Archives for category: Electroacoustic


(self release 2012)

Review by Caity Kerr

Bill Thompson’s work is wide-ranging and largely experimental. He should be described as a statement artist, which means that he’s capable of appropriating an idiom or genre, or elements from within one, and making a very unique statement of his own within those resources. As a committed Cageian he works with all sorts of material, instrumental, electronic, environmental, found, lost, unwanted, often investigating intermedia-based process-driven projects in the live environment, improvising or composing as required rather than on principle. His work manifests versatility and flexibility. After so much project and deadline-based work which he does regularly and which makes it difficult to get along and see or hear, it’s good to have a studio album to catch up with.

Solace is sectional and as such is formally transparent. The opening is ambient in flavour, an electronically generated pad (according to the artist the equipment did most of the work) layered with field recordings of environmental sound. This crossfades slowly into an 11 minute passage, typical, to my ears, of his solo live work – a powerful mesmerising electronic timbre, modulating slowly, made of clearly defined partials, though again shifting around the spectrum, well equalised, polyrhythmic.

Without quoting directly from our correspondence on the work, it was pointed out that the opening section was overtly ‘musical’ in a characteristically ambient way, and that there’s a very personal but private narrative embedded in the work. The structural use of long sections of silence was commented upon as being unusual in his work.

The middle section is a straightforward field recording of someone walking through something crunchy, most likely the artist unless some poor bystander was collared and coerced into carring a recording device through a scrapyard. You never know.

There follows a period of relative stasis – a simple low amplitude electronic timbre, like a good fm synthesised waveform. Two minutes or so of silence leads next to a more hostile transitional passage, then further on a crescendo, another massive pulsating section but with substantial dollops of grit and noise in the signal and a nod to the pulse of early techno synth pads.

What I think works in this piece is the contrast and the clear division between the field recordings and the electronic music. You don’t get bored as you can look forward to the next contrasting section – there’s not too much of one thing or the other – it’s very well balanced. I think this is a fruitful area of investigation for artists who want to make field recordings more interesting. Finally the concept of a personal narrative acts as the perfect container for such a remarkable project.

SOLACE was first performed in 2012 for the AMODA Performance
Series in Austin, Texas. It was subsequently reworked and mastered
at the Firehouse Studios in London and Studio 4 in Norwich, UK.


[Bill Thompson]

Bill Thompson website


(Farmacia 2013)

Review by Maria Papadomanolaki

Yann Novak’s Blue.Hour attempts to capture the eternity of a moment, to transpose it to audible scale; moving in tones that nonchalantly emit nocturnal vapors gradually covering the light. The ongoing rumble reminds me of the solid ground, it’s circular motion and the myriad of stellar reflections soon to appear around it. Dwelled in sequences of mindfulness, Novak’s 21 minute composition acts like a mirror-reminder of what is to be lost and to be found in the present time of listening. Field recordings are laboriously worked and reworked to discharge any point of reference and familiarity, operating in abstract mode, lost and found within the listener’s pool of synapses and contortions.

L’heure bleue” is this thin temporal slice where the last light of the day is about to fade into the darkness of the night, emitting high contrast colors; a transitional state, a state of minute yet dramatic changes. It is this particular moment that is exposed, blown up, stretched up and down and re-enacted through Novak’s acoustic lenses. A polite tension drives the permuting drones that unravel and regress only to gradually disappear. The composition ends where it begun only to be re-animated by another play.  Outside of its large-scale audiovisual installation counterpart, this release offers a transparent, fluid and immersive spectrum, ideal for private, meditative and closed headphone listening.

Novak is an artist who values space, atmosphere (light, sound, touch, feel) and memory greatly. To him, each work is an attempt to share with an audience a very personal investigation of a space full of uncertainties, ambiguities and abstractions. Novak’s space, or is it perhaps place, doesn’t necessarily have a finite presence but it borders with absence too. Blue.Hour evokes a kind of experience that is open to be transmitted and diffused in many forms, moods and motions. It might actually not be about hearing per se but feeling, feeling in place, whether that is his place or the listener’s. Blue.Hour has as many faces and movements as its listeners. It calls for perception, attenuation, expansion, presence and absence, intimacy and distance.

The artist writes on his website that his work in general is concerned with the investigation of presence, stillness and awareness. This particular recording tonight sounded like the faraway city and the passing trains while walking on a bridge to the other side, breathing cold air in, surrounded by the sky in its blue-orange-pink skin complex. And that sort of distant-past time presence, alone makes me think that a moment, or better a glimpse of a moment usually feels so big in “memory-time”.  To me, Novak’s Blue.Hour, in it’s stereo home listening version, awakens that awareness of presence in memory-time: circular, expanded and transcendent.

Notes: Blue. Hour was released by Farmacia in 2013. Yann Novak has recently started a campaign on kickstarter to help relaunch his Dragon’s Eye Recordings label.


[Yann Novak, photo courtesy of Matter]

Yann Novak website
Farmacia website


Two years ago The Field Reporter published its first article (a review of Load by Signed Liden). 730 days later and 290 articles later we hope that the reviews and editorials published have prompted relevant questions, reflections and ideas in regard of the listening and recording-based acousmatic composition and other related media.

Thanks to all our readers for their interest and support.

