hankil ryu & jez riley french - 'bird cage wallpaper'

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to purchase the limited edition cd version see the header of this website

also available as a digital download:

Review by John McEnroe, from the Field Reporter blog:

What I care about when I listen to a sound work is how much I enjoy it, with this I mean how the piece transformed things before, during and after my experience with it. Successful sound composition can lead to experience emotional points that when connected in time build profound meaning and widens the full picture of things.

Sound art composition is one of the most open art forms I can think of, and this is probably because there is a potential abstract nature on every concrete sound we listen to -and even on some electronic and digital generated sounds- when isolated from its causality and temporal and spatial context. The sound art composition is like a wall where the listener projects the sounds he feels he is listening.

The open character of the sound art piece in terms of image doesn’t make it necessarily more easily inhabitable but instead more freely inhabitable by the spectator / listener like something close to a sonic version of a Rorschach’s test.

In this sense it’s about how much light you can find in the darkness and how much darkness you can find in the light. Like if what matters is not what we can sense or understand but what we can’t actually sense or understand but still be aware of.

In regard of’ ’Bird cage wallpaper’ I could say that the relation between music and time is similar to the relation between sculpture and space -Music understood as the result of the reduced hearing-.

When we walk while being fully aware of the formal aspects of the structures around us, we somehow build sculptural perceptions. When we listen reducibly, we listen music.

Rhythm as an aspect that was successfully taken care of on ‘Bird cage wallpaper’.

Rhythm is often described  as ‘movement marked by the regulated succession of strong and weak element’.

I found this definition interesting because in rhythm we are dealing with magnitude and scales. The musical scale is often described as ‘any sequence of musical notes in an ascending or descending order’.

All of these aspects (rhythm, movements, scales, magnitudes, ascension, descension) have been greatly and successfully dealt with on ‘Bird cage wallpaper’.

The emotional potence found in ‘Bird cage wallpaper’ is enormous, the actions, exercises and considerations that lead to the final two pieces were very fortunate: each sound presented on this work seems to have its own temporality and materiality, its own color, and these aspects and relations find on the rhythmical emphasis the best scenario in a quest for meaning. Rhythm considered as pulsating magnitudes of time, space, mass and color.

lauren redhead - 'tactile figures'

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to purchase the limited edition cd see the header of this website.

also available as a digital download:

1. the enigma machine 1: hendecaptych of hans memling

Here the word painting may refer to interpreting and is to be distinguished from that by Francis Bacon which is on oil and linen. That is: to be an album or a rock band is not the same as being attached to the bow of a boat. Covering, for instance, is creating but is on the surface. Many interpreters are painters but fewer are representative.

Performed by Trio Atem

Trio Atem: Nina Whiteman - voice, Gavin Osborn - flute, Alice Purton – cello

2. as a name i am a myth

An historical description of musical 'development' and the realities of chamber music are juxtaposed in a way which does not make clear which is the more absurd. The metal pubic address loudspeaker, more commonly seen at music festivals and train stations, acts as a commentator on the action of the performers as well as the arbiter of the situation in which the performers find themselves. Despite the commentary, they continue to play.

Performed by Trio Labyrinth

Heather Roche – Bass Clarinet, Elena Jáuregui – Violin, Sophia Russell - Harpsichord

3. in the back there was a pigeon (c)

A setting, and at the same time not at all a setting, of the tantum ergo. 

The invitation for the performers and the listener is to explore liturgy and the liturgical nature of musical canon and practice.

Performed by Edges Ensemble, directed by Philip Thomas. recording produced by Tom Riley.

