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1.
01 staking in the tent 01:25
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2.
02 resonance build up 02:00
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3.
03 long train passage 05:09
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4.
04 rpms in the distance 06:40
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5.
05 not a dog, in the air 07:32
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6.
06 yes, some dogs out there 05:55
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7.
07 into the water fauna 03:14
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8.
08 02:18
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9.
09 01:31
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10.
10 02:51
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11.
11 02:10
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12.
12 01:59
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13.
13 00:35
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14.
14 01:00
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15.
15 02:55
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16.
16 00:54
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17.
17 dawn moment, drive by, air capture 20:21
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18.
18 first morning train 01:18
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19.
19 train with coffee 02:10
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about

I'm not sure who said that #fieldrecording should be a map of the changes of air density and temperature. It's not even that it should be that. It's just that this seems to be precisely what it is. Not the territory but, in the case of this sequence, not even a map, strictly speaking, but an imprint, a death-mask or set of sonic-fingerprints dusted into digital sheath, or like a thin layer of wet muslin laid upon the supine figure of the sacrificial (the earth is always such a) landscape. Like a snake-skin left dangling between your ears.

These long and "pointless" captures owe themselves to various phenomena transpiring around me that heightened my awareness of them, and translated my attention accordingly. Fires of already kindled consciousness boosted intention to curiosity. Inspired, I suspect, by pre-mourning the lost presence of #romania -- in my life, for that season -- the recordings bear witness to and represent a savouring of these wide open spaces over which such ghostly resonances and mysterious anonymous rumblings travelled, accumulated, amid the ever-shifting mating choreographies of the crickets. I was also savouring the utter absence of any bustle or hustle of the city. And in this case, because of the ditch or culvert, perhaps my first auditory encounter with and recording of unidentified aquatic fauna. Gurglings and trickling that were periodic but frequent, not constant. Photosynthesis doesn't happen at night. Not in this darkness. Were these some displaced oscillations from the vascular process of the nearby trees and bushes? I saw no animal the whole evening other than a wasp who got stuck inside a discarded plastic bottle. As the night entered into greater stillness, the sounds from the water came into greater relief. The cyanobacteria which covered water showed no external signs of current. Deeply puzzled, I kept shifting position, speculating about diatoms, diaphanous water-bugs, primordial goo. Without a hydrophone that year (this was August 2022, it was hot, my hydrophones had dehydrated), there was no way to get any deeper into the quasi-motionless muck. The night was filled with sonic events and some of the titles give hints.

Padurea Comunei Ordereu is one of thousands of public forest areas throughout Romania that are preserved specifically for ecological reasons of maintaining the wood culture in all its biodiversity and practical advantages. This particular stretch happens to be near the border with Hungary and not very far from Ukraine. Although the nearest towns didn't seem to have any railway stations and we did not see any tracks, we could hear and feel seismically the passage of often quite long transport trains. This album should have been part of the recently released compilation of Bulgaria and Romania field recording but after repeated listenings, I found it impossible to compress and after having enjoyed the peaceful ambience several times while letting the whole 71 minutes roll, I felt it was best to keep it all intact. All the tracks are there in a timeline with the only edits being to take out the device triggering artefacts.

-- Jeff GburekOctober 5, 2023

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released October 5, 2023

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AKASHIC RECORDS image

AKASHIC RECORDS Poland

Guitarist, composer, sound designer, field recordist, shortwave radio poet, blending electro-acoustic, electronica, spectral comp., cracked circuits, sounding organic objects with an ear towards earth voices. Studied Javanese and Balinese gamelan and theories of Partch and Xenakis. Working with dance/theater/butoh co. Djalma Primordial Science. More than 400 concerts throughout Europe since 2005. ... more

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