off to record dusk concerto, 100218, Rua, Sumba, Indonesia
Thailand 1994 - on a bumpy ride on a pickup truck across the island of Koh Phangan, i hear… this sound. this rather linear, piercing high tone, that carries for miles. it doesn’t hit home immediately that that’s an insect. but when it does… i am hooked. it’s the beginning of a love affair. i start hunting this sound with my tape-recorder. and discover so much more. these initial experiences are like epiphanies. these sounds … they are absolute sound. they contain a purity that is beyond music - or is pure music. they do something profound to me. they ring home. and it’s like that every time. it is overwhelming, awe-inspiring… every time…
nature speaks languages. we can ”hear” them, but do we listen, do we try to understand? floods, tornados, droughts, land erosion, climate change, et cetera - these are but the most obvious examples of nature speaking.
my field recordings works contain nature’s sounds with this particular intention/communication in mind. the field recordist in the role of a mediator. aesthetic choices are but departing points. the quality of attention defines the quality of experience. of hearing. of listening and understanding. then the exploration may begin.
tongues speaking, senses responding, resonating and reverberating. immersion - being part of something.
the field recordings LIVE set uses raw and untreated sounds of nature, mainly of insects but also of amphibians, mammals, wind, water and weather. recordings made in national parks and natural environments in Thailand, Vietnam, Indonesia, Ecuador and Switzerland are magnified, layered, juxtaposed and formed into a composition, revealing a rich sonic world that takes you onto an hallucinant journey. an accompanying text (which comes on a leaflet that is distributed in the audience at the end of the set) relates the importance of the insect world to human existence
field recordings feature frequently in dp’s work. the albums listed here contain untreated field recordings exclusively
note: the recordings on these releases have been equalised and often arranged - often they’re also just straightforward, one-take, single recordings. sometimes panning is used. no other audio treatments, effects or manipulations have been applied, and no compression.
but - for all you purists out there - pure field recordings do not exist. a recording is already a reduction, an alteration, a remodelling, a reshaping… i mean, sit by a frog-pond and compare that to a recording of it, for example. and it has nothing to do with how good your microphones are…
appearancesFolk War. Fuck The Bastards Broadcast Sessions Vol. 5