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In contrast to America’s current obsession with post-apocalyptic narratives, electronic musician Marc Kate considers the concept of non-being for his Dragon’s Eye debut. As we sink deeper into an increasingly nihilist world of suicide bombers and Trump politics, the anthropocene and anti-science, Kate suggests a music neither optimistic nor pessimistic, but rather outside of these perspectives. Using drone and sound synthesis to mimic existentially static states of non-being, As If We Were Never Here asks the questions: what is absent, what is missing, and what is lost?

The fourth track – Corpsed – was recorded in an abandoned department store basement in Portland, OR. The track plays with microphone placement throughout the space, picking up variations of the endless reverb and resonance through the space that vibrates the decaying architecture.

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Dragon’s Eye Recordings is pleased to announce it’s first release from Seattle artist Jake Muir. With Acclimation, Muir continues his focus on mood, texture, and place, by taking found sounds and presenting them in a new context. Muir began field recording with the mindset of a natural sound recordist, in that he was largely interested in environments “free” from man made noise. More recently, Muir began contemplating the perspective that man is part of the soundscape, and that there is beauty to be found in some of our machinations. This acceptance of the given state of things opened his ears to more sonic possibilities.

Last fall, Muir was invited to perform at Seattle’s Corridor Festival, which would take place at the Georgetown Steam Plant —  a historic landmark over a century old. Muir took this opportunity as an impetus to create a live set based solely on industrial and aqueous field recordings, given the context of the setting. This live set became the basis for Acclimation, where the goal was to exploit the harmonic elements in these man-made sounds and to largely deconstruct the source material. The album consists of a variety of recordings made in Los Angeles, Vancouver, Iceland, and Washington. In thinking of what content he might utilize, Muir gave a home to recordings he had forgotten about and had previously deemed not useful.

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Dragon’s Eye Recordings is pleased to present Forest Psalms, by Tobias Hellkvist.  The compositions that constitute Forest Psalms originates from a collection of field recordings made during two trips to the United States in 2015 and 2016.

The album was slowly sculpted during 2016-2017 in Copenhagen, Denmark, where additional music was composed. In the opening track however, Hellkvist introduces snippets of an old piece hailing all the way back from when he first ventured into making minimal electroacoustic music about 15 years ago.

”It has stuck with me for all these years, so I’ve been waiting for a moment where I could make use of it. This time it fitted surprisingly well into the puzzle. My creative process is a lot about making bits and pieces blend and work well together, and sometimes those follow me around for years. Sometimes they vanish after a day or a week”.

In Forest Psalms, Hellkvist explores awareness in different spaces, and the listening experience is designed to lead the audience into a state of mindfulness, total relaxation, and focus.

”By using geographical locations in my work, I’m able to revisit parts of my experiences. For me, sound is the most effective way to do just that. I was inspired to make this album after a trip to northern California where I, after a 2-day hike into the forest, came to experience a rare kind of stillness and desolation which really fascinated me. I think most of the music I make is some kind of attempt to recreate moments like these for me to revisit.”

Field recording locations: Culver City, Los Angeles, CA; Topanga Canyon, CA; Big Sur, CA; and Big Pine Key, Florida. Some complementary recordings were made around Sweden and Denmark.

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“In his thinking he no longer dares stand face to face with reality or mystery; he begins to see them through the opinions of ‘grown-ups,’ through books and courses and professors. Still, a voice remains which is not completely muffled and which cries out every so often – every time its gag is loosened by an unexpected jolt in the routine. The voice cries out its great questioning of everything, but we stifle it again right away. Well, we already understand each other a little. I can admit to you that I fear death. Not what we imagine about death, for such fear is itself immaginary. And not my death as it will be set down with a date in the public records. But that death I suffer every moment, the death of that voice which, out of the depths of my childhood, keeps questioning me as it does you: “Who am I?” Everything in and around us seems to conspire to strangle it once and for all. Whenever that voice is silent – and it doesn’t speak often – I’m an empty body, a parambulating carcass. I’m afraid that one day it will fall silent forever, or that it will speak too late – as in your story about the flies: when you wake up, you’re dead.”
– René Daumal, Mount Analogue: A novel of symbolically authentic non-Euclidean adventures in mountain climbing

Senza Titolo is the second solo release of Marco Marzuoli. It is an improvisational drone composition for bass guitar, re-manipulated with analog and vintage instruments, played and recorded in Città Sant’Angelo (Abruzzo, Italy), during the spring 2016.

