about the cd
Recorded in 2007 and 2008, Cursory Asperses was created using cassette tape recordings of water sounds from various rivers, streams, lakes, beaches, and pools, combined with direct-to-tape recordings from synthesizers, an organ, cello, piano, and bowed instruments.
Instead of mixing these sounds traditionally, free Mac OS Classic programs such as Audiosculpt and Soundhack were used. Non-realtime convolution processing was applied, using the water recordings as an impulse for the instrument sounds. The arrangement involved adding silence before, during, or after, layering the sounds visually to create an audio interpretation of the movement of water and waves—slowly evolving and shifting—for a meditation on deep and focused listening.
Or perhaps it’s just as transient and meaningless as the flow of water: the passing of rivers, the crashing of ocean waves. The tones remain unpolished, left in their raw, fuzzy form, with high noise compressed into the deep. Beneath the swells and under the depths lies a sense of longing, or perhaps the absence of it. It’s just passing by, no different from years before.
- 1 - Natatorial Swings 7:15
- 2 - The Languid Progency of Low-flying Birds 9:05
- 3 - A Soupçon of Self-doubt in a Pannus Cloud 5:46
- 4 - Superannuated Blinks of a Otherwise Forgotten Pond 6:16
- 5 - The Peregrine Birders of Phantom Forests 6:45
- 6 - Laggardly Filling in the Past 8:38
- 7 - The Impotence of Decelerated Self-importance 4:56
- 8 - Epigone Bygones 9:18
€18,00
only 3 left
- 1 - Natatorial Swings 7:15
- 2 - The Languid Progency of Low-flying Birds 9:05
- 3 - A Soupçon of Self-doubt in a Pannus Cloud 5:46
- 4 - Superannuated Blinks of a Otherwise Forgotten Pond 6:16
- 5 - The Peregrine Birders of Phantom Forests 6:45
- 6 - Laggardly Filling in the Past 8:38
- 7 - The Impotence of Decelerated Self-importance 4:56
- 8 - Epigone Bygones 9:18
about the cd
Recorded in 2007 and 2008, Cursory Asperses was created using cassette tape recordings of water sounds from various rivers, streams, lakes, beaches, and pools, combined with direct-to-tape recordings from synthesizers, an organ, cello, piano, and bowed instruments.
Instead of mixing these sounds traditionally, free Mac OS Classic programs such as Audiosculpt and Soundhack were used. Non-realtime convolution processing was applied, using the water recordings as an impulse for the instrument sounds. The arrangement involved adding silence before, during, or after, layering the sounds visually to create an audio interpretation of the movement of water and waves—slowly evolving and shifting—for a meditation on deep and focused listening.
Or perhaps it’s just as transient and meaningless as the flow of water: the passing of rivers, the crashing of ocean waves. The tones remain unpolished, left in their raw, fuzzy form, with high noise compressed into the deep. Beneath the swells and under the depths lies a sense of longing, or perhaps the absence of it. It’s just passing by, no different from years before.