4. then it became its own darkness

Veins are strung outward, cables swing slow to the floor, as then it became its own darkness: something thrums, hums, the grind of the axle, the wheel turns, the crow is clamouring,  the turn is quickening, and all the while there's the empty storm, dragging itself belly-up over dust dust and dirt and dust. It spasms, that thought, probing and nosing to hurry itself in, to drag itself into the earth’s rind, crumbling and crippling and sinking and stuttering, all the way down the rabbit hole, flailing, folding, into that finite space, it teases down the dirty riggings, the angles and towers that prop up the fever sky, helpless yellow stomach, it flares, corrodes; tumbling, scattering, tearing, vaudevillian in its delight and destruction, it scalpels and draws back the skin, probing and poking, dissection without discretion, the spine flaps open, and all the while, one shrunken cell is eaten by another, returning to the bone pile, and all the while there is a crash of concrete and metal heaped across the land, as one white pulse crackles in a cold corpus callosum, sparking one last shiver through  the synapses, it is sniffing out the last spore, the last piece of sugar, pleasure is in that, gazing on new shatterings, and the old stones, already broken, no need to taste, already such things merely echoes, and all the while it sees constellations that are neon and perfect, strings and precise stars, it clouds and obscures and swallows them all, and all the while the mouth gapes open, waiting to beget with the grind of the axle, the wheel turns, the crow is clamouring, it is clawing, hunting, digging, feasting, the turn is quickening, spinning on its side, that empty storm, crawling, dragging itself belly-up,  yet, concealed, ribbons of green and blue wind around, threads through the water, weaving and waiting and nesting, sparrow legs drawing little lines in the lime green air, and all the while, crumbling and crippling and sinking and stuttering, into the fractal it squanders itself, searching for that cessation and emptiness burning at the core, fearing it and feasting on it, graceless and boundless, consuming it and digesting it, disintegration, degeneration and absence its only assertion, and yet, concealed ribbons are winding, green is weaving, unseen, unsmelt, unheard, and all the while, it is clawing, hunting, digging, feasting, a shadow of a pleasure in that, seeing that place scratched,  bitten, wrecked, the remnants non-stirring, all sleeping, all in perpetual coma, and now, as it becomes what it was and had begotten, it is cessation, it can rest. and yet, and yet, weavings and windings, some strange itch, a heat snaps at the skull of it, but what of those spoilt things, all things were equally eaten, were they not? It cannot raise itself out of its own darkness, it howls back, spilling out the storm, but it cannot find that dread thing: for there are seeds in the rock, the sign bursts, around the ruin of the old sanctuary: for held there are the stones that will begin to hatch.

© Anna Clarke

Performed by rarescale

rarescale: Carla Rees – Kingma system bass flute, Michael Oliva – electronics

5. robin and marian 

Member of genus Erithacus, an outlaw, a sidekick, with stewed peas, a small child in the woods, killed with a bow and arrow, a three-wheeled car, including everyone, in education, Christianity, and elsewhere, nationalist or perhaps Jacobite, informally gentrified, ho, varlet.

Perfomed by Ian Pace

6. the enigma machine 4; the historicity of cartography

Tulse Henry Purcell Luper was born in Newport, Wales, in 1911, and was in Moab, Utah in 1928 when Uranium was discovered there. He may also have been to Burford although this is unconfirmed, and probably erroneous.

This piece, which has its roots in Luper's discoveries, is in sonata form. One might note that the quizzical character of the second subject in the development section finds its irrepressable apotheosis in the deconstruction of the climax found during the coda of the coda. However in this case it is the journey itself, rather than the destination, which becomes most important.

Performed by cat•er•waul

Edward Caine - Piano, Chris Leedham - Clarinets, Enrico Bertelli – Percussion 

peter toll - 'movement (holkham)'

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to purchase the limited edition cd see the header of this blog.

also available as a digital download:

movement (holkham) peter toll

On the North Norfolk coast sits the village & estate of Holkham. A large Hall & park to the South and to the North a Nature Reserve, owned by the Earl of Leicester who still resides with his family at Holkham Hall. The reserve is managed by Natural England covering around 4,000 hectares, consisting of a whole range of habitats, from green pastures, marshes, pinewoods, sand dunes, and the beach.

It’s a very popular location for dog walkers, Bird watchers, horse riding and holidaymakers heading for the beach.

For this album I tried to record the natural, wildlife setting of some of these habitats with as little interference from humankind as possible. I wanted the listener to feel that he/she is floating in time & space. Pausing at each different location, quietly listening to the wildlife and energy of each position, before gently moving on to the next.

