LE PETIT THEATRE DE MERCELIS, CD ( approx. value: US$ 13.00 )
AUDIOSPHERE AS03, 2002; NEW JANEK SCHAEFER CD WHICH COMES ON A NEW SUBLABEL FROM SUB ROSA AND PACKED IN LARGE DVD-BOX! , " MANIPULATED FIELD RECORDINGS ARE COMBINED WITH LIVE MODIFIED VINYL AND FOUND SOUND IN A 'CONCRÉTE RUFFIAN STYLE' [THE WIRE 1998]. HIS MOST RECENT RESEARCH HAS BEEN EXAMINING THE ROLE OF THE, RECORD/VINYL AS A COMPOSITIONAL TOOL. AND AS IN HIS RECENT " PULLED UNDER" HE FORMS AN ENVELOPING AND DENSE STREAM OF MACROSONIC [CLOSE FOCUS] SOUNDSCAPES. NAVIGATING FLUIDLY THROUGH A SERIES OF ABSORBING AND GRANULAR ABSTRACT ENVIRONMENTS. THE RAW MATERIAL MOSTLY COMBINES MODIFIED TRAVEL RECORDINGS, LIVE OUT-TAKES AND CUSTOM MADE VINYL MANIPULATIONS USING THE 'TWIN' TURNTABLE. NOT HEARING HERE, HIS 'TRI-PHONIC TURNTABLE' WAS RECENTLY ENTERED INTO THE GUINNESS BOOK OF RECORDS AS THE WORLDS 'MOST VERSATILE RECORD PLAYER' ! THIS IMPORTANT UNPUBLISHED WORK COMES FROM A RECENT SUB ROSA EVENT (20-21 APRIL 2002 IN BRUSSELS). HIGHLY ABSTRACT WITH AN OBSESSIVE SLOW CHANGES INCLUDING |
LE PETIT THEATRE DE MERCELIS, CD ( approx. value: US$ 13.00 )
AUDIOSPHERE AS03, 2002; NEW JANEK SCHAEFER CD WHICH COMES ON A NEW SUBLABEL FROM SUB ROSA AND PACKED IN LARGE DVD-BOX! , " MANIPULATED FIELD RECORDINGS ARE COMBINED WITH LIVE MODIFIED VINYL AND FOUND SOUND IN A 'CONCRÉTE RUFFIAN STYLE' [THE WIRE 1998]. HIS MOST RECENT RESEARCH HAS BEEN EXAMINING THE ROLE OF THE, RECORD/VINYL AS A COMPOSITIONAL TOOL. AND AS IN HIS RECENT " PULLED UNDER" HE FORMS AN ENVELOPING AND DENSE STREAM OF MACROSONIC [CLOSE FOCUS] SOUNDSCAPES. NAVIGATING FLUIDLY THROUGH A SERIES OF ABSORBING AND GRANULAR ABSTRACT ENVIRONMENTS. THE RAW MATERIAL MOSTLY COMBINES MODIFIED TRAVEL RECORDINGS, LIVE OUT-TAKES AND CUSTOM MADE VINYL MANIPULATIONS USING THE 'TWIN' TURNTABLE. NOT HEARING HERE, HIS 'TRI-PHONIC TURNTABLE' WAS RECENTLY ENTERED INTO THE GUINNESS BOOK OF RECORDS AS THE WORLDS 'MOST VERSATILE RECORD PLAYER' ! THIS IMPORTANT UNPUBLISHED WORK COMES FROM A RECENT SUB ROSA EVENT (20-21 APRIL 2002 IN BRUSSELS). HIGHLY ABSTRACT WITH AN OBSESSIVE SLOW CHANGES INCLUDING |
PULLED UNDER, CD ( approx. value: US$ 15.00 )
AUDIOH! RECORDINGS 12, 2002; SPANNENDE SOUNDSCAPES VON JANEK SCHAEFER, DER GERADE FÜR FURORE SORGT (ARS ELECTRONICA PREIS, ETC.); HIER KONZENTRIERT ER SICH V.A. AUF FIELD RECORDING-BEARBEITUNGEN DIE MIT FOUND SOUNDS KOMBINIERT WERDEN..... ERINNERT UNS AN PHILIP JECK, ERIC LA CASA, TOY BIZARRE, IST ABER NOCH VERSPIELTER & WENIGER DRONIG, MIT MEHR CUTS UND PAUSEN.. , "THIS IS AN EXCELLENT WORK. AS A