Senza Titolo is a long meditation that accompanies the re-discovery of sound’s mortality and identity in an obscure and ethereal dimension, beyond time and space, where the author aims to give concreteness to the dialogue with his inner voice. Each spontaneus imperfection is built into a transcendental and contemplative experience. The record narrates an intimate low-fi catharsis, and offers the chance to float in an occidental, nostalgic mantra. A humble encouragement to embrace both beauty and fragility of the flaws in minimalism.

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Aqua Matrix is an investigation into the aesthetics of water, a research and artistic experiment about one of the most fundamental elements in nature for its acoustic and physical properties. A few short art residencies took place in Irpinia, a unique land of natural heritage that holds one of the most important reservoirs in Italy. Therefore, water as a thread, being Irpinia the power source and starting point of an extraordinary work of hydraulic engineering, the Apulian Aqueduct, the largest one in Europe, brings water from Irpinia to Apulia. Water as medium, physical matter and dynamic sound, magic and arcane element, spiritual entity, primary and essential source, full of symbolic and archetypical aspects.

Created by five alchemists of sound dealing with the living and vibrant matter of water, Aqua Matrix consists of five compositions: the majestic layerings of Enrico Coniglio which saturate the sonic space with an almost alien density, the powerful spasms of cinematic structures by SEC_ (Mimmo Napoletano), the intimacy and elegance of Fabio Perletta in a tense balance between stillness and break, the multi-form soundscape of Gamino which gives an amorphous sense of architectural space, and the hypnotic upward progression of Attilio Novellino with its magnetic and immersive drones.

Text by Gianni Papa (Flussi Media Arts Festival).

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A Land of Falling Waters is a stereo iteration of a quadrophonic live-performance presented throughout the summer of 2016.

A Land of Falling Waters refers to the bio-region of Cascadia, where much of the source field recordings were collected, and where Tim has lived most of his life. The region is known for it’s diverse climates and bodies of water – the Pacific Ocean, the mighty rivers, all the sounds and inlets and channels and waterfalls – surrounded by dense evergreen rain forest, snow-capped peaks, arid desert, marshland, agricultural wealth and urban encroachment.

Tim’s work leans heavily on processing and re-purposing found sounds and atmospheres. Often drawn to the smallest details within these recordings, he seeks to highlight them via repetition, obfuscation of surrounding elements, and contrast with man-made or synthesized tones and abstractions.

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“I wanted you to discover everything here and if at times you understand my meaning but not my words or syllables, I have revealed everything to you.” – Michael Sendivogius

Dark Speech was conceived of in October 2014, and has developed over time to include recordings from several geographical locations marked by intense transformation — from a boat nearly 200 yards from an erupting volcano in the Galapagos Islands at night, a cavern of snow-covered trees in the dark of Finnish winter, the end of summer in the drought-ridden Californian desert, a power-outage during a heavy rainstorm at the San Andreas fault. The original recordings intentionally maintain a sense of subjective listening and human presence, while repeated cycles of digital effects push the primary organic materials toward literal transposition. Each work stands as a vessel containing a record of these comminglings, an enclosed textural representation of the haunting and indiscernible darkness of attempting to understand the human Self within geologic time and drama.

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Climata is a new work by composer and sound artist Robert Curgenven comprised entirely of site-specific recordings captured in 15 of James Turrell’s Skyspaces, spanning 9 countries. Each of the individual recordings, with their quiet & slowly changing microtonal interventions made in-situ, interrogate and offer a specific document of weather, location and duration framed by the architecture of the Skyspace – a frame that blurs the distinction between interiority and exteriority – while allowing the physicality of the Skyspace to be subtly rendered audible.

Turrell’s Skyspaces are a specifically proportioned chamber with an aperture in the ceiling open to the sky and outside world. The Skyspaces can be autonomous structures or integrated into existing architecture. The aperture can be round, ovular or square – each with its’ own “piece of sky” beneath an ocean of air. These variously shaped apertures let in and frame not only Turrell’s famous light but also sound and its medium, in this case air.

The initial tones you will notice are a by-product of the recording process in the Skyspaces, a technique which brings the air inside the Skyspace into movement against the air outside – oscillating through the ceiling aperture, creating a soft phasing sound, like a whooshing or fluttering where the listener can hear the air move – this sound is about as loud as the sound outside the Skyspace.