It was an interesting and at times magical experience making these recordings. I hope this album conveys some of that magic and atmosphere of this beautiful place, to you the listener.

Recorded at different times during the winter months over a period of two years.

movement (holkam) # 1

a) Fallow Deer At Holkham Hall (00:00 -14:02) recorded October 2010 between 22:00-4:00am

A cold winter night, inside the hall grounds at Holkham. It’s a new moon, so there is very little natural light. Owls are calling and a group of female Fallow deer approach under the chestnut trees. Every hour or so the doe call to each other (Sometimes calling continuously for around ten minuets.). Eating sweet chestnuts, which are falling from the trees above, one of the doe approaches my pair of DPA microphones, gives them a good sniff before retreating for a short while.

With the rutting season just beginning, it’s time for the buck to make an appearance, making his deep calls (very close to me at one point!) and shaking a few trees.

A few coughs and a sneeze from a doe and back to the owls & cries from waterfowl on the lake nearby, before heading a mile or so north. In the direction of the sea, where the marsh meets the woods.

b) Edge Of Marsh & Woods: dead of night (14:02 - 21:33) recorded September 2011.

Another cold, still night, cries from a Muntjac deer and Tawny owls are out hunting. The wood & marsh becomes a hive of activity at night time for Shrews & other small mammals. All kinds of splashes and vocal sounds on the edge of the marshes, from these small creatures. The distant sound of waves crashing increases as the tide comes in. Then louder sounds from a Muntjac deer, walking through the reeds and water, pausing to chew on a branch of a tree.

A call from a Tawny Owl almost seems like a wake up call for the Ducks, Cows, distant Robin and the Geese to air there voices and signal the beginning of dawn.

c) Geese At Dawn (21:33-28:25) recorded December 2011.

Every winter, thousands of Pink Footed and Brent Geese come to stay in this area. Amongst the sound of Pink Footed Geese calling and the ruffling of there feathers, there’s the tick, tick of a Robin in a near by hedgerow as the sun starts to rise. Geese are very easily startled, if one fly’s off they all follow. Suddenly there off, thousands of them taking to the sky, calling.

As they fly in to the distance, other bird sounds take their place, before heading back to listen to dawn at the woods edge.

d) Edge Of Marsh & Woods: dawn (28:25-33:37) recorded September 2011.

As the sun rises, the sounds of Owl, mammals and Deer heard earlier in this position have been replaced with calls from Pheasants, Wren, other birds and Cows. A few distant Squirrel calls from a pine tree and it’s a good time to enter the woods and make them the next location.

movement (holkam) # 2

e) Pinewoods (00:-09:37) recorded January 2012 10:30am.

The Pinewoods at Holkham contain three types of pine tree, Corsican, Scots and Maritime. It’s usually a quite, still area, but on this overcast day there’s a fairly strong South East wind blowing. The sounds of a Squirrel climbing up a tree, is taken over by hundreds of pine trees blowing in the wind, creating an amazing sense of space, which I tried to capture on this recording.

The wind calms a little and a beam of light pierces through the clouds, bathing the trees around me in warm sunlight. Maybe because of a change in temperature or pressure, a new sound begins amongst the wind, pigeon and squirrels. Popping & cracking sounds, as Scots pine begin to discharge there winged seeds. Gently showering down, catching the sunlight as they fall, landing all around me.

A truly magical moment!

A small flock of Herring Gulls fly high, calling overhead and lead me towards the woods edge and the vast open space that is the dunes, beach and sea ahead.

f) Beach & Sea (09:37-17:15) recorded January 2012 11:00am

A bird (possibly a Firecrest) calls on the very edge of the wood, next to the dunes. Straight ahead lies the beach, which at this moment in time is deserted. The roar from the north sea brings me ever closer to the sea; finally listening under the waves.

EQUIPMENT USED:

SENNHEISER MKH30/40 MICHROPHONES (M/S SET UP) 

SENNHEISER MKH70 SHOTGUN MICROPHONE 

2X DPA 4060 OMNI MICROPHONES 

2X JrF HYDROPHONES

2X JrF C SERIES HYDROPHONES 

EDIROL R4-PRO RECORDER 

LARGE FLASK OF COFFEE!

my thanks to: Glyn Ingram and Holkham Hall Estate. Jez riley French, Chris Watson and Piers Warren for all the

knowledge I gained on the Wildeye location field recording courses.

special thanks: Jez, for giving me the opportunity & vision for making this album happen.