TURNTABLIST JANEK SCHAEFER IS RESPONSIBLE FOR THE RECORD PLAYER WITH THREE ARMS, BUT HE IS ALSO ACTIVE IN SOUND COMPOSITION, EITHER SOLO OR WITH ROBERT HAMPSON OF MAIN FAME IN COMAE. THIS NEW CD IS THE FOLLOW UP TO HIS DEBUT STUDIO CD 'ABOVE BUILDINGS' AND CONSISTS OF WORK RECORDED LIVE, VINYL MANIPULATIONS AND FIELD RECORDINGS. THE OVERALL ATMOSPHERE OF ALL EIGHT SOUND PIECES IS DARK, MAINLY DUE TO THE HEAVY USE OF SOUND EFFECTS (REVERB, DELAY AND FILTERING). THINGS MOSTLY RUMBLE HERE, WITH THE OCCASSIONAL CRACKLE. OCCASSIONALLY SOUNDS POP UP, IN THE FORM OF ALIENATED ORCHESTRA OR A DRENCHED LOOP OF SOURCE UNKNOWN. AN UNLIKELY REFERENCE OF JANEK'S WORK IS THAT ASMUS TIETCHENS. THE DENSENESS OF THE MATERIAL, THE SOUND TREATMENTS AND THE OVERALL DARK ATMOSPHERE MAKE THIS UP. AND TO BE COMPARED WITH ASMUS IS NOT A BAD THING AT ALL." (FDW, VITAL WEEKLY], |
PULLED UNDER, CD ( approx. value: US$ 15.00 )
AUDIOH! RECORDINGS 12, 2002; SPANNENDE SOUNDSCAPES VON JANEK SCHAEFER, DER GERADE FÜR FURORE SORGT (ARS ELECTRONICA PREIS, ETC.); HIER KONZENTRIERT ER SICH V.A. AUF FIELD RECORDING-BEARBEITUNGEN DIE MIT FOUND SOUNDS KOMBINIERT WERDEN..... ERINNERT UNS AN PHILIP JECK, ERIC LA CASA, TOY BIZARRE, IST ABER NOCH VERSPIELTER & WENIGER DRONIG, MIT MEHR CUTS UND PAUSEN.. , "THIS IS AN EXCELLENT WORK. AS A TURNTABLIST JANEK SCHAEFER IS RESPONSIBLE FOR THE RECORD PLAYER WITH THREE ARMS, BUT HE IS ALSO ACTIVE IN SOUND COMPOSITION, EITHER SOLO OR WITH ROBERT HAMPSON OF MAIN FAME IN COMAE. THIS NEW CD IS THE FOLLOW UP TO HIS DEBUT STUDIO CD 'ABOVE BUILDINGS' AND CONSISTS OF WORK RECORDED LIVE, VINYL MANIPULATIONS AND FIELD RECORDINGS. THE OVERALL ATMOSPHERE OF ALL EIGHT SOUND PIECES IS DARK, MAINLY DUE TO THE HEAVY USE OF SOUND EFFECTS (REVERB, DELAY AND FILTERING). THINGS MOSTLY RUMBLE HERE, WITH THE OCCASSIONAL CRACKLE. OCCASSIONALLY SOUNDS POP UP, IN THE FORM OF ALIENATED ORCHESTRA OR A DRENCHED LOOP OF SOURCE UNKNOWN. AN UNLIKELY REFERENCE OF JANEK'S WORK IS THAT ASMUS TIETCHENS. THE DENSENESS OF THE MATERIAL, THE SOUND TREATMENTS AND THE OVERALL DARK ATMOSPHERE MAKE THIS UP. AND TO BE COMPARED WITH ASMUS IS NOT A BAD THING AT ALL." (FDW, VITAL WEEKLY], |
SKATE/ RINK, LP/ MCD ( approx. value: US$ 16.00 )