The two discs that make up Climata were created to be played back to back or simultaneously, in any order and ideally on two sound systems. Together the two 58 minute CDs give rise to hours of unique combinations.

An installation version of Climata was exhibited in the National Gallery of Australia’s Skyspace in 2015 with more site-specific iterations to follow in 2016.

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Dragon’s Eye Recordings is pleased to present our first release by Swedish composer Tobias Hellkvist.  Drone can mean so many things, but the tranquil sounds of Hellkvist are a special breed. His specialty: sonorous melodies that stretch ever so slowly into a gentle river of sound, like the peal of a bell that echoes indefinitely. Tobias has worked with a lot of different colors and timbres over the years, building layers of sound and tearing them down, but Pause finds him mining his archives, resurrecting a more minimalist work from nearly 10 years ago and breathing new life into it.

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“I have often wondered whether especially those days when we are forced to remain idle are not precisely the days spend in the most profound activity. Whether our actions themselves, even if they do not take place until later, are nothing more than the last reverberations of a vast movement that occurs within us during idle days.

In any case, it is very important to be idle with confidence, with devotion, possibly even with joy. The days when even our hands do not stir are so exceptionally quiet that it is hardly possible to raise them without hearing a whole lot.”
― Rainer Maria Rilke, Letters on Life

Dragon’s Eye Recordings is pleased to announce the release of Idleness, Endlessness by label head Yann Novak. Idleness, Endlessness is a specially priced digital download to be released on the 10th anniversary of Novak taking over the label from his father Paul Novak. Idleness, Endlessness explores labor, leisure and engagement over two hour long compositions.

The source material for Idleness, Endlessness was collected while attending the Parkfield Artist Residency in September 2012. Parkfield is a unique retreat where invited artists have no obligation to create work, or anything other then their own meals each day. This creates a unique situation for contemplation and reflection.

The source material consists of synthesized tones and radio static collected on a portable synthesizer, and a single field recording of the wind. From 2012 – 2015 this material was processed in the studio and used in live performances. The final compositions were created through improvisation with the insertion of 5 minute periods of inactivity every 15 minutes to simply contemplate where the piece had come and where it should go.

Idleness, Endlessness is composed to so that the two pieces could be played back to back and looped creating an all day listening experience divorced from the engagement more traditional music demands.

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“The fundamental intuition of tempiternity flows from the experience of the present in all its depth, discovering in it not only the past in potency and the future in hope but also what the objectified projection of mankind has called eternity and the subjectified human sensibility has called time (or temporality in our terms). The experience of the present, in fact, pierces as it were the crust of the provisional and the flowing, not to fall into the static, intemporal bed, not to deny time but to relish its kernel.”
– R. Panikkar

Tempiternidad (tempiternity) is a concept by philosopher Raimon Panikkar in which temporality and eternity are one, reflecting a notion of time but also a state of being, a path of plenitude towards the present moment in which everyday things and environments manifest eternity.

This work finds its main inspiration in the “tempiternal” aspect of sound and listening, evident in the sonic inter-connections happening over time states and scales but also in how temporal events are expressed through the sonic environment as such, from the quick microforms to apparently large networks. This results in a quest interested not only on how the sonic continuum evolves over time, but also how time itself is expressed through sound, valuing the relationship and rupture of time as a way of composing and listening.

Created with a laptop and a handheld recorder between April and June 2015 in the mountains of Antioquia, Colombia. Based on field recordings of various local places, found objects and some instruments such as flute and harmonica.

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The concept behind this Primary Locations began with an investigation into the relationship between sound and light.  Specifically, the conversion of the color centre wavelengths along the visible light spectrum into audio frequencies.  The unit used to measure light is the Angstrom, and the visible spectrum of light runs from about 7000A (deep red) to about 4000A (deep violet).  The audio humans are able to perceive runs roughly between 20 Hz to 20,000 Hz, so these two scales can be converted.  For Primary Locations the light range from red to orange have been converted to an audio range from 397 Hz to 431 Hz respectively.  Yellow to lemon has been converted to 464 Hz to 497 Hz and blue to violet to 598 Hz to 665 Hz. These primary colors provided three sets of audio frequency ranges that would become the first components in the creation of new music.

