Unprocessed field recordings: Finland, Björköby (1) / Österö (8), Germany, Wismar (2) / Hamburg (3-7)
From Spring 1999 to Spring 2007 I made location recordings of microsounds from Harbours in Germany and Finland. A lot of various gangways, tunnels, bridges, ships, boats, ferries, floating docks and coastal birds are making abstract sounds. They where modulated from wind, water and machines. This field reseach was listening to the self-composition in the area « harbour ». (Lasse-Marc Riek)
Lasse-Marc Riek is a Finnish field recordist who pursues his interest in “bio-acoustics” alone and in concert with scientists, ecologists and musicians. He maintains an archive of wildly disparate location recordings ranging from sleddogs in empty, northern Finland to crowds of soccer fans at the 2006 World Cup in Germany.
Between the springs of 1999 and 2007, he compiled a series of location recordings at four different harbours, two each in Finland and Germany. They are presented entirely untreated, since the sound of gangways and docks, ships and coastal birds was for him an act of self-composition. You can certainly obtain the same experience, dozens of time over in fact, by visiting his website. However, acquiring this release on Goh Lee Kwang’s excellent Malaysian label, aside from encouraging the spread of experimental music, gains you a many-sided work of art which includes stellar graphic design by Tobias Schmitt, and a somewhat hermetic text by Stefan Militzer which ends with the musical question, “Now, what do you hear when you walk on a dock?” The sound of its condition and history, the sound of man´s attempts to mediate between sea and shore, of the same sea lapping at the shores of Finland and Germany as heard from different latitudes. It is also our most temporal zone – in a world of impermanence, nothing changes more than the places where water meets land. It can hardly be called pretty, aside from the opening and closing tracks, especially the latter with its choir of seagulls. But it transports the listener so immediately and convincingly that you would swear you can smell the salt in the air. (Stephen Fruitman, Sonomu)
Somewhere between 1999 and 2007 Lasse-Marc Riek recorded sounds in harbors: Finland’s Bjorkoby and Ostero and in Germany in Wismar and Hamburg. Presented here as seven individual pieces of sound. Unprocessed field recordings. Thirty-two minutes in total. As much as I dislike sailing, I like the sound of harbors, the smell of the sea, the wind. With today’s summer rain and wind I could close my eyes and imagine to be in a harbour – at least for thirty two minutes. Riek, also the owner of the Gruenrekorder label, recorded some excellent sounds in these various harbors. Rusty metal, moved by the irregularities of the sea, seagulls, and objects moved by water (like rubber objects, tires or some such) and curiously also a steam engine. Each piece is kept short and to the point, a precise edit out of a larger reality. Almost song like in structure. If pure, unprocessed field recordings are your cup of tea, then this release by Lasse-Marc Riek is an excellent example of what it is. If you are new to the genre, this is a great way to step inside. (Frans de Waard, Vital Weekly)
FR Vous ne m’écouterez probablement pas, n’empêche que ce genre de musique ne devrait se télécharger que pour se faire une idée. Le MP3 a un son juste décent, le FLAC vaut à peine mieux, dans un cas comme dans l’autre vous passez à côté d’un joli digipack autrement plus chaleureux que mes scans moisis. Cette version numérique vous donnera un aperçu du travail de Lasse Marc Riek, posez le CD sur la platine et ça prendra une toute autre dimension (donc dépêchez-vous de l’acheter avant qu’on vous supprime votre RSA).
ENG I know you probably won’t buy it, but you should. MP3 sounds OK, FLAC offers a slight improvement, but none of them includes the lovely 6 panels digipak from Herbal. MP3 is useful, but the ‘real’ CD always sounds better (especially with this kind of work).