This is sound artist John Grzinich answering the question “How has your appreciation/perception of your environment changed since you began actively listening through the microphone?”
I’ve noticed how often people assume that when working with sound one must work with technology. Microphones and speakers are mechanisms for sound detection, amplification and reproduction. This seems obvious, yet I often must remind people, that until we are able to hear by some neurological implant to our brains we still need to hear all sounds acoustically with our ears even if its through headphones.
From an interview at earroom.wordpress.com. More on Grzinich at maaheli.ee.
End the week on a drone, a rich quavering drone like some steam-powered UFO making routine passes thanks to an insatiable curiosity for earthbound lifeforms, or a quasi-melodic lull. Those would be the opening and second tracks of Craque‘s new three-piece release on the Stasisfield netlabel, but they’re not its best. The real keeper on the album, which is titled Wind Space Compost, is a peculiar concoction of captured string noises, laid out like a concatenation of moments — brief strums, extended hums, backward masked moans, and ever so creepy scrapings (
The elastic percussion of drum and bass, once a radical approach to moving beats to the front line, so astonishingly new, is now a familiar sound, perhaps as close as the past decade and a half has come to contributing a new rhythm to pop music. Not that drum and bass was ever pop, really — the closest it got was as a tangent, an option, a flavor, a version to be added to the flipside of a 12″ single. The impetus for a remix commission, but not for a song itself.