disc two track ten - 3:44
writing about and with
This piece is a soundscape in the traditional
sense: concrete recordings assembled together like waves that
wash the listener with one atmosphere, then another. Yet each
atmosphere is a collage itself, with nothing but the brain to
put the pieces together. In a kind of wave pool of sound. This
one; an oldish sentiment, in newish times. But as well, just
a piece of the larger and "complete" sound piece.
We begin with clapping, hitting, and
other modest forms of making a festive beat. There are ambient
sounds from a carnival type atmosphere, such as muffled music...
bells coming in... chanting. Conversation, directions. Church
bells in the distance, tennis ball hits. (This piece seems to
bury the bones of the present (excellently recorded tennis ball
hits) in the soil of the past (the archival Vancouver Soundscapes
the author borrowed and transformed from Simon Frasier University))
They mix well together, as layered packaging. A bubble within
a bubble, within a...
Next we place some money into a change mechanism... it is pushed
in, comes out, and the old piano bar music begins. And seagulls
in the background plea. A machine begins to rise in power and
stature, turned on, gaining frequencies, volume, and domination
over the sound field. A phone rings but no one answers. The gulls
continue. Boats start to blow their horns lonesomely. The phone
continues. The boat horns become musical instruments of their
own. There is an old remembrance of that old French tune "alouetta",
and the horns continue to sound, awakening all boat souls to join
in... to slow down, breath deep, and sound serious. Together
they sound. Ambient noize provides the clouds of the space, while
we remain between water and sky. There is one last dramatic horn
sigh, and the piece ends, as the fog lifts.
I didn't see any fire though.
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