Thursday, 7 July 2011

field recording / sonic arts label Gruenrekorder have announced a new series of digital downloads, with the first 3 releases available now:

Caucasus Tapes | Martin Clarke
GrDl 090 | Gruen Digital
MP3 & lossless WAV


1 Kobayr 02:48

2 Hayravank 02:45

3 Haghpat 02:11
4 Echmiadzin 02:01
5 Sayat Nova 01:36

6 Zvartnots 01:52


7 Garikula 03:45
8 Sioni 03:14
9 Crickets 05:53
10 Dogs 02:09

11 Piano 04:29

12 Taxi 01:39

13 Ratcha 03:43

14 Sink 01:26

14 Tracks (39’50")


Tupelo | Mirko Uhlig

GrDl 084 | Gruen Digital

MP3 & lossless WAV

Seven years after the first public musical outing. What a crucial phase. The first album planted flowers in an abattoir, this new one throws leaves on a grave. I guess for the running people a persevering man seems to be leaving.

The teeth are loose, we need a brace!

Two boys buried, I’ll travel with you to Tupelo. Towards Bright Music for Lulubelle.
"Don’t listen to Rock’N'Roll, it’s contaminated by death’s bite!"

1) Soot
2) Loosing Teeth
3) Lurking Teeth
4) Soot Toe
5) Losing Teeth
6) Soot Tea


6 Tracks (39′57″)


Antarctica | Craig Vear

GrDl 089 | Gruen Digital

MP3 & lossless WAV

In the winter (Austral summer) of 2003/4 I embarked on an ambitious musical project in Antarctica, having been awarded a joint fellowship from Arts Council England and the British Antarctic Survey’s Artists and Writers Programme. The purpose of my visit was to compile a unique library of field recordings from the Antarctic and sub-Antarctic regions, which would become the sound source for music composition.

The focus of my many field recordings was to capture and reflect the relationship between the British Antarctic Survey (BAS) and the continent it embraces, and the life and populations of the area surrounding the Weddell Sea. Under these headings, the natural sounds (wind, sea, weather and wildlife), the human sounds (scientists living and working, boat captains, ‘talking heads’ interviews and conversation), the mechanical sounds (machinery, generators, boats, scientific experiments, travel, entertainment), and the phenomenological sounds (whistling rigging, clanking objects, crunching ice floes, musical accidents) were of equal significance.

I journeyed to far and desolate lands, recorded colonies of penguins and seals, flew to isolated huts deep in the Antarctic Peninsula, and smashed through pack ice aboard an ice strengthened ship. I experienced the euphoric highs and the mind-crushing lows of solitude, the overwhelming presence of all who had come and gone, together with the realization that I was, as a human and an artist, a mere speck on this planet.

The main artistic product of my three-month journey is Antarctica (, a large-scale surround sound electroacoustic composition, created from this sound library compiled during my residency. Described originally as “theatre of sound”, this piece was created as a sequence of scenes, immersing the audience in a three-dimensional sound-scape of Antarctica. This album presents new audio elements not previously heard before.

1. Iceberg (Rothera Point) – 12’20"

2. Uranus Glacier (Adelaide Island) – 5’08"
3. Katabatic Wind (Sky Blue) – 5’15"
4. Adélie penguins (Jenny Island) – 12’20"

5. R.R.S. James Clark Ross hold #2 (Lemaire Channel) – 21’51"

5 Tracks (56’54")

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