AUDIOH! 011 / STAALPLAAT STMCD023, 2003; TURNTABLE-ARTIST SCHAEFER HAT HIER EIN BIZARRES LP-OBJEKT GESCHAFFEN, WELCHES TATSÄCHLICH ABSPIELBAR IST UND BEI DEM DER HÖRER INTERAKTIV DAS ERGEBNIS BEEINFLUSSEN KANN. DIE PLATTE IST ZERFURCHT VON SICH ÜBERLAGERNDEN RILLEN - JE NACH GESCHWINDIGKEIT, ART DES PLATTENSPIELERS UND ABSPIELART (DENKBAR AUCH MANUELLES DREHEN DES PLATTENTELLERS ODER FIXIEREN DES TONARMS) ENTSTEHEN GANZ VERSCHIEDENE GERÄUSCHKOMPOSITIONEN (DIE QUELLENSOUNDS ÜBRIGENS STAMMEN VOM MUSIQUE CONCRETE-PIONIER UND NAMENSVETTER JANEK'S: PIERRE SCHAEFFER). WITZIGE, INNOVATIVE UND GAR NICHT TEURE KLANGOBJEKTKUNST. DAZU GIBT ES (VERPACKT ÜBRIGENS IN EINEM EDLEN GATEFOLD-COVER) NOCH EINE MCD MIT SCHLAPPEN 99 INDEXEN MIT AUFNAHMEN EINER IRLÄNDISCHEN INSTALLATION, WO DIE OBJEKT-PLATTE ZUM EINSATZ KAM. , THE ORIGINAL CONCEPT FOR THE 'SKATE' LP WAS TO MAKE A RECORD THAT USURPED THE DETERMINISTIC SPIRAL (AND THE 'ANTI-SKATE' MECHANISM) AS A WAY OF PLAYING AND LISTENING TO SOUND ON VINYL. TO DO THIS I DEVELOPED THE 'FRAGMENTED' CUTTING TECHNIQUE, A METHOD OF CUTTING A CONCENTRIC COLLAGE OF INDIVIDUAL SHORT 'SOUND SCARS' ONTO THE DISC. WHEN PLAYED, THE STYLUS NAVIGATES IT'S OWN RANDOM PATH ACROSS THIS INTERMITTENT TERRAIN OF PHYSICAL/SONIC DIVERSIONS. THE TYPE OF RECORD PLAYER, ITS SPEED AND THE USER WILL ALL AFFECT THE RESULT AND THUS EACH AND EVERY PLAYBACK OF THE LP WILL ELICIT A DIFFERENT COMPOSITION. JANEK BUILT HIS OWN LATHE BY CONVERTING AN HMV 78RPM GRAMOPHONE. BY VERY QUICKLY PLACING THE STYLUS/CUTTING HEAD ONTO THE DISC HE BUILT UP THE FINAL COLLAGE, SOUND BY SOUND. THE COLLECTED WORKS OF PIERRE SCHAEFFER (A PIONEER OF VINYL MANIPULATION) WAS THE SOURCE SOUND. THE LP IS INTENDED TO BE THE STARTING POINT FOR 'REAL TIME' EXPLORATIONS BY THE USER. IT WORKS VERY WELL AS A REPETITIVE DEVICE IF YOU PLACE AN OBSTRUCTION (LIKE A 7) IN THE PATH OF THE TONE-ARM AS IT LOCKS THE STYLUS INTO A LOOP. ANOTHER METHOD IS TO PLAY THE RECORD BY JUST USING YOUR HAND TO ROTATE IT SLOWLY INSTEAD OF AT 33 OR 45. THIS PRODUCES A MUCH MORE SUBTLE AND CONTROLLED RESULT. EXPERIMENT WITH IT.", [STAALPLAAT][STMCD 023]: 'RINK' IS A COMPOSITION USING SOUNDS SOURCED FROM THE LP COMBINED WITH LIVE ROOM RECORDINGS TAKEN FROM THE 'SKATE' INSTALLATION AT TRISKEL ARTS, IN CORK, IRELAND, AUGUST. THE CD STARTED WITH A SINGLE COPY OF THE LP. FIRSTLY, 60 DIFFERENT RHYTHMIC AND TEXTURAL SOUND EVENTS WERE RECORDED BY PLAYING THE LP ON THE TRI-PHONIC TURNTABLE IN DIFFERENT WAYS. 30 SILENT TRACKS OF VARYING LENGTHS WERE THEN ADDED TO CREATE A MASTER CD. A COPY OF THIS CD WAS THEN LOADED INTO 3 CD PLAYERS AND BROADCAST TOGETHER IN RANDOM MODE AND RECORDED TO DISK. A COPY OF THE INSTALLATION RECORDING WAS THEN ADDED AND THE RESULT WAS THEN MELDED 'ON SCREEN'. 'RINK' WAS COMPOSED IN SPRING 2002 BY THE INVITATION OF STAALPLAAT. THE 3"CD HAS 99 TRACK MARKS FOR ADDED FLEXIBILITY. HAVE FUN!" [PRESS RELEASE] |