-David Vélez. Chief Editor



Archaic variations: Localization. VA
(Obs 2012)

Review by Flavien Gillié

John Grzinich dans une réflexion publiée sur le Field Reporter disait récemment  :

‘In the mid-90s we were saying ‘I guess we’ll call what we’re doing “experimental music” ‘

Cette phrase se prête bien à cette compilation parue sur le label Obs qui dresse un panorama d’artistes dont le style va de la composition électro-acoustique, au drone en passant par l’enregistrement de terrain, de l’expérimental, donc.

Voici un retour sur cette écoute, ces écoutes tant il est vrai que la qualité de ce disque permet d’y revenir souvent.

Avec les premières pièces proposées on est dans la mémoire, Emmanuel Miéville et Richard Garet nous donnent à entendre des fragments de voix nimbés de drones lancinants, l’écho lointain d’un monde disparu. Il y a du hasard, des ruptures, les pièces sont de qualité, chaque nouvelle écoute dévoile d’autres facettes selon que l’on va focaliser sur le field recording ou sur le bourdonnement, l’harmonique.

La pièce de Takanobu Hoshino amorce un tournant plus acoustique, nous fait passer de l’extérieur à l’intérieur, et avec une excellente maîtrise focalise au dehors sur le presque silence autour d’un ruisseau, quant à l’intérieur amplifie les sons, une démarche en équilibre.

Chris Whitehead adopte pour sa part une composition documentaire, interroge la mémoire du lieu où il vit, retourne aux sources de cérémonies ancestrales, le tout enluminé par un étrange piano.

Zero Centigrade utilise un instrument désaccordé, propose une écoute au plus près de l’instrument, le frotte, le fait glisser, fait littéralement corps avec.

Jim Haynes compose une pièce électromagnétique, extrait de ce qui l’entoure des perturbations que l’on pourrait trouver inquiétantes, mais on les sait sous son contrôle et l’on s’en remet dès lors totalement à lui.

Radioson amorce un changement d’écoute dans cette compilation, la radio devient un espace mémoriel, l’écoute est intime, entre deux fréquences, des voix au loin tentent de nous délivrer un dernier message.

Gregory Buttner travaille sur le mécanisme de la répétition, la même source sonore dans différentes conditions, une pièce envoûtante.

Ben Owen radicalise la spatialisation, l’écoute devient presque autonome selon que l’on s’approche du canal gauche ou droit, créant ainsi un espace où l’auditeur peut faire lui-même la balance de ce qu’il désire entendre, devenant ainsi ludion quelque part dans les méandres d’une radio.

Tout autre est la pièce de Francisco Merino, qui, si elle garde l’interférence hertzienne comme lointaine ossature, s’aventure dans l’accident de terrain, la rupture franche, l’intranquilité comme mode d’existence.

On parlera de son blanc pour le morceau final de Dasein, distorsions et voix dont la perception de violence serait sans doute augmentée dans le cadre d’une performance concert.

Au final cette compilation réussit le pari de créer une homogénéité malgré les différences adoptées par chaque artiste dans la composition, Denis Shapovalov patron du label Obs a su ici faire une sélection et un agencement des plus pertinents.


Translation to English -by Sismophone-

In a recent essay published in the Field Reporter, John Grzinich reported this thought from the mid-90’s,

‘In the mid-90s we were saying ‘I guess we’ll call what we’re doing “experimental music” ‘

This sentence relates very well to this compilation released on the Obs label, providing an overview of artists whose styles range from electro-acoustic composition to drones, through field recording, … thus experimental music.

Here is my feedback on the listening, the listenings I should say, as the quality of this disc appeals for being back to it often.

With the first pieces, one stands in memory, Emmanuel Miéville and Richard Garet grace our ears with fragmented voices haloed with throbbing drones, remote echo of a forgotten world. There is randomness, breakings, pieces are of the highest quality, every new listening unveils other facets depending on one’s ear focus, either on the field recordings or on the buzz, the harmonics.

The piece by Takanobu Hoshino moves to acoustics, brings us inside from outside, and with great talent focuses as well on the almost silent outside brook as on the amplified inside sounds, an equilibrated approach.

Chris Whitehead adopts a documentary composition, questions the memory of it’s living place, walks back to the roots of ancestrial ceremonies, all being illuminated by a strange piano.

Zero Centigrade uses some untuned instrument, shares a close by listening, rubs it, makes it slide, and gets totally embodied in it.

Jim Haynes composes an electromagnetic piece, extracts from it’s surroundings these perturbations that one considers spooky, but acknowledges that they are under control… Then one totally relies upon him.

With Radioson occurs a paradigm shift in listening, radio becomes a memory space, listening is intimate, between two frequencies, remote voices try to deliver us a last message.

Gregory Buttner works with the mechanism of repetition, the same sound source in various conditions, a bewitching piece.

With Ben Owen, spatialization gets radical, listening being almost autonomous whether one approaches from left or right channel, creating an area where people can balance themselves the sounds that grace their ears, becoming some sort of Cartesian devil in the meanders of a radio.

Fully different is the piece by Francisco Merino, which, although keeping the hertzian interference as a vague skeleton, ventures in field accident, frank rupture, restlessness as modus vivendi.

The final track by Dasein is noticeable for his white, distorsions and voices whose perception of violence shall be definitely enhanced by a live performance.

To put it in a nutshell, this compilation successfully bets to create an homogeneity despite the different composition approach of each artist, thus Denis Shapovalov, boss of Obs label, highly pertinently selected and arranged these tracks.

Obs website

jvk copy3

The Field Reporter Radio #19

‘Jumalallista väliintuloa’



Reflections on the relations between matter and information.


