New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Listening and Watching (MP3)

Crimea-based musician Kir Belevich also goes by the name deepsweet, and he has a site, titled Meditations in Sound (housed at, where he collects documents of the world around him. Some of these documents are visual, and the remainder are aural. The elegance of the site’s subtitle, “fieldrecording and phonography,” emphasizes a parallel that deserves more attention (a parallel that becomes even more apparent when one swaps out “field recording” and swaps in the gaining-in-favor term “phonography”).

As Belevich ventures from pure real-world recordings of soundscapes to edited ones, the parallel gets even more interesting. The manipulation of documentary visual imagery — with filters, and cropping, and color adjustment — is an understood part of photography. In sound, however, editing and post-production lends a more commonly perceived layer of artifice. Hence a track like Belevich’s “Crimea Sound Collage,” for all its familiar noises of cars and so forth, will be most memorable for the distorted speech that is heard at times.

Track originally posted for free download and streaming at Photo of Belevich’s gear, shown above, from an unrelated post at Earlier Disquiet coverage of Belevich/deepsweet: “The Sound of Airports, Planes, Trains & Train Stations.”

By Marc Weidenbaum

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One Comment

  1. Paul M
    [ Posted November 28, 2011, at 5:15 pm ]

    I like this piece. It blends well and doesn’t feels like a collection of different sounds but more unified, it’s pleasant to listen to, song like.

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