why we love this
Exploring a range of water states, it sometimes appears as a gentle, dissipating mist, while at other times, it transforms into a resounding, formidable torrent.
about the record
SEASCAPE - polyptych is an audio-visual software developed in collaboration with Canadian new media artist Clive Holden. It is based on image and acoustic source material from John Huston’s 1956 classic Moby Dick. While Holden works on manipulating film sequences, the voice of Captain Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Captain Ahab's voice into ten abstract soundscapes.
In this production, Ahab's voice acts as the driving force and controls the music, but it is not the literal spoken word that is heard. Occasionally, fragments of speech can be discerned, but the compositions primarily consist of hissing, soundscapes, and eruptive sounds, creating a dark and sinister atmosphere. Despite its abstract nature, each piece maintains a clear sonic structure and follows a comprehensible dramatic composition. SEASCAPE - polyptych invites listeners to immerse themselves in the stream of sonic events.
Although the soundtrack is part of a larger media art work, it can be enjoyed independently without prior knowledge. However, understanding that the network of synthesizers is controlled by the sonic waves of a human voice, particularly Captain Ahab's, adds another layer of interpretation. The presence of Ahab is felt throughout the soundscapes, conveying both a subliminal threat and a commanding presence. From the majestic "On the quay now, waiting and watching" to the oppressive "Drawn toward the whirlpool's center," the music serves as both an auditory experience and a sonic discourse.
- 1 - The water seems changed to mist and vapor 3:51
- 2 - Ropes sing in the air 3:05
- 3 - Waiting and watching (version) 3:51
- 4 - Warm murmur in the room 4:56
- 5 - It moves swiftly forward, throwing up great waves 4:17
- 6 - On the quay now, waiting and watching 5:16
- 7 - Someone squeezes a concertina, sailors begin to sing 2:12
- 8 - Drawn toward the whirlpool's center 5:15
- 9 - It moves swiftly forward (version) 2:50
- 10 - On the quay (version) 4:21
€30,00
only 3 left
- 1 - The water seems changed to mist and vapor 3:51
- 2 - Ropes sing in the air 3:05
- 3 - Waiting and watching (version) 3:51
- 4 - Warm murmur in the room 4:56
- 5 - It moves swiftly forward, throwing up great waves 4:17
- 6 - On the quay now, waiting and watching 5:16
- 7 - Someone squeezes a concertina, sailors begin to sing 2:12
- 8 - Drawn toward the whirlpool's center 5:15
- 9 - It moves swiftly forward (version) 2:50
- 10 - On the quay (version) 4:21
why we love this
Exploring a range of water states, it sometimes appears as a gentle, dissipating mist, while at other times, it transforms into a resounding, formidable torrent.
about the record
SEASCAPE - polyptych is an audio-visual software developed in collaboration with Canadian new media artist Clive Holden. It is based on image and acoustic source material from John Huston’s 1956 classic Moby Dick. While Holden works on manipulating film sequences, the voice of Captain Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Captain Ahab's voice into ten abstract soundscapes.
In this production, Ahab's voice acts as the driving force and controls the music, but it is not the literal spoken word that is heard. Occasionally, fragments of speech can be discerned, but the compositions primarily consist of hissing, soundscapes, and eruptive sounds, creating a dark and sinister atmosphere. Despite its abstract nature, each piece maintains a clear sonic structure and follows a comprehensible dramatic composition. SEASCAPE - polyptych invites listeners to immerse themselves in the stream of sonic events.
Although the soundtrack is part of a larger media art work, it can be enjoyed independently without prior knowledge. However, understanding that the network of synthesizers is controlled by the sonic waves of a human voice, particularly Captain Ahab's, adds another layer of interpretation. The presence of Ahab is felt throughout the soundscapes, conveying both a subliminal threat and a commanding presence. From the majestic "On the quay now, waiting and watching" to the oppressive "Drawn toward the whirlpool's center," the music serves as both an auditory experience and a sonic discourse.