2012 Retrospective post: what our Editors, and some guest artists, curators, journalists and managers think was noteworthy

More texts, lists and notes from our editors and guests.



Daniel Crokaert (works at Unfathomless and Mystery Sea, Editor for The Field Reporter)

SURVIVAL KIT/OBSESSIONS: Impulsive Habitat – Kaon La Rivière series – Darius Ciuta – Artificial Memory Trace – David Velez – Tarab



Alcor. ASTOR (Kye)
Epilog (Recombinant). CHRISTOPHER McFALL (Con-v)
Where Are The Roots That Clutch. MURMER (The Helenscarsdale Agency)
An Accident In Substance. SMALL CRUEL PARTY (Harbinger Sound)
Shards Of Splinters – Fragments Of Scratches/Killastiku – Kriimude Killud. TARAB (Semperflorens)
Débris. JANA WINDEREN (Touch)


Spectral Territories pt.1. ARTIFICIAL MEMORY TRACE (Tentacles Of Perception)
Spectral Territories pt.2. ARTIFICIAL MEMORY TRACE (Tentacles Of Perception)
Sempervirent. RODOLPHE ALEXIS (Gruenrekorder)
Jhirna Jali. PETER CAELDRIES (Gruenrekorder)
Mina. DARIUS CIUTA (Green Field Recordings)
Re-g-z. DARIUS CIUTA (Self-Release)
The Fields Remain While The Recorder Has Long Vanished. D’INCISE (Impulsive Habitat)
If Memory Should Serve Us Again. JOHN GRZINICH (Self-Release)
34:13_Ambeliona. MECHA/ORGA (Triple Bath)
Sept 2012. MICHAEL NORTHAM (Self-Release/Download only)
El Gris En Nuestras Vidas. GIL SANSÓN (Impulsive Habitat)
Recordings Of A Crepuscular Event. PHILIP SULIDAE (Impulsive Habitat)
Little.Jewel. COLLIN THOMAS (Self-Release)
Hto. MICHAEL TROMMER (3leaves)
El Pájaro Que Escucha. DAVID VELEZ (3Leaves)
Drenaje Subterráneo. JUAN JOSÉ CALARCO & PABLO RECHE (SiRiDisc)
Insecta. JEPH JERMAN & FIVE ELEMENTS MUSIC (Semperflorens)
Aspects. HIROKI SASAJIMA & YUKI IZUMI (Somehow Recordings)
Traces of artificial memories. VA -curated by David Velez (Impulsive Habitat)


Ultrealith. ARTIFICIAL MEMORY TRACE (Gruenrekorder)
Residues Of Implodex Tremoranti. ARTIFICIAL MEMORY TRACE
Entrances. BANKS BAILEY (Quiet World)
Trazado Oculto. JUAN JOSÉ CALARCO (Mandorla)
Panaural. JOÃO CASTRO PINTO (Triple Bath)
Iin. DARIUS CIUTA (Nephogram)
Holes/Tract. COPPICE (Consumer Waste)
Binatone Galaxy. STEPHEN CORNFORD (Senufo Editions)
Taî-pak thiaⁿ saⁿ piàn. YANNICK DAUBY (Kalerne)
Are Fishes Nihilist?. D’INCISE (Kaon)
An Occupied House. D.O.R. (Caduc.)
Deux Trois Choses Ou Presque (Scores By Manfred Werder). BRUNO DUPLANT (Engraved Glass)
No Where. BRUNO DUPLANT & DARIUS CIUTA (Impulsive Habitat)
TransMongolian. ROLAND ETZIN (Gruenrekorder)
Au Sud. HONORÉ FERAILLE (Audio Gourmet)
Encore Un Peu De Ce Monde. FLAVIEN GILLIÉ (Self-Release)
Madal Öö (Shallow Night). JOHN GRZINICH (Engraved Glass)
Raining – Small Music N°3. ROLF JULIUS (Western Vinyl)
Omnimoment. HITOSHI KOJO (Octpia)
Novaya Zemlya. THOMAS KÖNER (Touch)
Thief. LANCE AUSTIN OLSEN (Infrequency)
Organisms. DALE LLOYD (And/OAR)
Le Trou du Lapin. DALE LLOYD (Kaon)
Ay. MAAR (Entr’acte)
On Motion, Stasis And The Geometry Of Desire. SOCRATES MARTINIS (Antifrost)
18:36. MECHA/ORGA (Orila)
40:31. MECHA/ORGA (Impulsive Habitat)
Passing Ressemblance. MITES (Copy For Your Records)
Buiti Binafin. FRÉDÉRIC NOGRAY (3Leaves)
Suara Alam Indonesia. DAVE PHILLIPS (Nuun)
Soft Space Selection. LIZZIE POGSON (Self-Release)
Microclima. PABLO RECHE (Impulsive Habitat)
Instamatic : Snowdonia. JEZ RILEY FRENCH (Engraved Glass)
Three Days Of Silence. PIETRO RIPARBELLI (Gruenrekorder)
Berlin Fields. STEVE RODEN (3Leaves)
Colony. HIROKI SASAJIMA (Impulsive Habitat)
Movement. PETER TOLL (Engraved Glass)
Edgelands. MICHAEL TROMMER (Gruenrekorder)
Forma Y Percepción. DAVID VELEZ (Impulsive Habitat)
Concert For No One. SIMON WHETHAM (Impulsive Habitat)
Gryphaea. CHRIS WHITEHEAD (Observatoire)
South Gare. CHRIS WHITEHEAD (Linear Obsessional Recordings)
Ch – da ( d – 2). CHRIS WHITEHEAD & DARIUS CIUTA (Impulsive Habitat)
Ste-33. CHRIS WHITEHEAD (on Soundcloud)
Craster And The Aftermath. JAMES WYNESS (Self-Release/download only)
Lind, Raud, Aastaajad. YANNICK DAUBY& JOHN GRZINICH & MURMER (Invisible Birds)
V-p V-f Is V-n. V/A (Winds Measure Recordings)
split. WILL MONTGOMERY/ROBERT CURGENVEN (Winds Measure Recordings)