The next step in creating Primary Locations was to find three locations, each containing one of these primary colors. The “red location” was the main bridge at Matsumoto Castle, the “yellow location” was a metal overpass supporting train lines and the “blue location” was a tarp-covered shed situated among farmland and rice fields. Various recordings were made at each place:  natural ambience and tones; contact microphone and hydrophonic recordings; and in the case of the metal overpass, impulse responses.

The basis of each track contained these field recordings and sine waves, the frequency of which correlated to the color/Hz range as stated earlier.  Then as other sounds and layers were added, the direction of the pieces took shape.  Each piece unfolds slowly, and is a sonic snapshot of three sites, their ambience and the sound of their colors.

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“This is how it should be done. Lodge yourself on a stratum, experiment with the opportunities it offers find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight, experience them, produce flow conjunctions here and there, try out continua of intensities segment by segment, have a small plot of new land at all times.”
– Deleuze & Guattari, A Thousand Plateaus

The three works comprising Organs were selected and edited from a year of recordings developed in collaboration with choreographer and artist Julie Tolentino in 2014. Three separate projects were documented through audio recordings of performances and rehearsals, as well as related field recordings. Each piece recalls a matrix of encounters between a specific body (or bodies) within a unique context, conducting and responding to sounds, both electronic and organic. The interplay of the soft tissue, sinew, bone and blood of the body-organ, pushing against/within/outside the sustained tones and synthetic expressions of the techno-organ. Each organ exists simultaneously alienated from, and an extension of, the other.

Somniloquy was constructed using a recording of Tolentino “playing” the broken organ in preparation for the performance Process(ion)X at the Church of the Epiphany. The eyes of fire is based on a recording from Drive Your Cart And Plow Over The Bones Of The Dead, a nine hour performance with Julie Tolentino, Stosh Fila, and Robert Crouch at the San Francisco Art Institute, curated by Tania Hammidi. The Propaganda of History was developed from a series of recordings made during rehearsal sessions with Tolentino and Mark Steger, with additional field recordings of Fourth of July fireworks from Madison, Wisconsin.

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Mirror neurons will do for psychology what DNA did for biology”
— Vilayanur S. Ramachandran, neuroscientist

Mirror neurons represent a distinctive class of cells that fire both when an animal executes an action and when it observes another individual performing the same action. Discovered by Italian neurophysiologist Giacomo Rizzolatti and his team at the University of Parma while doing a research on the neural representation of motor movements in monkeys, the precise function and influence of these neurons has become one of the most important topic in neuroscience. They have been linked to many behaviours and abilities, from empathy to learning by imitation and language acquisition, as well as implicated in conditions such as autism and other brain disorders. These findings suggest that the mirror neuron system plays a key role in our ability to experience empathy.

Initiated by sound artists France Jobin and Fabio Perletta, Mirror Neurons is a media-project investigating the notion of empathy and physical distance. The entire album is the result of extended sound files exchange between Montréal (Canada) and Roseto degli Abruzzi (Italy). Each of the pieces is based on rough sounds and their consequent re-working, listening and reaction, processing and imitation. The ongoing process helped the artists to draw inspiration in terms of stimuli for the act of composing itself in two very distant cities, different climate, time zones and languages.

Like much of Jobin and Perletta’s recent works, Mirror Neurons explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible. In order to further develop the concept of distance/connectivity, visual artists XX+XY from Rome have been involved in the process. They created a multi-dimensional, generative and ever-changing sound visualization through the use of quiet textures and subtle movements emphasizing the slowed sense of time of the work itself. Thought to be performed live in a big space, the video aims to create an immersive environment and a unique occasion to reflect about the behaviour of our emotions and the importance of human interaction.

Bonus Video

All orders through DER’s Bandcamp receive an excerpt of Mirror Neurons by xx+xy visuals that includes sound by France Jobin and Fabio Perletta where the material on the album originated.

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Liminality is the first collaboration between Yann Novak and Fabio Perletta and is co-published by Dragon’s Eye Recordings and Farmacia901. In Liminality the artists explore different states of ambiguity that occurs in the middle stage of the compositional process before its structure has comes to fruition. The piece inhabits the threshold between sonic discovery and and fully realized composition. Liminality explores a similar pallet of sounds, always on the verge of becoming something more, but never fully materializing.

Liminality contains recordings collected by Fabio Perletta at Père Lachaise cemetery, Paris on April 19th, 2013. Cover image by Yann Novak.

