Stilling (豆瓣)

表演者: Nicholas Maloney
流派: 电子
专辑类型: 专辑
介质: CD
发行时间: 2021-04-23
出版者: Somewherecold Records

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简介 · · · · · ·

　　“Stilling” is a two-part piece composed using highly transformed and manipulated field recordings. It was originally commissioned by Crosstown Arts (Memphis, TN) to be performed at the “A Change of Tone Music Exhibition” concert series in April of 2020. The series was postponed indefinitely due to the coronavirus pandemic. The four-part, four-day event was to feature a select... (展开全部) 　　“Stilling” is a two-part piece composed using highly transformed and manipulated field recordings. It was originally commissioned by Crosstown Arts (Memphis, TN) to be performed at the “A Change of Tone Music Exhibition” concert series in April of 2020. The series was postponed indefinitely due to the coronavirus pandemic. The four-part, four-day event was to feature a selection of four musical acts, one act per night, who would “exhibit” their music for a listening audience over loudspeakers in one venue as they simultaneously perform it in another, creating a non-traditional listening experience
　　.
　　The theme of the exhibition was “in/out of sync.” “What does it mean to be “in or out of sync”–with something, with nothing, with anything…with everything? In what ways do you feel or observe things as being in or out of sync with one another…”
　　The two movements of “Stilling” focus on sound as it relates to synchrony in my subjective human experience on a: 1) micro-level: exploring day to day experiences and shifts of mood, especially as they relate to my immediate surroundings and the ever-fluctuating environment. 2) Macro-level: exploring environmental phenomena on a larger scale (i.e. shifts in temperature, extreme weather), as well as shifts between feelings of inner-peace and anxiety as they relate to my contemplation on the immediate now.
　　Throughout the composition, duplicated layers of manipulated source sounds are staggered to further exaggerate on the theme of synchrony. This not only results in constructive/destructive phase interference but also a wider, and richer, stereo image, bringing to mind the larger question of what does it mean (for an audio track, or human perception) to be out of sync, if the disorientation is causing a unique, harmonic, sonic richness (and perhaps a more composed and attentive state of mind)?
　　For the first movement, focusing on micro-environmental sound, I recorded sounds that I encounter daily, with a particular focus on sounds that relate to my interaction with man-made things that cause change within the greater environment, whether it be positive or negative. For instance, I captured the sound of items being thrown away into the garbage and recycling bins, the garbage and recycling collection trucks, my daily commute to work, the sounds of water flowing from the sink and shower, gas and water lines, vibrations running through my walls, crackling and musical samples from old stacks of records, and various electrical appliances around the house. I also gathered more “organic” materials such as the sounds of various rooms of my house, the ambiance of the backyard, etc, etc...
　　For the second movement, focusing on macro-environmental sound, I recorded sounds produced by large-scale natural and human phenomena. For instance, I captured the sounds of large storms, large interior spaces, the sound of strong wind, the sound of large, untouched natural environments (i.e. forests, rivers, fields), the sound of crowded public spaces, the sound of traffic, and much more, using contact microphones, hydrophones, and traditional microphones. I also used field recordings from several international sound artists to exaggerate further on this “zooming out” from the small, everyday, first-person experiences to a larger, global viewpoint.
　　While recording these sounds, I made an effort to be aware of whether I was feeling in or out of sync with the environment while interacting with the source of the sound. I composed in such a way so that each movement and sub-movement flows from a state of tension to resolve. To achieve this, I used “out-of-sync” source sounds for the first portion of each movement, gradually shifting into more peaceful and harmonious sounds.

曲目 · · · · · ·

Movement 1 43:11
Movement 2 42:31

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Stilling

简介 · · · · · ·

曲目 · · · · · ·

短评 · · · · · · ( 全部 2 条 )

0 有用阿岭 2021-08-25 11:18:57

0 有用快乐王子 2024-11-19 22:15:57 中国台湾

0 有用阿岭 2021-08-25 11:18:57

0 有用快乐王子 2024-11-19 22:15:57 中国台湾

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"Stilling"的论坛 · · · · · ·

以下豆列推荐 · · · · · · (全部)

谁听这张唱片?

Stilling

简介 · · · · · ·

曲目 · · · · · ·

短评 · · · · · · ( 全部 2 条 )

0 有用 阿岭 2021-08-25 11:18:57

0 有用 快乐王子 2024-11-19 22:15:57 中国台湾

0 有用 阿岭 2021-08-25 11:18:57

0 有用 快乐王子 2024-11-19 22:15:57 中国台湾

"Stilling"的论坛 · · · · · ·

以下豆列推荐 · · · · · · (全部)

谁听这张唱片?

0 有用阿岭 2021-08-25 11:18:57

0 有用快乐王子 2024-11-19 22:15:57 中国台湾

0 有用阿岭 2021-08-25 11:18:57

0 有用快乐王子 2024-11-19 22:15:57 中国台湾