The Footpath. LOREN CHASSE (Naturestrip)
Alice Springs, Central Australia. ROBERT CURGENVEN & CHRIS HOWDEN (Recorded Fields)
Neenah Foundry. PAUWEL DE BUCK (on Soundcloud)
Seven Vignettes. LEE PATTERSON (Shadazz)
Canopy Beat. ELS VIAENE (Silence Radio)


Simon Whetham (sound artist, honorary Harlem Globetrotter)

andrea polli & joe gilmore – ‘n.’ – minimal bliss
yair lopez – ‘pueblos magicos’ – great snapshot recordings from mexico

juan jose calarco & david velez – ‘bahias’ – it took a while for me to get into this one, but then it clicked – nice flow between the two artists

lizzie pogson – ‘soft space selection’ – gorgeous combination of music and field recordings

tarab – ‘i’m lost’ – sneak preview of forthcoming album. great composition

luong hue trinh – ‘black circle’ – another fantastic combination of music, field recordings and great composition – a name to watch out for

tea rockers quintet – ‘ceremony’ – yan jun + 3 other musicians and a tea ceremony master – incredible
hiroki sasajima & takahisa hirao – ‘hidden birds nest’ – atmospheric and peaceful
cloudbuilder – ‘lowrider’ – improvisation has never sounded so gorgeous to me!
night shift – ‘trespassers guide to nowhere’ – a lovely and surprising album from these russian artists

Edu Comelles

Edu Comelles (sound artist, works at Audiotalaia)

The Bad News: WORST OF 2012 (without giving any names, or just mine):

Is not usual that in this very world we point out what we haven’t liked. Just because of that I’m going to write about what I didn’t like of this past year regarding field recordings production, composition, etc,…

Mainly I have become very tired and bored of hearing thousands of albums about, birds, insects, forests, jungle, exotic landscapes, seals in the Antarctica and so on. It seems (and seen from the outside) that we, phonographists are centered and working mainly in the natural world, and even more: the natural world and the colonialist need for discovering far away cultures and soundscapes. This reminds me of the topics and desires of those European explorers of the 19th Century, which now, in some fields of the arts, this is seen as something, lets call it, “old fashioned”. But maybe, this allows for further development and maybe that’s not the right place to do it.

Back to the main thing, I’m betting that if we make a survey we will find that 90% of albums released this year are about the natural world, and the rest albums about “something else”. Even more, I think there is a general need for finding very pleasant sound ambiences, keeping the thought that we need to preserve sounds threatened by oblivion or progress. This includes the love for ancient sounds or the rural world (here I include myself to do some self-criticism) and the eternal quest for beauty. Of course anyone can do whatever they want but I have to admit that there is a worrying lack of (for example) albums or recordings about mundane, noisy ambiences, crowded city soundscapes, supermarkets, shopping centers and, why not, a phonographic album about trash culture. So the question is: why not?

In terms of composition I have also issues on the general pace of field recordings composition is taking. I found myself everyday listening to works based on linearity, works based on minimalism with very few elements to sustain it. It is complicated to find works where there are abrupt changes, wild turns and disturbing progressions. It seems that field recordings follows the drone-ambient line of work with composition.

Finally, one of the worst things I have encountered while listening works based on field recordings is the love for very long works and compositions. I have found myself many times feeling very tired when I have to listen to 40-50 minutes of field recordings. Really, that seems a banal thought but think it carefully, is not that silly. I love when I found a 15 minutes field recording composition, maybe there is no need for more, do we really need to be 45 minutes listening a distant bird or insect? Maybe with a couple of minutes it’s just enough. And thinking more in terms of the general public (apart from us, lovers of this kind of things) there is a very wide range of listeners who won’t spend an hour of their time listening to this kind of works. Instead, with something shorter maybe you get the chance for people to get closer to listen and to appreciate the beautiful world of field recordings. I found myself many times saying the same: if you cannot tell a story in 20-30 minutes, don’t tell it at all.

Summing up, the worst album of the year is the longest with more natural ambiences on it, find it and you’ll get it. The bright side of all of this is that there is a lot to analyze, massive production and, moreover a very good level and quality, maybe the bad news contain a subjacent good news, and those might be the good health of a growing scene.

A few examples of works based on field recordings that had surprised me quite a lot:

Transit Mundi – Carlos Suárez

Because Carlos Suárez has been able to create a very personal, rich and complex world made of soundscapes, a thrilling album full of tension, emotion, beauty and horror. A field recordings roller-coaster.

Música para Palimpsestos – Paco Rossique

Because its just a beautiful piece of work, conceived as a soundtrack for Rossique’s own paintings exhibition in Canarias, because is has been unjustifiably forgotten. Its not exclusively field recordings but I found that this work by Rossique is an abstraction of a museum soundscape, plane and simple.