Katya & my son Ewan, for being so patient with me leaving the house at all hours!

Peter Toll is a composer, musician and wildlife sound recordist. Fascinated with the sounds & rhythms of the natural world, a long interest in sound recording and a great lover of nature, he releases wildlife field recordings in there own right, as well as incorporating them into his music.

Peter has composed music for film, TV, installations, theatre and the dance scene. Other artists have also used his field recordings, in their own films, documentaries and installations.

For over ten years he was a member of the audiovisual group Addictive TV, composing and performing all over the world, including the roof of the National Theatre London, Centre Georges Pompidou Paris and an installation & performance at The Museum of Contemporary Art Shanghai China.

website: www.tollymusic.com facebook: www.facebook.com/petertollmusic field recordings & music: http://soundcloud.com/tolly-music email: p.toll@tollymusic.com

review from 'the field reporter' blog:

Review by Cheryl Tipp

Listening to a publication for the first time always comes with a sense of anticipation. How will it sound? What form will it take? Will it match my preconceived ideas or will it surprise? Will I like it? Right from the start I knew that Peter Toll’s ‘Movement (Holkham)’ would not disappoint. This lovely release from Jez riley French’s Engraved Glass label comprises two compositions which have been built from a series of field recordings made in the Norfolk village of Holkham, England. These recordings, made during the winter months of two consecutive years, introduce some of the habitats that make up the Holkham Estate which include grazing marshes, a country hall, pinewoods and even a beach. Toll writes:

“For this album I tried to record the natural, wildlife setting of some of these habitats with as little interference from humankind as possible. I wanted the listener to feel that he/she is floating in time & space. Pausing at each different location, quietly listening to the wildlife and energy of each position, before gently moving on to the next”

This short paragraph perfectly sums up the spirit of ‘Movement (Holkham)’. Feeling more like a relaxed ramble than a whistlestop tour, the listener is not rushed through each habitat; enough time is given to immerse oneself in the soundscape, pay attention to the variety of sounds found within it, enjoy the act of listening and then move forward to the next segment. The pace is relaxed and the whole journey is a seamless transition from one habitat to the next.

‘Movement (Holkham)#1’ is the longer of the two compositions and includes some really brilliant field recordings. Beginning with a cold autumn night in the grounds of Holkham Hall, the crisp air is filled with hooting Tawny Owls alongside the movements and calls of Fallow Deer. The detail here is fantastic, with delicate rustlings through the leaf litter sitting effortlessly next to the deep resonating calls of Fallow bucks. Quiet descends as we then move into that undefined space: Edgelands. Somewhere between a marsh and a wood we are able to eavesdrop on the comings and goings of the nocturnal inhabitants of this area. Distant Muntjac, squeaking shrews, a calling Tawny Owl and vocalising geese all contribute. ‘Geese at Dawn’, the third section of this piece, summons images of an awakening landscape. The brash calls of Pink-footed Geese gradually swell into an overwhelming cacophony as the flock takes to the sky. Finally, as night becomes day, the sonic landscape shifts. Calling tits, a crowing pheasant, mooing cattle and a strident Wren come together to create this final scene.

The second movement, ‘Movement (Holkham)#2’ comprises just two recordings, both of which covey a sense of expansiveness. A strong, gusting wind through lofty pine trees is accompanied by gentle creaks and crisp flecks of sound as the trees begin to lose their seeds. Then we are enveloped by the sounds of the North Sea crashing onto the Norfolk coast, both above and beneath the surface.

