Terra Subfónica

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“As a composer and sound artist often working closely at the nexus of radiophonic art, environmental sound and electroacoustic music, one of my primary interests is in the exploration of relationships between people and the incredibly rich sonorous environments they populate. In particular, the sounds that exist all around us, however that are often out of earshot (or at least not listened to in any conscious manner), as with the sounds beneath us as we tend our daily lives.

terra subfónica is a radiophonic work reflecting aspects of sub sound through a series of dramaturgical, radiophonic miniatures. Sub sound in this instance is not a term indicating low frequency sound, as in bass material, but rather a radiophonic suite reflecting and meditating on aspects of that which is below us; ultimately mapping a sub sonic terrain lying just below, or on the periphery of our (typically) perceived threshold of hearing. The sounds and sonic fragments chosen to represent different aspects of sub sound have been used as a basis for generating the narrative/ dramaturgical structure in each of the miniatures. Shards of familiar, strange, overlooked and unheard sounds coalesce, as metaphor and sound arcanum guide the listener throughout each of the works in the suite.

Importantly, the content and presentation of terra subfónica gravitates around an eclectic array of sound art works exploring the medium of radio. In an attempt to explore my own perception of the medium of radio, I wanted to produce a diverse body of work, from field recordings and instrumental music to electronic music and beyond. This also meant creating 2 monophonic sound works expressing my interest in sonic possibilities for monophonic sound diffusion environments, as well as employing various experimental sound reproduction techniques to compose, as well as preserve the actual spaces several of the works inhabit.

Although combining to create a suite of works with a common theme, each miniature functions as an abstracted narrative in shorter, self-contained parts, as with works in a suite. The works often include recordings of instrumental material, designed to assist the listener in mapping/ navigating the constructed works, and occasional vocal sounds that are employed to articulate human presence rather than to impart any specific narrative.

Accompanying each miniature is a brief synopsis/ program note articulating each of the works:

// All material created whilst ‘Radio National Media Artist-in-Residence’, Australian Broadcasting Corporation (ABC) 2010. All material recorded, composed mixed and mastered by Daniel Blinkhorn, with additional engineering by Philip Ulman, ABC.
// All guitars by Jeremy Sawkins.
// DJing/ beats on ‘toy bagatelle – i’ provided by Olivier Zeller.
// Clarinets on ‘geste sonore’ by Rémi Delangle.
// This Project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.”

1. Seascape Triptych – I 1:27
2. Subfón – Monochrome I 3:10
3. Sub Chron I 2:36
4. Seascape Triptych – II Hermetica 3:36
5. Corpus Sanus – Computare 2:00
6. (Sub)Urban Mantra 2:27
7. Corpus Sanus – Hominis 3:14
8. Geste Sonore 2:00
9. Relatively Loud Tones 3:45
10. Tape Junk 2:20
11. Seascape Triptych – III Cnidaria 2:50
12. Sub Chron II 1:27
13. Voix Sous 3:48
14. Norse Hamn (Norse Harbor) 5:03
15. Toy Bagatelle – I 3:44
16. Toy Bagatelle – II (Glass Ear) – Monochrome 2:43
17. Toy Bagatelle – Section III 2:41
18. Intersections 2:41
19. Place / Space Threnody 3:37