Blog

Caroline Profanter - Drift away to the point where you have no more expectations, with Joeri Bruyninckx 

Caroline Profanter's 'Geistermusig' album is an un-edited quadophonic live recording which mixes field recordings, drone passages and a no-input mixer.  
 

What kind of record did you want to make with 'Geistermusig'? 
 

Caroline Profanter: I did a concert at Ateliers Claus in the SMOG concert series 2 years ago and developed a new piece for that evening. My initial idea was to create a kind of excursion on a “magic carpet", overflying landscapes, and crossing spaces and time frames. Two years after my studies in acousmatic composition, which were very focussed, it gave me the freedom I wanted: the wish to divert. To use total diverse soundscape recordings, of different places, and mostly concentrating on the sonic characteristics to find the connecting points (melting points), without focusing so much on the images and references they trigger (provoke). What I wanted is to create a kind of spaceship in which you travel with the sounds and also get an immersive experience. Where you, as a listener, are part of the scenario. For that I had a quadrophonic setup, 4 speakers surrounding the audience, and several resonating objects distributed in space. They were additional sources, like fountains and influenced the character of the sound, due to their material (wood,metal). After that concert I got a lot of positive feedback, and I was offered to record the set in the studio, with Christophe Albertijn, the great sound engineer of Ateliers Claus. We recreated the same setup with 4 loudspeakers and the objects, and recorded the piece on several tracks. We recorded it twice, and chose one, without any editing, only mixing between the different tracks, in order to to keep the spatial imprint of the live moment. It became the first piece on the record that I named 'meanwhile elswehere'.
The second piece developed in the same way. It was first created for a live set, and then recorded in the studio, with a quadrophonic setup, and several instruments.
I wanted the live aspect to be present in both pieces, with unforeseen incidents and coincidences. As I like imperfections in the recorded sound itself, I also like the fragility of a concert situation.


Why is the album called 'Geistermusig'? And why not 'Geistermusik’? 


My 6-year-old niece listened to one of my concerts last Christmas, in Hotel Amazonas (Aspmayrhof), in South Tyrol. My sister asked her afterwards if she liked it, and she said it was like 'Geistermusig' (pronounced in dialect, the way we speak in the region of South Tyrol where I come from), which means 'ghostmusic'. I really liked this image. It seemed a good description for this music. The recordings are also some kind of ghosts that float around like shadows in the space. They appear, and disappear, you don't see anything, but you mostly feel them. The old 'Stube' (living room) at Hotel Amazonas, where the concert took place, was also a perfect environment, where there were probably real ghosts.
The second piece on the record, 'puntini puntini', was developed on the basis of that set. 
Why did you want to make an album that is made out of two long tracks? Because it sounds like each track exists out of a collage of several shorter pieces. 
The length of the pieces is the result of the different sonic material that I chose to use for each piece, and that needed its time to develop. Somehow every recording I use is for me a kind of a short piece in itself. It has already a beginning and an end, and a development. It is like a musical phrase that defines a certain structure, and offers several possibilities in how to continue. Then it depends how much I transform the recorded sounds or how I combine and mix them, so that the piece becomes more and more abstract.
In the second piece 'puntini puntini' I also used field recordings, but they are implemented in more abstract drone passages, also using a bontempi wind organ, and a no-input-mixer. These vibrating and oscillating analogue sounds differ from the recorded ones, that are digitally reproduced. They create a base of tension for all other sonic actions.
I wanted both pieces to be on the edge of what is recognisable and what not. In the hope that you can drift away to the point where you have no more expectations, because everything is possible.

Is this how you made this record: collecting different kinds of recordings, and than editing them together into these two pieces, like a collage, like a sound art piece?
 

Yes, I collect a lot of recordings, and for these two tracks everything was possible. I had my pool of recordings, I prepared them in different categories, based on their sonic properties (texture/spectrum, granularity, morphology: iterative or continuous, densification/acceleration, etc), and adapted them to my spatial setup of different loudspeakers and objects. It becomes then somehow sculptural. The sound develops in the space and becomes more-dimensional, the listening experience is more immersive.
Both pieces were created in a site-specific way, in accordance with the space, where they were presented. Every context is different, and that influences the whole piece.
For the piece 'puntini puntini' I also recorded sounds of the close environment of the old farm Aspmayrhof in South Tyrol, during a residency there.

Why do you use field recordings? And why do you like combining them with recordings of your own? Do you think a field recorder is still a musician, or 'just' a recorder, an observer? 

When I record sounds that already exist in the environment I see myself as a capturer of a particular moment that willl never reproduce itself in the same way, like a photographer. But I already hear something musical in it, and maybe already imagine how to orchestrate it. It is probably a bit of a cinematographic imagination. When I produce myself the sounds with any object or instrument, I define already a musical structure myself, with my gestures and the way how I play. This is then implemented in the bigger form. I try not to hierarchise the sounds, not to make the difference between what is pure soundscape and what is not. Recordings are constantly transformed. Already by playing them through a specific loudspeaker they change their color. Most of the recordings I have are not pure nature sound scape recordings. There is always already an intervention of some kind, something mechanical, industrial or electrical in the background. I like all the imperfections and interferences that recorded sounds have. You can find infinite details in it, and that is what fascinates me. All the recordings are my own recordings. Some are taken from the environment, some are produced in the environment. It is somehow like film-making, between documentary and fiction.