Aside from admiring the technical quality and compositional structure of this publication, I feel a real fondness for ‘Movement (Holkham)’, probably because it represents the sounds of home. I’m not from Norfolk, nor do I reside there, but these recordings speak of the natural England which I and many others cherish.

review from 'a closer listen' blog:

http://acloserlisten.com/2012/11/01/peter-toll-movement-holkham/

When listening to pure, unadulterated field recordings, the conscious mind is aware that it is hearing history rather than composition.  The fallow deer steps and honking mating calls of “movement (holkham) #1″ are no studio creation; they unfold in real time, on a cold winter night in October 2010.  And yet the unconscious mind sketches musical narratives: this is the buildup, and the crescendo will follow.  When it does, in the fifth section of the extended opening montage, the unconscious mind then exclaims, “Yes!  This rocks!”  But in this case the “rock” is the cumulative presence of thousands of geese.  While listening to this piece, one muses about the distance that lies between sounds; in person, a couple sounds at a time may be adequate, but in a recording, the greater density draws the greater attention.  In person, a paucity of sound may mean safety, while overload means danger; but in a recording, an overload means excitement.  A snuffing single buck has nothing on the sound of a rising flock.  Tawny owls, ducks, robins and the previously mentioned geese welcome the dawn with a cacophony of pleasant agitation, and at 26:31, whoosh.

Peter Toll is well aware of natural human expectation, and thankfully caters to such expectation by sequencing his latest collection of field recordings from thin and distinct to thick and multi-faceted.  While it may have been difficult to resist the urge to catalog his recordings in chronological order, the layering by loudness works to the recording’s advantage.  A love for the nature reserve (owned by the Earl of Leicester!) shines through in Toll’s keen attention to individual sounds, his detailed liner notes and the tenacity of his recording sessions.  Toll’s repeated, extended visits to Holkham were necessary in order to capture the varied sounds of its disparate habitats.

While the first piece travels from the hall grounds to the marsh and woods, it also contains a subtle foreshadowing: the cries of cattle, the scuttling of squirrels, the sound of distant waves.  The second piece melds the whistling of pine winds to the shuffling of the shore; the challenge is to identify the moment in which the sources shift.  Toll was especially fortunate to catch the launching of seedlings, which has rarely been captured by microphone.  ”movement (holkham) #2″ is the fieldwork mirror of a band’s crowd-pleasing set closer, active from start to finish, bursting at the seams with untethered sound.  In a (very) alternate universe, one might imagine concert attendees yelling “Trees!” or “Seas!” as the artist emerged from the curtains for an encore.

Yes, it’s rock: wild, untamed, and closer than we might imagine.  These are the sort of sounds that led our ancestors to imitation, and eventually to music.  For those in tune with the natural world, there’s no substitute for the real thing.  (Richard Allen)

prices / ordering


at the end of April 2012 the UK post office raised most of their prices by 30%

therefore, taking that into account along with the add on effect on supplies of discs, print & in order to make it possible to continue to release music in this way prices for engraved glass & . point series releases are going up slightly - though they're actually coming down a bit for orders of 2 or more discs overseas for example (due to the slightly odd pricing structure of the good old UK post office).

order below & remember to indicate which discs you'd like:

options inc. worldwide postage

1 disc£8.00 GBP 2 discs£15.00 GBP 3 discs£22.00 GBP 4 discs£28.00 GBP

jez riley french - ‘instamatic: snowdonia’

a document of listening, simply

6 tracks focusing on fence wire recordings & listening to the wind

available as a limited edition, full size taiyo yuden cd mounted on an art card + additional postcard  

to order the cd version please see the first post on this website

also available as a digital download:

Review by Daniel Crokaert from 'The Field Reporter' website:

In his Instamatic series, Jez riley French invites us to share his moments of fortunate listening like they are, without make-up nor intellectualizations, retouches or alterations of the source, except a careful selection and probably a bit of equalization…
A hike within some magnificent natural region of North Wales, namely Snowdonia, led Jez to look particularly into the wind, that wind which speaks to us, while sweeping at the same timeendlessly across ever changing landscapes…
that air which circulates, lifts, makes particles, objects and surfaces vibrate, suggesting their outlines and concrete features…

But, far more than a report about a physical truth, the work quickly switches over to the extra-ordinary, underlining a very personal way of experiencing, of giving another dimension to things, and our environment…
Vast palette of amplified metallic resonances of fences planted in the isolation of a still preserved nature…agitation, vibrations, ferruginous supplications…a whole universe stands out, and submits to the laws of another one…a unhurried play of echoes and reflections coming out of the insignificant, and which reminds us constantly that our perceptions are fluctuating, eminently subjective, and tributary of their “captation tools”, but that they can also be the starting point of unexpected emotions…
“There’s an aesthete within us all “ seems to be, roughly speaking, what Jez whispers to us.