SKATE/ RINK, LP / CD-M ( approx. value: US$ 16.00 )
AUDIOH! 011 / STAALPLAAT STMCD023, 2003; TURNTABLE-ARTIST SCHAEFER HAT HIER EIN BIZARRES LP-OBJEKT GESCHAFFEN, WELCHES TATSÄCHLICH ABSPIELBAR IST UND BEI DEM DER HÖRER INTERAKTIV DAS ERGEBNIS BEEINFLUSSEN KANN. DIE PLATTE IST ZERFURCHT VON SICH ÜBERLAGERNDEN RILLEN - JE NACH GESCHWINDIGKEIT, ART DES PLATTENSPIELERS UND ABSPIELART (DENKBAR AUCH MANUELLES DREHEN DES PLATTENTELLERS ODER FIXIEREN DES TONARMS) ENTSTEHEN GANZ VERSCHIEDENE GERÄUSCHKOMPOSITIONEN (DIE QUELLENSOUNDS ÜBRIGENS STAMMEN VOM MUSIQUE CONCRETE-PIONIER UND NAMENSVETTER JANEK'S: PIERRE SCHAEFFER). WITZIGE, INNOVATIVE UND GAR NICHT TEURE KLANGOBJEKTKUNST. DAZU GIBT ES (VERPACKT ÜBRIGENS IN EINEM EDLEN GATEFOLD-COVER) NOCH EINE MCD MIT SCHLAPPEN 99 INDEXEN MIT AUFNAHMEN EINER IRLÄNDISCHEN INSTALLATION, WO DIE OBJEKT-PLATTE ZUM EINSATZ KAM. , THE ORIGINAL CONCEPT FOR THE 'SKATE' LP WAS TO MAKE A RECORD THAT USURPED THE DETERMINISTIC SPIRAL (AND THE 'ANTI-SKATE' MECHANISM) AS A WAY OF PLAYING AND LISTENING TO SOUND ON VINYL. TO DO THIS I DEVELOPED THE 'FRAGMENTED' CUTTING TECHNIQUE, A METHOD OF CUTTING A CONCENTRIC COLLAGE OF INDIVIDUAL SHORT 'SOUND SCARS' ONTO THE DISC. WHEN PLAYED, THE STYLUS NAVIGATES IT'S OWN RANDOM PATH ACROSS THIS INTERMITTENT TERRAIN OF PHYSICAL/SONIC DIVERSIONS. THE TYPE OF RECORD PLAYER, ITS SPEED AND THE USER WILL ALL AFFECT THE RESULT AND THUS EACH AND EVERY PLAYBACK OF THE LP WILL ELICIT A DIFFERENT COMPOSITION. JANEK BUILT HIS OWN LATHE BY CONVERTING AN HMV 78RPM GRAMOPHONE. BY VERY QUICKLY PLACING THE STYLUS/CUTTING HEAD ONTO THE DISC HE BUILT UP THE FINAL COLLAGE, SOUND BY SOUND. THE COLLECTED WORKS OF PIERRE SCHAEFFER (A PIONEER OF VINYL MANIPULATION) WAS THE SOURCE SOUND. THE LP IS INTENDED TO BE THE STARTING POINT FOR 'REAL TIME' EXPLORATIONS BY THE USER. IT WORKS VERY WELL AS A REPETITIVE DEVICE IF YOU PLACE AN OBSTRUCTION (LIKE A 7) IN THE PATH OF THE TONE-ARM AS IT LOCKS THE STYLUS INTO A LOOP. ANOTHER METHOD IS TO PLAY THE RECORD BY JUST USING YOUR HAND TO ROTATE IT SLOWLY INSTEAD OF AT 33 OR 45. THIS PRODUCES A MUCH MORE SUBTLE AND CONTROLLED RESULT. EXPERIMENT WITH IT.", [STAALPLAAT][STMCD 023]: 'RINK' IS A COMPOSITION USING SOUNDS SOURCED FROM THE LP COMBINED WITH LIVE ROOM RECORDINGS TAKEN FROM THE 'SKATE' INSTALLATION AT TRISKEL ARTS, IN CORK, IRELAND, AUGUST. THE CD STARTED WITH A SINGLE COPY OF THE LP. FIRSTLY, 60 DIFFERENT RHYTHMIC AND TEXTURAL SOUND EVENTS WERE RECORDED BY PLAYING THE LP ON THE TRI-PHONIC TURNTABLE IN DIFFERENT WAYS. 30 SILENT TRACKS OF VARYING LENGTHS WERE THEN ADDED TO CREATE A MASTER CD. A COPY OF THIS CD WAS THEN LOADED INTO 3 CD PLAYERS AND BROADCAST TOGETHER IN RANDOM MODE AND RECORDED TO DISK. A COPY OF THE INSTALLATION RECORDING WAS THEN ADDED AND THE RESULT WAS THEN MELDED 'ON SCREEN'. 'RINK' WAS COMPOSED IN SPRING 2002 BY THE INVITATION OF STAALPLAAT. THE 3"CD HAS 99 TRACK MARKS FOR ADDED FLEXIBILITY. HAVE FUN!" [PRESS RELEASE] |