Caroline Profanter her album is HERE

  • caroline profanter
  • flyer

The Creative Europe-supported SHAPE platform for innovative music and audiovisual art has announced its 2020 list of artists. The artist selection for the platform’s sixth year traditionally places a number of audiovisual projects and sound artists alongside musical acts that range from club music and forward-thinking media art to free improvisation and spatial music. SHAPE is also happy to welcome a new member – Italy’s Terraforma, and the festival has already contributed to this newly announced list of SHAPE acts.

The roster for the sixth year of SHAPE continues to demonstrate an eclecticism that is an outcome of the 16 diverse festivals selecting artists and projects together. A deliberate desire to detect streams of fresh ideas and unexpected influences beyond genre categories has influenced the choices of SHAPE’s curators. Drawing on the knowledge of their respective scenes as well as the vast options provided by the artist submissions from the platform’s open call, each festival proposed acts that were subsequently subject to collective voting. Thus, even though the 48-artist list is a collective decision, artists from this roster can be traced back to festivals that initially proposed them for participation in SHAPE. 

Afrodeutsche, Aloïs Yang, Aquarian, Ben Bertrand, C/A Cslasha, Cam Deas, Céline Gillain, Clara de Asis, Hugo Esquinca, Dorota, Elina Waage Mikalsen, Elvin Brandhi, Farida Amadou with Steve Noble, Fausto Mercier, FOQL, Frédéric Gies, Jay Glass Dubs, KӣR, Lawrence Lek, Lyra Valenza & Camille Doussy, LYZZA, Ma’iwa, Marta de Pascalis, Moesha 13, Object Blue, Oktober Lieber, Oli XL, Oliver Torr, Peter Kutin, Piezo, Poly Chain, Rain Treanor, Richard Eigner, Rojin Sharafi, Rrill Bell, Sacrifice Seul, Schacke, Simina Oprescu, Širom, Stellar Om Source, Svetlana Maraš, Tadleeh, Upsammy, Virgen Maria, VTSS, Xin, Yann Gourdon,

as chosen by 16 festivals:

CTM Festival in Berlin, CYNETART Festival in Dresden, Festival Maintenant in Rennes, Insomnia Festival in Tromsø, Les siestes électroniques in Toulouse, MeetFactory in Prague, MoTA - Museum of Transitory Art in Ljubljana, Musikprotokoll im Steirischen Herbst in Graz, RIAM Festival in Marseilles, Rokolectiv Fetsival in Bucharest, Schiev Festival in Brussels, Skaņu Mežs in Riga, Terraforma Festival in Milan, TodaysArt Festival in The Hague, UH Fest in Budapest and Unsound Festival in Kraków.

Lucifer Rising is a short film by director Kenneth Anger. The film was completed in 1972 but was only widely distributed in 1980. Anger began filming around 1966, hiring a young musician named Bobby Beausoleil to act and compose the soundtrack. The film was abandoned in 1967 because Anger claimed the film footage had been stolen by Beausoleil. (Beausoleil and others said that Anger had simply spent all the money for the film). Anger then used some of the existing footage in another short film, Invocation of My Demon Brother. Beausoleil was convicted of killing Gary Hinman under the orders of Charles Manson in 1970. Anger began filming again several years later, with British singer Marianne Faithfull appearing in the film. Jimmy Page was brought in to record the soundtrack, but after he had a falling out with Anger, he was replaced by Beausoleil, who wrote and recorded the music in prison. 

* Kenneth Anger - The Magus
* Bobby Beausoleil - Himself
* Donald Cammell - Osiris
* Marianne Faithfull - Lilith
* Myriam Gibril - Isis
* Chris Jagger - Man in Yellow Tunic
* Jimmy Page - Man Holding Stella of Revelation

See it HERE

happy new year

Experimental music doyen Phill Niblock has been making photographs since his 1958 arrival to New York, where he cut his teeth documenting the performances of jazz greats like Duke Ellington. A decade later, Niblock began the work for which he is best (if still under-) known: multiscreen audiovisual installations scored by drones, built around microtones generated by instruments from cello to bagpipe to saxophone. “Working Photos,” a solo exhibition at New York’s Fridman Gallery on view through Janury 5, 2020, draws on over a half-century of artmaking triangulated between photography, cinema, and sound. Below, the Experimental Intermedia director discusses composition, accessibility, and card games.

READ IT HERE

 

  • Phil Niblock

The original tape loop system required for SOLO's 6-Delay feedback set up - Stockhausen

  • Stockhausen