Serendipity Effects – Regina Burbach

Because its a short work but very dense, barroque and full of strange recordings mixed with signal processing. A very amusing piece that keeps you in the loop wanting more.

I Misteri – Giovanni Lami

Because of shortness and because the album isn’t centered on natural sounds. Hurray!

Barcelona – Jan Kees-Helms

Because I love the capacity of Jan Kees-Helms to present a very wide palette of very mundane sounds. Because it seems that he doesn’t need to get to Alaska to find interesting sonorities.


Gil Sansón (sound artist)

A short list of records that made a strong impression this year

Wandelweiser und so weiter (various artists) another timbre
Empty Words (John Cage) edition wandelweiser
Exotic Exit (Vanessa Rossetto) kye
Decentering (Richard Garet) sourdine
Occult Rock (Aluk Todolo) ajna offensive/norma evangelium diaboli
Fields Have Ears 6 (Michael Pisaro) Gravity Wave
Nowhere (Bruno Duplant, Darius Ciuta) Impulsive Habitat
As It Is (John Cage) ECM
Quelques Usines Fantomes (Bruno Duplant) Unfathomless
Sugarcubes (Bunita Marcus) testklang


2012 Retrospective post: what our Editors, and some guest artists, curators, journalists and managers think was noteworthy

by David Velez. Chief Editor of The Field Reporter

2012 was a very busy year in terms of the number of field recordings-based releases that were published both physically and digitally: The Field Reporter alone reviewed around 160 releases that ranged from pure documental to heavily processed and also works that combine field recordings with sounds generated with electronic and acoustic means.

The increase in references and brands for handy recorders and recording equipment in general, and the emergence of new labels focusing on the field recording practice, could lead to believe that the number of people out there recording and using those recordings with an artistic purpose is on a rise. The pertinent question here is why?

On a personal note I believe that there is a growing cultural interest on the environmental aspects of the sensible experience caused in part by the strong political moment we live, a moment where the notion of progress and economical growth is being questioned on a massive level. The environment is a matter of collective interest, is something we all share and this is why we could find such political implications when we are confronted with our environment and deal with it artistically. But is this the reason why people are turning to recording and listening more and more?

The visual image has been the subject of exploitation by marketing and advertising for a long time now. When in front of a visual image that we could enjoy we are under the fear that we are expected to behave, feel and think in a particular way determined by the psychological strategy that created that image while serving economical and ideological interests; in a way is like we can’t trust the beauty in our eyes anymore. So what can we trust?

Concrete sounds when presented in an acousmatic fashion show the possibility of a open interpretation. In the reduced hearing the sound creates the object and not the other way around. Seemingly there is more to imagine when we can hear than when we can see.

On Michael Chion’s book ‘Audiovision’ sound is regarded as the element that helps making the moving images of film believable. Hearing is the sense that imprints the notion of movement and motion the best in comparison to sight. Sight is more punctual, like a scanning process where we can only focus on one thing at a time. Sound is like this stream that connects us with the world, a constant connection with the universe we are part of via vibration.

In despite of its potential open interpretative character, sound seems to establish a sense of reality better than any other medium because is the one that captures the of notion time -expressed as motion and change- in a more realistic way and by that it captures the notion of the universal where totality works like a vector rather than a simple sum of things.

I really don’t know if the ideas presented here actually explain the growing interest that sound is drawing in the creative and artistic community but hopefully they could be of help. Like we said when we started, The Field Reporter cares about the reasons and implications subjacent in our recording and listening actions. Why we record what we record? Why we listen what we listen? Does it really matter? These are the questions that interest us.

Notes and lists by Editors and guest

On The Field Reporter every year we like to make a sort of guide for our readers with sound, releases, places, ideas that were notable through 2012. With that on mind we contacted a group of artists, journalists and curators to join our team making a series of lists and notes of what they think was noteworthy through 2012. This year we have a new element: mixes made by some of our editors with fragments from those works and experiences.



Richard Allen (journalist at A Closer Listen)

Below Sea Level. SIMON SCOTT (12k)
Folkestone Lighthouse. BEING (Wist)
Mirage de Loire. HERVE MOIRE (Aposiopèse)
Sonido Descompuesto. DAVID VELEZ (Unfathomless)
Sounds From Dangerous Places. PETER CUSAK (ReR Megacorp)
Chitin. AMT -Slavek Kwi- (Taâlem)
What Are The Roots That Clutch. MURMER (Helen Scarsdale Agency)
Birds of a Feather Series. PORYA HATAMI, MICHAEL TROMMER (Flaming Pines)


Luis Antero (sound artist, works at Green Field)

Sunrise in the Sukau rainforest. CHRIS WATSON (Framework Seasonal, issue #3, autumn 2012)
Colony. HIROKI SASAJIMA (Impulsive Habitat)
34:13 Ambeliona. MECHA / ORGA -Yiorgis Sakellariou- (Triple Bath)
Plotina. SALA (Obs)
Systemic collapse. JAY-DEA LOPEZ (Impulsive Habitat)
Somewhere on the edge. VA (Gruenrekorder)


Darius Ciuta (sound artist)

Landscape Sculpture with Fog Horns, San Francisco. BILL FONTANA( New Music America)
Spectral territories Pt2. AMT -Slavek Kwi (self -release)
El gris en nuestras vidas. GIL SANSÓN (Impulsive Habitat)
Concert for no-one
. SIMON WHETHAM (Impulsive Habitat)


Stephen Cornford (sound artist, works at Consumer Waste)