Through his care, his methodical record, his sense of listening, the creation of his own range of microphones, Jez acts like a revealer, a non-standard intermediary…
“Snowdonia” succeeds in closing our eyes slipping us into a long travelling through shaggy herbs, dishevelled by an insistent breeze – a Malickian scene…
Just next to us, trembling & bending wires, streaking the rust tones of a jaded vegetation…pebbles shrouded in history shape long grey veins studding the country as far as the eye can see…in the faraway, the shadow of hills asleep, peaceful guardians of a permanent sight…
In our ears, clicks, muffled murmurs of cold metal, aeolian moan, all the tense sensoriality of the world…

“Snowdonia” ends up ringing like the name of a mythical place where one has rendezvous with the other-worldliness…that other-worldliness, disguised under common appearances, here finely caught, and alongside which we often pass by in total indifference…

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john grzinich

madal öö

(shallow night)

1. Ööküll forest house, small pond with frogs. Recorded June 28th, 2010 at around 1:30 am

2. Water insect and beaver territory, Räpina Polder. Recorded May 29th, 2011 at around 1:30 am

3. Diverse calls of the Emajõe Suursoo (Ema River delta). Recorded May 15th, 2011 at around 3:00 am

4. Quiet field with Corn Crakes on the road from Rasina. Recorded June 28th, 2010 at around 2:30 am

5. Noisy island on Meelva lake with Cuckoo chorus. Recorded May 21st, 2011 at around 3:30 am

five spring chorus recordings, made in the early hours of the morning in natural wilderness environments in Estonia. Simplicity, clarity and the richness of the sonic landscapes documented make this release a fascinating listen.

available as a limited edition taiyo yuden disc, mounted on an A5 art card with accompanying A6 postcard and as a digital download.

John Grzinich (b. 1970 new york state), lives and works in estonia & has work published on labels such as SIRR (PT), Staalplaat (NL), Edition Sonoro (UK), Mystery Sea (BE) CUT (CH), CMR (NZ), erewhon (BE), Intransitive Recordings (US), Orogenetics (US), Elevator Bath (US), Pale-Disc (JP), Digital Narcis (JP) Taalem (FR), and Cloud of Statics(CH). Currently John is a project coordinator for MoKS – Center for Art and Social Practice , an artist-run international residency center and project space in southeast Estonia.

to order the cd version please see the first post on this website

also available as a digital download

review on 'the field reporter' website - click here

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catherine lamb

periphery

1.periphery (for two) - for two voices with environmental chord (2011)

performed by julia holter & laura steenberge (voices), bryan eubanks (electronic realization)

2. tone/noise - for nine multi-tracked violas (2011)

(performed by catherine lamb)

balancing space, tone & an uncanny hold on the attention, these two significant recent compositions from Catherine feature contributions from Julia Holter, Laura Steenberge & Bryan Eubanks.

available as a limited edition taiyo yuden disc, mounted on an A5 art card with accompanying A6 postcard & as a digital download.

Catherine Lamb (b. 1982, Olympia, WA.) is a composer/violist exploring sound through intimate ensembles and solo work. She is interested in microscopic color variances in (mostly) narrow bands, often with an ever-opening form. She is interested in the elemental/spectral interaction between tones and their shadows, between beings. She works with the phenomenological dimensions of quiet perceptual/sensual layers moving in and out of presence, as a being moving in space.

to order the cd version please see the first post on this website

also available as a digital download

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Bruno Duplant - ‘deux trois choses ou presque’ (scores by Manfred Werder)

1- 2009/4 (with the score)

2- 2009/5 (with the score)

3- 2010/2 (with the score)

scores by manfred werder

interpretations by bruno duplant (phonographies, sine tones, double bass & horn)

recordings made in waziers & douai, france, 2011

improviser and phonographer, Bruno’s latest release includes three realizations of text scores by Manfred Werder, using field recordings, sine tones, double bass & horn. Manfred has also supplied 'The Field', a further text piece to sit alongside these recordings.

available as a digital download only

review from 'the field reporter' website:

The installation of a sculpture into an area of countryside, or even sometimes into an established urban environment, can bring forth complaints. People object to the change of scenery. Letters are written to newspapers. Their sense of familiarity has been compromised.

