoughts of travel as dangerous/alluring. The rest of the album operates as a series of love letters to communities and locations left behind. As a fan of winter sounds, I've been eager to hear more of Carr's Iceland recordings, and am rewarded here with two particularly sharp pieces, one snow and one rain. (To refresh the memory of our readers, Carr saw her first snow in Iceland). While these are not the only weather sounds on the album, they are the only ones to stand alone, apart from light musical modification. (Suggestion to Carr: Weather album!) But the overall nature of the collection is not what one might imagine, even from these tracks. Carr writes, "At the end of 2016, a year which for me, like so many others I know, has been by turns difficult, shocking and very sad both personally and politically, this is as hopeful an arrangement as I can manage." I've heard the same emotional echoes in communications from around the world; it seems that either no one had a great 2016, or that artists of all fields were particularly in tune with the forces threatening to undo our optimism. Carr's response is small, yet quite effective. She throws a drop in a bucket and hopes that others will do the same. Her particular contribution here is to remind herself, and by extension, others, of the great beauty that continues to exist in the world: the nutty gorses and ibises, the morning chorus that greets the day. By ending on the latter subject, she suggests that life is worth living and hope is worth having. The sun comes up; we've survived another night. Good things may still come our way, but more importantly, goodness may still flow through us, if we are brave enough to be its conduit. [Richard Allen]
We are so excited to announce the next release in Galaverna is signed by Kate Carr.
Carr investigates the intersections between sound, place, and emotionality. Her work has been featured in The New York Times, The Wire, The Quietus and The Out Door among others, and broadcast widely including on BBC Radio 6, Radio 3, Resonance FM in the UK as well as Triple J and Radio National in Australia. In addition to Galaverna, her music can be found on the labels Helen Scarsdale (US), Rivertones (UK), Soft (France) 3Leaves (Hungary) as well as on her own label Flaming Pines. She is Australian.
The release date of her work titled “endings” is set for the 21st December 2016.
Photo by Neil R Thomson.
Raffaele Mariconte “So(E)nology” has been featured on Déphasage #124 – 26.10.16. Happy listenings.
Check it out at http://dephasage.tumblr.com/search/124
So(E)nology The transformations that occur when wine and sound combine have recently been object of analysis by some sonic artists such as Jo Burzynska (Oenosthesia project, 2012) and Enrico Ascoli with his installation "Auspicio" together with Hilario Isola at MAXXI Museum in Rome (2015).
Raffaele Mariconte is an acoustic engineer and member of the Interferenze new arts festival team that has enhanced this exploration inviting these artists to develop their ideas during some residencies in the past years. He's also originally from Guardia Sanframondi, a village in South Italy whose culture, tradition and economy is strongly tied to wine and vineyards.
In “So(E)nology”, Mariconte presents his research on microsound and resonances related with wine-making developed in his village and surroundings through recording the fermentation of wine with contact mics and hydrophones. The aim of this work is to emphasize some specific features of the microsounds which this research is focusing on.
The temporary results of this ongoing exploration are now available in this work, that both includes and is created from wine, immersing the listener in a mysterious and liminal soundscape made by changing timbres and frequencies, where to discover different and unexpected ways of experiencing oenology.
Dedicated to my rural area of origin (Samnium).
So(E)nology Raffaele Mariconte is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Permissions beyond the scope of this license may be available at www.galaverna.org.
Oenophiles love the sounds of wine: the corkscrew, the pop, the pour, the clink. Many musical works have been produced using these sounds. But travel deeper, and one will find other sounds associated with the product and the process. In their new works, Raffaele Mariconte and Alan Courtis & Cyrus Pireh use different approaches and focus on different angles, but their works complement each other. Raffaele Mariconte‘s So(E)nology concentrates on the fermentation of wine, and of the two works, holds the more recognizable sounds. These are the bubbles, the pops, and the charges associated with the process that turns the liquid into something tempting and tart. It’s unusual to hear hydophones used in this way, dipped in vats rather than streams; when one hears the crunchy electronic textures, one recalls the brine shrimp of Jana Winderen’s works. This is an entirely different world, yet it plays by some of the same rules. Mariconte edits his recordings in order to bring out their hidden flavors and darker hues. By concentrating on small segments and snippets, he highlights different tonalities. So(E)nology often sounds like a chemical lab, filled with white-coated scientists, gurgling test tubes and bunsen burners, yet the fermentation process is far more benign. The spell is briefly broken only once, on “Tank”: taps on tanks with an invisible wink, an endearing reminder of the human element.
We are happy to announce the next release in Galaverna is signed by Raffaele Mariconte.
Raffaele Mariconte is an acoustic engineer involved in research, consultancy and training in acoustics (environmental, musical, architectural, technical), noise and vibrations.
Sound engineering, sound and acoustic design, sonic branding, sonification, acoustic ecology, soundscape, field recordings, aural architecture and acoustic archeology are other topics of interest, study and research. Sometimes works as a sound engineer for live events and dj. He is a member of staff of the International Festival of New Arts Interferenze and collaborates as technical support with Flussi Media Arts Festival.
His work for Galaverna is titled “So(E)nology”. Stay tuned.
We are glad to support our friends of VacuaMoenia.
The development of new technologies and recording techniques allows us to listen to soundscapes the ear wouldn’t normally capture. VacuaMoenia has named this practice “inner soundscape”. Sound artists, musicians and listeners are invited to submit works that represent the inner form of matter. The open call INNERSCAPES encourages the production of compositions that highlight imperceptible soundscapes to the naked ear. Participants are encouraged to explore and expand ideas of deep listening within their own individual experiences and personal journeys.
The deadline is Saturday 31th December 2016, 12:00 PM. Here you can find all other infos about “Innerscape”.
Galaverna will take part of the Electro Camp 4 festival, to be held in Forte Marghera (Venice), 7-11 September. Find us there.
More at liveartscultures.