Sound Sculptures, Tate Gallery 1982. JEAN TINGUELY
(Edition Bierammer)
Mutanza. REINHOLD FRIEDL (Bocian)
Kreuzmusik Fluxid Behandlung Op 189. HENING CHRISTIANSEN
(Kye / Penultimate press)
Crowded. KEVIN DRUMM (Bocian)
Anthem. JOE COLLEY (Misanthropic Agenda)
Coldwater Basin. PHILIP CORNER (Alga Marghen)
Cathode Deafness. NICOLA RATTI (Musica Moderna)
Vitra Sonder. SEWER SELECTION (Throne Heap)
s/t . YEAST CULTURE (Art Into Life)
Raining. ROLF JULIUS (Western Vinyl)


Bruno Duplant (sound artist)

Alcor. ASTOR (Kye)
Lonely microphone. JOE COLLEY (Senufo)
Field have ears (6). MICHAEL PISARO (Gravity wave)
v – p v-f is v – n 2013. VA (Winds Measure)
2005¹. MANFRED WERDER -Jason Kahn- (Winds Measure)
El gris en nuestras vidas. GIL SANSÓN (Impulsive Habitat)
(Impulsive Habitat)
The Fields Remain While The Recorder Has Long Vanished. D”INCISE (Impulsive Habitat)
Thief. LANCE AUSTIN OLSEN (Infrequency)
Holes / Tract. COPPICE (Consumer Waste)
Like falling out of trees into collectors’ albums. PATRICK FARMER
(Consumer Waste)
The Narrows. JODA CLEMENT (Unfathomless)
Bird cage wallpaper. HANKIL RYU, JEZ RILEY FRENCH
(Engraved Glass)


Roland Etzin (sound artist, works at Gruenrekorder)

Sounds From Dangerous Places. PETER CUSAK (ReR Megacorp)
Dichte Wolken. CHRISTINA KUBISCH (CD Edition Museum Ostwall)
Framework seasonal. VA
v – p v-f is v – n 2013. VA (Winds Measure)


Patrick Farmer (sound artist, writer and Editor for The Field Reporter)

Audio from: I can feel the sea falling over my head. Lost Beyond Telling. DIANE GRANHAN (Oiseaux Invisibles)
Two Films. JOHN GRZINICH (And/Oar)
Binatone Galaxy. STEPHEN CORNFORD (Senufo)
En Abîme: Listening, Reading, Writing. DANIELA CASCELLA
(Zero Books)
Acquiescence. TARAB (Kaon)
∩. MARC BARON (Cathnor)
Exotic Exit. VANESSA ROSETTO (Kye)
2005¹. MANFRED WERDER -Jason Kahn- (Winds Measure)
Druids and Questions. EVA-MARIA HOUBEN (Wandelweiser)
Luz azul. I TRENI INERTI (Flexion)


Jez Riley French (sound artist works at Engraved Glass)

I would expand the defintion of ‘release’….no, I have to expand it.

One of the reasons I am drawn to field recording is that it doesn’t, can’t & also shouldn’t be expected to operate in the same way as the systems placed around other forms of music.

Even if I were able to think of some releases of field recordings that stood out in some way, that would not represent the act of listening to those works, each time or just the first time. A subtle quality of untouched sound is that it has the power to be fluid, even when fixed onto a release. It can still meld with the listening situation. It isn’t stable.

No ‘release’ (in the conventional sense of the word in this context) comes close to listening in situ to sound, to music created in time by a myriad of sources – audible interplay between species and situation, environment and moment.

I don’t know what the point is in creating field recording based work that isn’t, simply, a small representation of a personal connection to the act of listening. In that sense, the ‘releases’ I have heard and been excited by this year have been the release of one moment following another and another and another….


Flavien Gillié (sound artist, Editor for The Field Reporter)



Mina. DARIUS CIUTA (Green Field Recordings)
Movement -Holkham-. PETER TOLL (Engraved Glass)
18-36. MECHA / ORGA (Orila)
Slaughterhouse. DAVID MICHAEL (Gruenrekorder)
Trazadao oculto. JUAN JOSÉ CALARCO (Mandorla)
Little jewel. COLLIN THOMAS (self-release)
TransMongolian ROLAND ETZIN (Gruenrekorder)
Systemic Collapse. JAY-DEA LOPEZ (Impulsive Habitat)
South Gare. CHRIS WHITEHEAD (Linear Obsessional)
Witch-hunt. PLEQ, HIROKI SASAJIMA (Taâlem 2012)
Concert for no one. SIMON WHETHAM (Impulsive Habitat)

* Playlist of mix follows list order


Slavek Kwi (sound artist)

Harbour. LASSE-MARC RIEK (Herbal International)
Buiti Binafin. FREDERIC NOGRAY (3Leaves)
Ravenscar. CHRIS WHITEHEAD (Unfathomless)


Francisco Lopez (sound artist)

Sounds experienced by him in the Borneo forest, particularly the ones made by leeches, cicadas and monkeys


Jay-Dea Lopez (sound artist, journalist and Editor for The Field Reporter)



Berlin field. STEVE RODEN (3Leaves)
El pájaro que escucha. DAVID VELEZ (3Leaves)
A quiet position. Locale. VA (impulsive Habitat)
Sceneries from the Castellated Wall. YASUHIRO MORINAGA (Galverna)
v – p v-f is v – n 2013. VA (Winds Measure)
Parallel Paths. CELLO + LAPTOP -Edu Comelles & Sara Galán- (Envelope Collective)
Buiti Binafin. FRÉDÉRIC NOGRAY (3Leaves)
Concert for no one. SIMON WHETHAM (Impulsive Habitat)
Colony. HIROKI SASAJIMA (Impulsive Habitat)

