DRAGON'S EYE RECORDINGS

Yann Novak

(b. 1979)

Sound artist and Dragon's Eye Recordings label owner Yann Novak documents the emotional impact of the world around him by recording it. Through digital processing, he then hones in on the feelings of time and place that field recordings can evoke. While maintaining the naturally occurring composition of the original document, Novak reveals the delicate nuances of sound within the new context of evocative soundscapes. Since 2003, Novak has been intensely active in sound art and the music communities through performances, installations and recordings. Based in Seattle, Novak has performed at prestigious events and venues in the Pacific Northwest, including The Decibel Festival, and the Henry Art Gallery, among others. Internationally, he has performed at Mutek Festival (Montreal, QB), Blim (Vancouver, BC) and Legends (Manchester, UK). The versatile range of his work is also demonstrated by collaborations with visual artist Alex Schweder and with choreographer Crispin Spaeth, with whom he has scored three pieces: Dark Room (2006), Up Close (2005) and Fade Dis/Appearances (2005), the score of which received critical acclaim. Through these collaborations, Novak’s work has been featured at The American Academy in Rome (Rome, Italy), the TBA Festival (Portland, OR), Western Bridge (Seattle, WA), Howard House (Seattle, WA), and Suyama Space (Seattle, WA).

Discography

Guillermo Escudero
Loop

WEBSITE

Yann Novak lives in Seattle, Washington and he’s a prolific artist working in the digital music field, sound art, design and in the promotion of art, artists and new products. In addition he runs Dragon’s Eye Recordings releasing emergent artists such as Jamie Drouin, Ear Venom, Heavy Lids, Wyndel Hunt, Tyler Potts, Son of Rose and Novak’s own work.

Since 2003 Novak has been actively playing live in prestigious festivals and art galleries [this years is performing at Mutek], sound art and collaborating in the choreography and visual art field.
Novak’s music explores the sound spaces which are captured and reconstructed with digital and analog tools and also use field recordings.

Recently was release his latest sound installations untitled ‘Intermission’ [Dragon’s Eye Recordings, March 2007] which is an intensive and fine drone piece.

What kind of field recordings did you use on 'Intermission'?

“The source field recordings come from the four fans used to inflate the vinyl rooms of the installation. I found that although all the fans were identical, each one had its own unique timbre. Most of my work is derived from a direct correlation to a situation, place, or in this case, a visual component I am working with. I wanted to use the sounds of the fans to reference the installations past activity and also use it as a kind of foreshadowing for what is to come during its next inflation cycle.”

After 17 minutes or so on 'Intermission' emerge little by little a sharp tone that become more intense. What does this sharp tone represent in the deflated process of the vinyl houses?

“Well for me, especially in my work in galleries, I pay close attention to the pallet I work in and where the sounds in that pallet come from. There has to be some logic to it, even if it’s very personal and makes sense only to me, there still has to be a reason. Those frequencies and some of the higher white noises are synthesized, which is very in my work. The idea behind them was that one of the most intriguing things was how the gallery lighting hit the installation when it was in its resting point. The lights gave it a glisten that the clear vinyl itself didn't posses. So I really wanted to add these shimmering frequencies throughout to outline the fans drone, and to give a little more perspective to that atmosphere.”

Is there any difference between the music for installations and the ones you produce for release on a solo album?

“I’m interested in the same basic concepts with both but they are approached slightly differently. I approach my performances and installations in a similar way. With installations, I will base the piece on some physical or visual part of the installation. With a performance, I will really respond to the architecture of the venue, and I will sometimes use actual recordings taken in the space itself.
My solo musical work differs in the parameters. The scope of where the recordings can come is much broader. In the transformation, I still abstract the recordings some, but instead of trying to respond to something physical or visual, I really try to capture my mood at the time of the recordings and try to forge a connection with the listener that way.”

Do you have any side-projects?

I have a gallery show up now with visual artist Gretchen Bennett at Soil Art Gallery [www.soilart.org], which consists of a 4.2 sound piece I did in response to Bennett's living space and grey decals on the gallery walls she produced responding to my living space.
I have a remix on the inaugural CD of Victoria BC artist Jamie Drouin's INFREQUENCY Label [www.infrequency.org].
In addition, Drouin and I will be performing a version of our Auditorium piece at this year’s Mutek festival [www.mutek.ca]. Drouin and I will have a double CD on INFREQUENCY [www.infrequency.org] later this year entitled +Room / - Room. On my own label, Dragon's Eye Recordings [www.dragonseyerecordings.com], I have a third installment of the Long Distance series coming out with Manchester UK artist Brittle Star.

<< Back