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Lawrence English and Stephen Vitiello are creators of mythology. Their mythology renders a series of acoustic spaces, haunted by narrative and hinting at happenings unseen, but certainly heard.

With Fable, we are presented with their second duet. It chronicles three years of intermittent audio communications in search of new collaborative approaches. The results focus on the pair’s joint interests in modular synthesis, field recordings and the blurry boundaries between acoustic instrumentation and electronics. The album’s multiplicity of sources creates a weaving and at times overwhelming collage of materials that coalesce with considered intent. Its palette, whilst diverse remains focused and as the album progresses themes of arrhythmic percussion, electronic-like field recording, prepared piano and vintage synthesis begin to take form.

Like the photography of the cover, these musical pieces bare witness to time, they exist in the moment, but are formed outside of a sense of singularity. Their textured qualities and intricate variations are evidence of an iterative production methodology that invites a depth of listening. A pondering and the intended goal that one may hear or even see their own internal spaces, haunted by a cast of sonic characters.

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Flower & Water began with an offer to work with the first Dragon’s Eye release – a flexi-disc with a recording of George Winston playing a blues piano composition called “Medley: Bread Baker’s Stomp” – as source material. Since I am not a true remixer, I decided to modify the track via physical manipulation. Most of the material began with cutting up some of the flexi’s and taping back together in ‘wrong’ ways. I then played (or tried to play) the broken records that had been taped back together, and also putting objects onto the surface of the record while being played with a cheap record player that had a small built-in speaker. In many ways I felt like I was building a series of temporary sculptures, as I wanted the experience to be physical – similar to the use of hands in making bread from scratch. Based on Paul Novak’s bread making book, I felt I should approach my engagement with the flexi’s should feel a bit like a ritual. I then took the stereo recordings of the objects, and put different moments into a sampler so that I could shift pitches and create loops. In many ways the experience of cutting the records into pieces, felt related to my own practice, in that my approach to these recordings were quite different than how i’ve worked before – particularly with the addition of such an arduous process of physical building, rather than building the recordings in my “studio”. What is beautiful is that the recordings (done with a small stereo field recorder), captured not only the sounds of the record player, the plastic cups, the stones, and other things I set on the turntable, those sounds were processed by the reverb and echo that naturally exists in the space. So, rather than working within a virtual environment, I tried to keep the experiences as analog activities – with dust and hands, with scissors and scotch tape, and with the ways that sound is activated via dropping, sliding, and of course, listening. My hope was that the messiness of my process might offer some sound pieces that might relate to how a kitchen might look when I might have finished baking bread… with hands covered in flour, with dough stuck to the counter, etc. in many ways the overall group of tracks is a kind of hybrid – with agitated acoustic actions and piano recordings that have become loose and repetitive. The titles were all taken from Paul Novak’s  book – A Baker’s Dozen of Daily Breads and More, some were as found, while others a bit more playful – such as wing / ogre / stone which was made up of the letters of George Winton’s name. The cover image of a bunch of cut up records was used in the making of this recording – fortunatel, no record needles were harmed during the recording session. 

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Los Angeles, a city of mirrors, twinkling lights, noir history, and deep secrets is the new home for Pinkcourtesyphone. This third full album explores Hollywood dreams and deception… meant to be slowly sipped. We all pretend but in Hollywood pretending is its dark sustenance… a plastic organic unity ready to enfold and repackage you.

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First presented as a durational audio-visual performance presented at Human Resources in Los Angeles (CA), Snowfall explores the hushed stillness and isolation sometimes experienced during a snowstorm.  Presented over 6 hours, the audience was allowed to come and go as they please. This afford the viewer a more personal experience with the piece through the dispersion of the audience. Snowfall was constructed using photographs and field recordings collected at the Jentel Artist Residency outside Banner, WY in February 2010.

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The release of Iron marks the sixth anniversary of Yann Novak relaunching Dragon’s Eye Recordings, the record label originally created by his father Paul Novak in 1989.  In previous years, this anniversary compilation has been a chance to look forward to the coming year of artists and releases. With Iron, we will be looking backward at the previous 6 years.

For Iron, artists featured on Dragon’s Eye were asked to contribute either a solo piece or a collaboration with another Dragon’s Eye artist.  The results came together as a  massive free download compilation, consisting of 24 artists, on 20 tracks and over 2 1/2 hours of sound.  The compilation came together as a perfect mix of the styles and voices featured on Dragon’s Eye over the last 6 years.