WEATHER REPORT, MCD ( approx. value: US$ 12.00 )
ALLUVIAL RECORDINGS A17, 2003; DER HOCHKREATIVE KLANGKONZEPTKÜNSTLER JANEK SCHAEFER MIT EINER KURIOSEN ELEKTRO-AKUSTISCHEN ARBEIT ZUM THEMA WETTER: DIESE BESTEHT AUS DIVERSEN SOUNDQUELLEN: WETTERVORHERSAGEN & ALTE MEDIENBERICHTE ÜBER WETTERPHÄNOMENE, FIELD RECORDINGS VON "WEATHER-BALLOONS" AUS LUFTIGER HÖHE, TORNADO- UND WETTERAUFNAHMEN VERSCHIEDENSTER ART... , DAS GANZE EDEL VERPACKT MIT AUFWENDIGEM FULL-COLOUR BOOKLET ! , ..MY INITIAL IDEAS WERE TO CREATE AND COLLECT NEW SOUNDS THAT WERE RELATED TO THE CONCEPT OF WEATHER IN THE BROADEST SENSE, TO DOCUMENT AND RESEARCH WEATHER IN THE MEDIA, AND TO FLOAT RECORDING EQUIPMENT UP ON WEATHER BALLOONS IN VARIOUS WAYS. THESE PROCESSES WERE INTEGRAL AS MY FOCUS WAS ON SOUND ASSOCIATED WITH THE WEATHER, IN PREFERENCE TO PRISTINE RECORDINGS OF THE WEATHER FIRST HAND. AN OBVIOUS EXCEPTION, IN MY LAST WEEK, WAS THE STORM OF 40 TORNADO WARNINGS THAT TOUCHED DOWN AROUND THE FRINGES OF THE CITY. THE WEATHER BALLOONS WERE USED IN 3 MAIN WAYS. FIRSTLY ONE ICY WINTERS MORNING I ATTACHED A MOBILE PHONE TO RECEIVE AND SEND LOW RESOLUTION SOUND, LETTING IT FLOAT AWAY FROM THE SURFACE OF A FROZEN LAKE. SECONDLY USING A DIGITAL DICTAPHONE I MADE TIME LAPSE RECORDINGS OF THE SKY BY FLOATING IT 500FT ABOVE MY LUSH METROPOLITAN NEIGHBOURHOOD. LASTLY THREE ALL AMERICAN FRIENDS AND I SET OUT TO SHOOT THE BALLOON DOWN LATE ONE JUNE AFTERNOON LEAVING THE SOUND TO PARACHUTE BACK TO EARTH. I LET THE RECORDINGS SPEAK FOR THEMSELVES, NO EFFECTS, NO EQ, JUST STRAIGHT CUT & SPLICE COLLAGE WHERE YOU CAN HEAR THE EDGES OF TIME. SOME OTHER SOUNDS COLLECTED INCLUDE: UNDERWATER ICE SKATERS; FLAPPING; OLD METEOROLOGICAL KIT; LEAF BLOWERS; REPAIRING WEATHER DAMAGE; VARIOUS 60'S ARCHIVE AUDIO; MELTING ICE, SKI ACROSS SNOW, MINNESOTA FORECASTS ON RADIO, IN THE CAR AND ON TV; TORNADO CHASING & TEST EQUIPMENT; SNOW FLAKES LANDING ON MIC; SQUEAKY TREE; NATIONAL WEATHER SERVICE BALLOON LAUNCH; WALKIE TALKIE TONES FROM MY SCIENCE MUSEUM WORKSHOP ETC. OH, AND ALL TEMPERATURES IN FARENHEIGHT. THE RESULT IS A HIGHLY COMPRESSED FOUND SOUND STORY, HEARD AS A DRIFTING VOICEMAIL MESSAGE FROM THE WEATHER BALLOON. A HYBRID DOCUMENTARY COLLECTED AND EDITED OUTDOORS, WHERE IT IS DESIGNED TO BE HEARD WHILE WALKING WITH HEADPHONES....SO... GO FIND A WALKMAN! (JANEK SCHAEFER) |
