murmer // tether LP

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アメリカ／エストニアの実験音楽家／フィールドレコーディング作家murmerが、2023年5月に同国テキサスの実験／ノイズレーベルHelen Scarsdale Agencyから200部限定でリリースしたレコードです。 フィールドレコーディングによるロングフォームなローエンド・ドローン〜物音ドローン2曲を収録。DLコード付属。 以下、作家本人による解説です。 "2006年、エストニア南東部のムーステにある携帯電話電波塔で録音したコレクションを制作しました。高さ80メートルのガイディング・タワーで、3つの支点に重いケーブルで固定されています。このケーブルに自作のコンタクトマイクをポスタータックで取り付け、風や天候の変化（夏でした）、タワーやケーブルの上を通過したり定住したりする鳥たちを、数週間にわたって何時間もかけて記録しました。タワーにはフェンスもプロテクションもなく、田舎の未舗装道路沿いの背の高い草原の真ん中に、近くの数軒の家からは見えないように建っていました。16年以上前から、私はこの場所と録音について考え続けてきました。何度かインスタレーションに使用したり、Aporee Soundmapsに短い編集をアップロードしたことはありますが、作曲した作品に使用することはできませんでした。単体で置いても、他の音と組み合わせても、私が提供できるどんな構造に対しても、それらはいつも大きすぎるように思えました。そして2019年、長年にわたって置いては拾い、置いては拾いを繰り返してきたそれらの素材は、私が提供できるものに満足するまでさらに数年かかったものの、私を受け入れてくれたようです。この作品のレイヤーサウンドの大部分は、これらのケーブル録音を様々に編集したものですが、私は他に2つの対照的な音を加えました。1つは、マイクを入れたプラスチックのケーキ箱に繊細に降り注ぐ雪、もう1つは、軽く暖まった秋の朝に解凍された草の霜のついた畑です。このケーブルの音を聴いていると、これまで一緒に過ごし、録音しながらも戻ってこなかった風の音がたくさん浮かんできて、それらを探してアーカイブを掘り起こすようになりました。その結果、ワイヤー、ケーブル、フェンス、ポール、ファン、通気口などの共鳴音を集め、それが今回の第2作のベースとなりました。1999年、北ロンドンで働いていたパブのビールクーラーのリズミカルなファンの音です。この作品には、2008年にフランスの北海岸で録音した別の電話塔、2010年にボジョレー地方で録音した電柱、2012年にスロベニアのテズノの工場で録音した換気扇のドローン、2013年にスコットランドの国境にある電気羊柵、2016年にフィンランドのロヴァニエミの倉庫にある吊りワイヤー、ケーブルや風とは全く関係ないが2019年にエストニアで電気ケトルの内部から洗浄中のカルシウム付着物が、その他の音として含まれています。私はこの2つの新作を、2018年以来のソロ出版として提供します、 また、2016年以来、初めて物理的な媒体でリリースします。私は、自分の作品を「完成した」と考える前に、作品の周りに物理的な時間の空間を残す必要があるようです。おそらくそれは、自分がどのように何かをしたのか、あるいは何かをしたことを忘れるという単純な欲求なのでしょう。また、初めて聴く人のように作品を聴くことができなければ、そのような出会いの準備ができたとは思えないのです。心のどこかで、その作品を手放す前に忘れてしまわなければならないのです。ロンドンのビールクーラーも、ボジョレーを歩いたことも（今は亡き父と）、ボーダーズのキャンプ場の隣にあった羊の柵も、水漏れしているケトルも、もう忘れようとしています。だから、今がその時なのだと思います。" レーベルその他作品はこちら /// Click here to see more Helen Scarsdale Agency releases available at Tobira. ---------------------------------------- Includes DL code. 12" black vinyl. Edition of 200. Helen Scarsdale Agency: " murmer is the long-standing project of american/estonian field recordist and composer patrick mcginley, and with tether, the helen scarsdale agency welcomes murmer back to our roster, over a decade since he graced us with his last production for the agency. his field recordings often center upon the amplification and activation of resonance from a particular space, landscape, or object. such sounds emerge from a condition as being fleeting, inconsequential, or ephemeral and explode into that which is alien, sublime, and profound. here lies the tremendous prowess of the contact microphone, as wielded by an accomplished musician! the source material cited by mcginley includes cables, fences, wires, and vents.there is a heft to many of these sounds as heard throughout all of "taevast" with deep throbbing pulsations from arctic wind generating subharmonic patterns upon thick high-tension wires. elsewhere the subtle dissonance from a rasping cooling fan blooms into a brooding ambience that is sublimely rich in its metallic timbres and complex reverberations. mcginley has long been an exemplary artist in the field of phonography even as he is less prolific than others. on tether, he has produced a majestic if occasionally foreboding work on par with the mythic wire recordings of alan lamb, jacob kirkegaard's haunted resonance from chernobyl, and much of the touch catalogue for that matter!" Patrick McGinley : "In 2006, I made a collection of recordings at a mobile phone mast in Mooste, southeast Estonia. It is a guyed tower, 80 meters tall, affixed to 3 support points with heavy cables. I attached my self-made contact microphones to these cables with poster tack, and spent many hours over several weeks recording the various wind and weather variances (it