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Connect the ride with the elements and life forces in flux.
Recirculate blood and oxygen, exchanging at pulsed speeds.
Moving in alignment, your kinetic mindfulness.
Building a new body of steel and wind.

Riding was born upstream in January 2011, at the SCANZ residency in New Zealand. Artists, scientists, Maori scholars and water people gathered together to exchange and actualize their views and ideas about the re-imagining of relationships with nature. Stéphane Claude, along with Gisèle Trudel stayed in a traditional long house at Waitara Marae for 3 days. Here they began a 2 week research and creation residency, meeting amazing people and co-creating new contexts for artistic practices. The residency culminated for them in a one night performance at the Fernery House 1 of the Pukekura Park botanical gardens. They performed during the evening, in the dark, with a multi-speakers arrangement (studio monitors, battery operated speakers) and video projected onto the fern’s room.

Riding is comprised of field recordings, synthesizer sequences and binaural beating oscillating sine waves gathered in an uninterrupted ride. Sparse processing was done to the original field recordings: volume movements, EQ and soundfield manipulations. The recordings were collected in a trance-like posture, when listening becomes the musical unfolding of a conversation between phenomena. Blending, giving and opening up to transduction, physically.

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A moment remembered is a moment anew. A collection of selected moments becoming the foundation and building of a new moment. A present moment rolling into and inspiring the next. A moment existing in-between the passing and the approaching, linked yet unique.

Hear One Near and Think of the Other (performance) was a durational work at MK Gallery inviting the experience and notion of a moment through sound, space and time. Two large spaces inhabiting a single speaker each, were joined by the performing mimosa|moize and a third space. Visitors were invited to explore and relish in the moment found both in each space and sound experienced within the gallery. Each gallery space served as an architectural extension to the ears of the performers, allowing sound positioning to both follow and depart from those moving within and around the gallery space.

Hear One Near and Think of the Other stands as a recent work in an ongoing interest in the notion of a moment. Originally a concept created for a live performance, this composition variation further explores the perception and interaction of a moment through sound specifically. In utilising the documentation of the previous performance, these moments passed are revisited through the act of listening and remembering. This process is to then form the foundation and building towards the creation of new moments, yet staying faithful to both the past and to the approaching.

Hear One Near and Think of the Other was originally realised as a one and a half hour performance at MK Gallery in 2011.

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Commissioned Soundtrack for ‘Kathryn Thomas Lightyears 2009’.

Kathryn Thomas Lightyears 2009 unveiled Kathryn Thomas’s ambitious project Darkspace. Funded by the award she was granted from the Pollock Krasner Foundation of New York the exhibition showcased a commissioned soundtrack by Bristol based sound artist and composer Simon Whetham.

For Darkspace the composition was experienced as a 7.1 surround sound installation comprising elements of music Kathryn had found inspirational over her 25 years as an artist, in addition to field recordings from research trips the two of them undertook in Iceland, the sounds of Kathryn painting in her studio and other less obvious sources…

These include recordings of the Northern Lights (Aurora Borealis), shipping forecasts and transmissions from NASA.

The composition provided an immersive soundtrack to the Darkspace element of ‘Kathryn Thomas Lightyears 2009’.

This release contains a stereo mixdown of the commissioned soundtrack, mastered by Robin Rimbaud, aka Scanner, who has been a strong supporter of Simon’s work for many years. The Aurora recordings appear courtesy of Stephen P McGreevey.

Originally released on Traceable Echoes (TreEc001).
Published by Touch Music (MCPS).

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Within each piece of art is rolled a history; an undercurrent of unknown mystery, influences of defined desires, and outcomes that give new meaning to the intent. Los Que No Son Gentos may display most of all a misleading mystery that is incapable of certainty, yet honest, and defenseless.

Like many Chubby Wolf albums, there are certainties. Danielle was careful about ensuring titles were appropriately placed, recording locations and instruments were listed, and photography was specifically chosen (in most cases). Yet, always there is mystery closeby. All these materials were simply placed on the bookshelf after completion, stuffed in a random book, or shoved in a drawer full of bank statements. There is no explanation of why the album was made, what the inspiration was, nor were there even efforts to send it out to be released. It was created, completed, and on to the next thing.

Dragon’s Eye Recordings is pleased to present Los Que No Son Gentos as is, just as Danielle left it.

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