WEATHER REPORT, CD-M ( approx. value: US$ 12.00 )
ALLUVIAL RECORDINGS A17, 2003; DER HOCHKREATIVE KLANGKONZEPTKÜNSTLER JANEK SCHAEFER MIT EINER KURIOSEN ELEKTRO-AKUSTISCHEN ARBEIT ZUM THEMA WETTER: DIESE BESTEHT AUS DIVERSEN SOUNDQUELLEN: WETTERVORHERSAGEN & ALTE MEDIENBERICHTE ÜBER WETTERPHÄNOMENE, FIELD RECORDINGS VON "WEATHER-BALLOONS" AUS LUFTIGER HÖHE, TORNADO- UND WETTERAUFNAHMEN VERSCHIEDENSTER ART... , DAS GANZE EDEL VERPACKT MIT AUFWENDIGEM FULL-COLOUR BOOKLET ! , ..MY INITIAL IDEAS WERE TO CREATE AND COLLECT NEW SOUNDS THAT WERE RELATED TO THE CONCEPT OF WEATHER IN THE BROADEST SENSE, TO DOCUMENT AND RESEARCH WEATHER IN THE MEDIA, AND TO FLOAT RECORDING EQUIPMENT UP ON WEATHER BALLOONS IN VARIOUS WAYS. THESE PROCESSES WERE INTEGRAL AS MY FOCUS WAS ON SOUND ASSOCIATED WITH THE WEATHER, IN PREFERENCE TO PRISTINE RECORDINGS OF THE WEATHER FIRST HAND. AN OBVIOUS EXCEPTION, IN MY LAST WEEK, WAS THE STORM OF 40 TORNADO WARNINGS THAT TOUCHED DOWN AROUND THE FRINGES OF THE CITY. THE WEATHER BALLOONS WERE USED IN 3 MAIN WAYS. FIRSTLY ONE ICY WINTERS MORNING I ATTACHED A MOBILE PHONE TO RECEIVE AND SEND LOW RESOLUTION SOUND, LETTING IT FLOAT AWAY FROM THE SURFACE OF A FROZEN LAKE. SECONDLY USING A DIGITAL DICTAPHONE I MADE TIME LAPSE RECORDINGS OF THE SKY BY FLOATING IT 500FT ABOVE MY LUSH METROPOLITAN NEIGHBOURHOOD. LASTLY THREE ALL AMERICAN FRIENDS AND I SET OUT TO SHOOT THE BALLOON DOWN LATE ONE JUNE AFTERNOON LEAVING THE SOUND TO PARACHUTE BACK TO EARTH. I LET THE RECORDINGS SPEAK FOR THEMSELVES, NO EFFECTS, NO EQ, JUST STRAIGHT CUT & SPLICE COLLAGE WHERE YOU CAN HEAR THE EDGES OF TIME. SOME OTHER SOUNDS COLLECTED INCLUDE: UNDERWATER ICE SKATERS; FLAPPING; OLD METEOROLOGICAL KIT; LEAF BLOWERS; REPAIRING WEATHER DAMAGE; VARIOUS 60'S ARCHIVE AUDIO; MELTING ICE, SKI ACROSS SNOW, MINNESOTA FORECASTS ON RADIO, IN THE CAR AND ON TV; TORNADO CHASING & TEST EQUIPMENT; SNOW FLAKES LANDING ON MIC; SQUEAKY TREE; NATIONAL WEATHER SERVICE BALLOON LAUNCH; WALKIE TALKIE TONES FROM MY SCIENCE MUSEUM WORKSHOP ETC. OH, AND ALL TEMPERATURES IN FARENHEIGHT. THE RESULT IS A HIGHLY COMPRESSED FOUND SOUND STORY, HEARD AS A DRIFTING VOICEMAIL MESSAGE FROM THE WEATHER BALLOON. A HYBRID DOCUMENTARY COLLECTED AND EDITED OUTDOORS, WHERE IT IS DESIGNED TO BE HEARD WHILE WALKING WITH HEADPHONES....SO... GO FIND A WALKMAN! (JANEK SCHAEFER) |
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