was summer), and the birds that passed or settled on the tower or cables.This was one of my first visits to Estonia, where I now live, and one of the things that marked me about that experience was the access: the tower had no fences or protections around it (I have not been back there recently to answer my own question of whether or not this is still the case); it stands in the middle of a field of tall grass along a dirt road in the countryside, just out of view of the few nearby houses, and during all the hours I spent there I was never disturbed or shooed away.For more than 16 years, I have been thinking about this location and these recordings, and have made several attempts to work with them. I have used the sounds in installations a handful of times, and uploaded one short edit to the Aporee Soundmaps, but have never managed to use them in any composed work. They always seemed too big for any structure I could provide them, whether I left them on their own, or partnered them with other sounds. Finally, in 2019, after putting them down and picking them up again repeatedly over so many years, they seemed to allow me in, although it took me another few years before they were happy with what I could offer. They stand now not quite alone - the majority of the layered sounds in the piece come from various edits of those cable recordings, but I added two other contrasting sounds, related to one another: one is snowflakes landing delicately on a plastic cakebox with microphones inside it, and the other is a frosted field of grass thawing on a lightly warming autumn morning (both these recordings can also be heard on their own on Aporee).Coming back to those cables brought to mind so many other wind-driven sounds that I had spent time with and recorded, but never returned to, that I began digging through my archives looking for them. I ended up with a pool of sounds from resonant wires, cables, fences, poles, fans, and vents, which became the basis for the 2nd work on this release. One of these sounds is among the first sounds I ever recorded, possibly within a month or so of buying my first microphone and minidisc recorder: the rhythmic fan of a beer cooler in a pub where I worked in North London in 1999. Other sounds in the piece include another phone tower, recorded on the northern coast of France in 2008, a telephone pole recorded in the Beaujolais region in 2010, the drone of ventilator fans at a factory in Tezno, Slovenia in 2012, an electric sheep fence in the Scottish Borders in 2013, a hanging wire in a storage space in Rovaniemi, Finland in 2016, and, with no relation to cables or wind at all, calcium deposits being cleaned from the inside of an electric kettle here in Estonia in 2019.I offer these two new pieces as my first solo publication since 2018, the first release on a physical medium since 2016. No one has ever accused me of working too fast, or being too prolific. I have a need, it seems, to leave a physical space of time around my work, before I can consider it 'finished'. Perhaps it is a simple need to forget how I did something, or *that* I did something; perhaps I have a need to be able to hear a work as a first-time listener would, before I can consider it ready for such an encounter. In some part of my mind I have to forget it before I can let it go. Well, I've just about forgotten that London beer cooler now, and that walk in the Beaujolais (with my father, who has since passed away), and that sheep fence next to our campsite in the Borders, and that kettle that is now leaky. So I guess it's time." Artist : murmer Label : Helen Scarsdale Agency Show more