A place they felt they once knew intimately has suddenly been transformed. An artist has had the audacity to position his work, a product of his singular imagination, in a place of prominence in the landscape.

As time passes the sculpture becomes assimilated into its surroundings. Children climb on it, people sit on its plinth to chat and it is used as a point of reference when giving directions to strangers.

In a small way this conversion happens when listening to Bruno Duplant’s deux trois choses ou presque, based on scores by Manfred Werder. Knowing from the text that Duplant is going to use sine tones, double bass and horn during these field recordings, there is a tendency to wait for their intrusion.

Listening attentively to a recording of what sounds like a semi- rural milleu of birdsong and a little human activity, I was ready for the instrumantal interventions. When they came they were slow, extended tones that seemed to rise over the everyday canvas of underlying sounds, disembodied and subtle but nevertheless at odds with their surroundings .

But as the tracks went on, a confluence occurred. Rather than existing alongside each other, the two seperate strands of the work seemed to coalesce. The distance and division between them seemed to lessen. By the end of its 40 or so minutes duration, the symbiosis was complete. The duality disappeared and in its place was a new entity.

For me (and this is purely a personal view, most probably not intended by the work’s authors at all), I envisaged an electromagnetic field of some sort emanating from the ground. It was as if Duplant, as well as recording the sounds of the environment, had also managed to record a field of energy vibrating beyond human audition.

Dedicating deux trois choses ou presque to the poet Francis Ponge is telling. Ponge’s poetry was based on minute attention to the detail of everyday objects. Free of emotion and symbolism, Ponge sought to express the world as it was. Pure concentration on simple objects. The cigarette. The potato. A bar of soap.

These three tracks demand similar attention too. Every listen creates in the mind different points of convergence and fusion between the elements of the piece. It is an object that can be turned around and looked at from many angles. Of course, each person has their own individual way of approaching any work of art, and each approach brings new rewards.

“Another way of approaching the thing is to consider it unnamed, unnameable.” – Francis Ponge.

-Chris Whitehead

review by Richard Pinnell (the watchful ear):

Bruno Duplant’s deux trois choses ou presque, a new release from Engraved Glass presents us with three realisations of these found sentences scores; versions of 2009(4), 2009(5) and 2010(2). In each we hear vibrant, busy sound worlds full of details of indoor and outdoor activity, traffic, city hum, birdsong, children at play, everything you might expect. Alongside each of the three Duplant plays an instrument, electronic sine tones, double bass and a horn of some kind. They are each quite fascinating to listen to, an aural window onto another part of the world, three sets of sounds we can only partly easily identify, and so we engage with them as a listener in a way we might not if we were just going about our way in the place they were recorded. Werder talks about The Field however as not being contained by anything. So the CD that I burned this music onto to listen to, the digital silence at each end of the disc, the sounds in the room around me do not sit apart from the performance. Here though, as each play of the CD presents the same set of sounds from the hi-fi, so maybe I am then extending the work out into my own experience here. Strangely, exactly a year ago tomorrow I wrote thisreview of a Manfred Werder score released on CD. Because it felt like the correct thing to do on that evening I split the review partly between my grasp of the sounds coming from the stereo, and partly on the cup of tea I was drinking while it played- both its taste, but also how it looked, smelt, felt in my hands. The need to extend Werder’s music beyond the aural, beyond even the extended sound world it met once merged into the sounds here once played seemed important.