* Playlist of mix follows list order


Frederic Nogray (sound artist)

Frédéric Nogray

Suara Alam Indonesia. DAVE PHILLIPS (Nuun)
Brames (et autres mouvements d’automne).
Movement -Holkham-. PETER TOLL (Engraved Glass)
Ultrealith. AMT -Slavek Kwi- (Gruenrekorder)
Sempervirent. RODOLPHE ALEXIS (Gruenrekorder)
Ravenscar. CHRIS WHITEHEAD (Unfathomless)
Madal öö (shallow night). JOHN GRZINICH (Engraved Glass)
Taurion, trou de lapin. DALE LLOYD (Kaon)
El pájaro que escucha. DAVID VÉLEZ (3Leaves)
Paysage de nuit et de vent. JOËL BLONDEL (Editions Ouïe/Dire)


Juanjo Palacios (sound artist, works at LEA)

South Gare. CHRIS WHITEHEAD (Linear Obsessional)
Monographic. DALLAS SIMPSON (LEA ediciones)
Des Lônes et des Pylônes. FLAVIEN GILLIÉ (Green Field)
Camino Parte Primera. EDU COMELLES (Wandering Gear)
Música para Palimpsestos. PACO ROSSIQUE (self-release)
Magic Bus. ZIGO (Impulsive Habitat)
Sueño de una noche de Primavera. MICROPLEX (self-release)
O River. LUÍS ANTERO (Impulsive Habitat)
Re:Fujaco. @C (Galaverna)
Au Sud. HONORÉ FERAILLE (Audio Gourmet)
Beneath Peaks. AUTISTICI (Hibernate Recordings)
Amber Studies. WILL BOLTON (Rural Colours)


Pablo Reche (sound artist)

Psyite. AMT -Slavek Kwi- (Impulsive Habitat)
Novaya Zemlya. THOMAS KÖNER (Touch)
Edgelands. MICHAEL TROMMER (Gruenrekorder)
Systemic Collapse. JAY-DEA LOPEZ (Impulsive Habitat)
Mina. DARIUS CIUTA (Green Field)
Rishikesh. FIVE ELEMENTS MUSIC (Unfathomless)
O Rio. LUIS ANTERO (Impulsive Habitat)
Spheres. ISZ (Audiotalaia)
Acquiescence. TARAB (Kaon)
Sonido Descompuesto. DAVID VELEZ (Unfathomless)
El Yunque. DAVID MICHAEL (Impulsive Habitat)
Passagen. P16.D4 (Monotype)


Richard Sanderson (sound artist, works at Linear Obsessional)

Recordings of A Crepuscular Event – PHILIP SULIDAE
(Impulsive Habitat)
Efecto Foehn. JUANJO PALACIOS (exp_net)
Il Mysteri. GIOVANNI LAMI (Impulsive Habitat)
Touch.30. VA (Touch)


Yiorgis Sakellariou (Sound artist, works at Echomusic)

Detune in Z sharp. NOKALYPSE (Triple Bath)
Madal öö (shallow night). JOHN GRZINICH (Engraved Glass)
Existent recordings of nonexistent phenomena. RAITIS UPENS (Impulsive Habitat)
57′. DARIUS CIUTA & LUIS ANTERO (Green Field Recordings)
Plotina. SALA (Obs)
Secret Garden ROEL MEELKOP (Oto)
Ravenscar. CHRIS WHITEHEAD (Unfathomless)


Cheryl Tipp (Curator of Wildlife and Environmental Sounds at the British Library and Editor for The Field Reporter)

Madal öö. JOHN GRZINICH (Engraved Glass)
El pájaro que escucha. DAVID VÉLEZ (3Leaves)
Sempervirent. RODOLPHE ALEXIS (Gruenrekorder)
The Pier. IAN HOLLOWAY (Quiet World)
El Yunque. DAVID MICHAEL (Impulsive Habitat)
Jhirna Jali. PETER CAELDRIES (Gruenrekorder)
The sea road. ROBERT McFARLANE, CHRIS WATSON (Rivertones)
Estonian string. JEZ RILEY FRENCH (Gruenrekorder)
Witch-hunt. PLEQ, HIROKI SASAJIMA (Taâlem 2012)
Mall muzak. SIMON WHETHAM (Unfathomless)
O river. LUÍS ANTERO (Impulsive Habitat)
Camino, parte primera. EDU COMELLES (Wandering Ear)
Rio Douro / Douro River, Vol 2. VIRGILIO OLIVEIRA (Green Field)
Movement -Holkham-. PETER TOLL (Engraved Glass)


Peter Toll (sound artist)

Buti Binafin. FRÉDÉRIC NOGRAY (3leaves)
Five natural pieces. VELJO RUNNEL (Veljo Runnel)
From shore to santuary. MARK BRENNAN (Mark Brennan)
El Yunque DAVID MICHAEL (Impulsive Habitat)
Kinsendael. FLAVIEN GILLIE (Audio Gormet)
Instamatic: snowdonia. JEZ RILEY FRENCH (Engraved Glass)
[Dis] location. JASON KAVANAGH, JAY-DEA LOPEZ (Sirona)
A Quiet Position. VA -curated by Jez Riley French- (Impulsive Habitat)


