vendredi 4 mai 2012

"Somewhere on the edge" on Gruenrekorder




Somewhere on the edge

Various Artists



47 Tracks (531′34″)
Soundscape Series by Gruenrekorder

Gruenrekorder / Germany / 2012 / Gruen100 / MP3 & FLAC
This work is licensed under a Creative Commons Licence.



99% & me in NY by Brandstifter
After Club Cut by Matze Schmidt
Ahmedabad extasis by Xabier Erkizia
Anarchy in the UK by Matthias Kispert
A Line Made by Listening by Mark Peter Wright
a very fine needle by Joe Stevens
Bmusm by Sean O’Neill
Boucles & Coques by Anton Mobin
Brisbane floods by Greg Hooper
County Fair by John Arndt
Creak by Nigel Simpson
Crickets by Michael Peters
domestic-duties (excerpt) by Frank Rowenta
Erntelied by Grit Ruhland
Eternally by Luís Antero
fressspinne by lupov cokoliv*
From the Edge of Saturn by Jay-Dea Lopez
Ghosts along a border by Pierce Warnecke
Höfn by Mark Lorenz Kysela
Horta Harbour by Gerald Fiebig
Krásná Lípa by Roland Etzin
L’impossibilité de la voile by Enrico Coniglio
Los Desarbustales by Alan Courtis
Maghrib prayer by Pablo Sanz
night drift 09-28 by Ben Owen
Outside the Gruen-Syndicate by Tobias Schmitt
Perturbation by Robin Parmar
POZNAN CREMATORY by Hubert Wińczyk
Seoul Milk (Excerpt) by Alfred Harth
shangani 17DEC06 15min by Grant Smith
The Re(hear)sal by Gilles Aubry
TOTEM by Rubén García
Trasmoz by Rodolphe ALEXIS
Tree at Elbwiese by Konrad Behr
UNBEARABLE WISDOM by Pietro Riparbelli
untitled by Chad Clark
Void by Bernhard Gál
White Star Line by Danny Mc Carthy





Boucles & Coques by Anton Mobin | 08:30


Recorded by Anton Mobin on Nagra ares m2 using hq Nagra microphone housed. Captured on 21 August 2011 in Bretagne, on a pontoon of Saint Servan’s marina, a small municipality of Saint Malo, in the department of Ille-et-Vilaine. Specially edited for Gruenrekorder at the Maïzing Studio in Paris, on April 2012.

The pontoon is private so I remove my headphone to remain discreet sliding among the sailors who roam in their activity between boats. In this way, I made  blind recordings of every buckle of mooring in the closest, less worried about the result that of appreciate every bounce of boat hulls on the surface of the ocean which gives rhythm to this symphony of grating. During more than thirty minutes my attention turns away on what make people, I look at every boat. Somewhere on the edge the fixed time rocks me.

A few weeks later by listening again to these recordings in front of my speakers, I discover this nearness with the microphone to reveal a wealth and an incredible detail, but also a density which I had not perceived during the recording where only the peace prevailed.

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