So, I found myself engaging with Duplant’s realisations of Werder in similar ways, each time I listened, whether it be in the often interrupted near silence here this evening or alongside the roar of the car, and the already focussed visual awareness of driving to work and back today with the CD playing. To judge the music of this download away from such a consideration of everything else I can sense is then, perhaps a fruitless concern. I can tell you how the pieces here sound, but that might miss the point of Manfred’s music. I actually am not a big fan of Duplant’s playing on these works- a little too busy, and in the case of the final track with his remarkably electronic sounding horn actually quite distracting from everything else on the recording. This is pointless though simply because the recording of a realisation of these works is not the work itself. Playing the recording and existing alongside it certainly comes closer, but writing about the sounds coming from my hi-fi speaker alone would perhaps be to miss the point.

from 'crow with no mouth', Jesse Goin's website:

Bruno Duplant throws open the windows to the world in his realization of Werder's deux trois choses ou presques, allowing the constant soft roar of that world to co-mingle and interpenetrate his offerings on arco bass, sine tones and horn. Duplant resolves Cage's the problem with sounds being music by a striking a ballast between the two, and achieves a fine result. The listener is allowed that pleasurable state, and I think Duplant sustains this throughout the duration of the score, of tuning in and out its discrete elements, sometimes dialing in the thrum of traffic, the chatter and laughter of children, sometimes focusing on the deft lacing and limning of his bass and sine tone work. Meanwhile, of course, they all sound throughout. The reader is encouraged to dig a little into Werder's approach to text-based scores and performance to support their appreciation of what Duplant has accomplished here. He creates an environment in which ordinary and commonly ignored sounds are subtly entwined with his playing, an environment in which the placement of attention serves as another dynamic element of the piece. This is, to date, my favorite offering by Duplant.

review by Daniel Barbiero on Avant News

On this release double bassist/sound artist Bruno Duplant performs three verbal scores by composer Manfred Werder. Each score consists of a brief text taken from the French poet Francis Ponge; Duplant’s realizations, recorded in 2011 in Waziers and Douai in France, involve performances in settings in which ambient sounds played as significant a role as Duplant’s use of sine tones, double bass and horn.

The first piece, a realization of Werder’s 2009-4, sounds like it was recorded outdoors in a wooded setting. Sine tones gently rise and fall within the larger sonic space of birdsong, insect sounds and what could be wind and/or distant traffic. By contrast, the second piece, 2009-5, is played out against a background of artificial sounds. The track opens with the Doppler-effected sounds of passing traffic; one gradually becomes aware of the quiet encroachment of Duplant’s bowed bass. Changes of bow pressure and placement relative to the bridge produce subtle shifts of timbre and volume; the long, deep tones, separated by substantial rests, overlap with and complement the surrounding drone of automobile engines. The third track, a realization of 2010-2, seems to have been recorded indoors and opens with what sounds like footsteps on a wood floor. The relative quiet of the recording ambience is broken by the intrusion of sirens, a reminder of the human activity outside. Once again Duplant brings in long bowed tones separated by lengthy pauses; the time between tones becomes more compressed as the piece approaches its conclusion.

The scores have some constraining effect on the performance, though what that precise effect is does not make itself transparently obvious to the listener. The third score, for example, consists of two lines asserting a correspondence between the French phrase for “glass of water” (“verre d’eau”) and the object it describes, based on Ponge’s observation that the opening and closing letters of the phrase have the same vase-like shape as a drinking glass. The connection of Ponge’s observation to Duplant’s realization is something not immediately apparent; it takes place somewhere out of earshot, as it were, but the process of drawing the association would seem to be fundamental to the concept underlying the score. The performance lies as much in the performer’s (internal) act of interpretation as it does in the external execution or in the overt instruction of the score itself—the essence of the performance in this regard is something made invisible and, not incidentally, something beyond the control of the composer. This for Werder represents a deliberate pursuit of indeterminacy by way of a reduction of the role of the composer as well as the composition, which here functions more as an associative stimulant than as an unambiguous set of directions. As the performances on this recording demonstrate, any realization of these scores is a collective effort in which the performer plays a role equal to that of the composer. That Duplant’s choices in responding to Werder’s promptings are apt ones makes this a recording that succeeds at both the conceptual and practical levels.

http://engravedglass.bandcamp.com