Michael Trommer (sound artist)

Lonely Microphone. JOE COLLEY (Senufo)
Saison Concrete. LASSE-MARC RIEK (Semperflorens)
Novaya Zemlya. THOMAS KÖNER(Touch)
The Narrows. JODA CLEMENT (Unfathomless)
17 / Barcelona. 18 / Corfu. MIKEL R NIETO (self-release)
El gris en nuestras vidas. GIL SANSÓN (Impulsive Habitat)
The Fields Remain While The Recorder Has Long Vanished. D”INCISE (Impulsive Habitat)
Ultrealith. AMT -Slavek Kwi- (Gruenrekorder)
Mic.Madeira. SIMON WHETHAM, HUGO OLIM (Crónica)


David Velez (sound artists, work at Impulsive Habitat and Chief Editor for The Field Reporter)



Ordered as they first came to my mind

Madal öö. JOHN GRZINICH (Engraved Glass)
Prairie. D’INCISE (Obs)
H-CS. DARIUS CIUTA (Echomusic)
Are fishes nihilist? D’INCISE (Kaon)
18-36. MECHA / ORGA (Orila)
Taurion, trou de lapin. DALE LLOYD (Kaon)
Debris. JANA WINDEREN (Touch)
A while and awhile. FRANCISCO MEIRINO (Obs)
Glass over water under light.
Sempervirent. RODOLPHE ALEXIS (Gruenrekorder)
Deux trois choses ou presque. BRUNO DUPLANT (Engraved Glass)
Little jewel. COLLIN THOMAS (self-release)
Mina. DARIUS CIUTA (Green Field)
(Consumer Waste)
Rishikesh. FIVE ELEMENTS MUSIC (Unfathomless)
The Darkness and the light. SETH COOKE (Compost and Height)

Also -in alphabetical order

Emerging territories. LUIS ANTERO, JAY-DEA LOPEZ (LEA)
Jhirna Jali. PETER CAELDRIES (Gruenrekorder)
Trazadao oculto. JUAN JOSÉ CALARCO (Mandorla)
U-pdd-f. DARIUS CIUTA (self-release)
Holes / Tract. COPPICE (Consumer Waste)
Quelques usines fantômes. BRUNO DUPLANT (Unfathomless)
TransMongolian ROLAND ETZIN (Gruenrekorder)
Encore Un Peu De Ce Monde. FLAVIEN GILLIÉ (self-release)
(Consumer Waste)
34:13_Ambeliona MECHA / ORGA (Triple Bath)
53-30. MECHA / ORGA (Very Quiet)
(Winds Measure)
What Are The Roots That Clutch. MURMER (Helen Scarsdale Agency)
Buiti Binafin. FRÉDÉRIC NOGRAY (3Leaves)
Sunset soundrise. FRÉDÉRIC NOGRAY (Very Quiet)
Paradise and Winchester. YANN NOVACK (Unafathomless)
-split- MARK SO, PATRICK FARMER (Winds Measure)
Bird cage wallpaper. HANKIL RYU, JEZ RILEY FRENCH
(Engraved Glass)
Shards of Splinters… TARAB (Semperflorens)
Movement -Holkham-. PETER TOLL (Engraved Glass)
Ravenscar. CHRIS WHITEHEAD (Unfathomless)
South gare. CHRIS WHITEHEAD (Linear Obsessional)
Lind, raud, aastaajad.


The bright work. JEZ RILEY FRENCH (Engraved Glass)

Older but istened on 2012

Ulu lone. YANNICK DAUBY, MARC LAMBLARD (Silent Radio 2006)
蛙蛙蛙!Songs of the frogs of Taiwan vol.1. YANNICK DAUBY
(Kalerne 2009)
[in]. ERIK DeLUCA (Everglade 2010)
Like falling out of trees into collectors’ albums. PATRICK FARMER
(Consumer Waste 2011)
Four objects. JEZ RILEY FRENCH (Engraved Glass 2011)
Taî-pak thiaⁿ saⁿ piàn. YANNICK DAUBY (Kalerne 2011)
Shangri La. DAVID MICHAEL (3Leaves 2011)
Birds and water 2 & 3. BEN OWEN (Obs 2011)
Frozen moments. JACQUES SODELL (Kaon 2011)
Acquiescence. TARAB (Kaon 2011)

* Playlist of mix presents only the releases in the first list and they are ordered from lower to higher.
Jana Winderen release not featured on playlist.


Tony Whithead (sound artist, works at Very Quiet)

Ravenscar. CHRIS WHITEHEAD (Unfathomless)
Rishikesh. FIVE ELEMENTS MUSIC (Unfathomless)
Like falling out of trees into collectors’ albums. PATRICK FARMER (Consumer Waste)
Panaural. JOAO CASTRO PINTO (Triple Bath)
40:31. MECHA / ORGA (Impulsive Habitat)
Three Days of Silence. PIETRO RIPARBELLI (Gruenrekorder)
Buiti Binafin. FREDERIC NOGRAY (3Leaves)
Movement -Holkham-. PETER TOLL (Engraved Glass)
Radia. GLEN BACH (Dust Unsettled)

A few shared sounds I’ve enjoyed …
Take the ear strangely: songs and dead seas. SEBASTIANE HEGARTY
Opus for power line, bass, wind and birds. MAGNUS BERGSSON
Orkney WW2 Wrecks (Test). AMES NEWTON


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