the first ‘studio track’ on ‘het perron van het geheugen’ was built out of the fieldrecordings made for the performance on the 17th of march with an added drone. the changes in the drone were intended to coincide with the passing of sounds in the fieldrecordings so the shifts in the spectrum would be a bit obscured. i opted for a shriller tone at the beginning as i find these higher pitched tones act as better carriers than low rumbling tones. people seem –or at least i seem- to be able focus beyond those high tones by shielding their hearing from it. whereas low tones, especially if they go too low, muddy the whole, bringing contrasts down.
of the field recordings i used trains that passed later on through the live cuts, and also a part of the walking fieldrecording of the mechelen aurasphere that deserved more attention than it got live. there are some nice clanging and mechanical pump noises there.
again you could qualify this as an investigation into environmental noise or noises with the drone as a kind of carrier beam.
the second ‘studio track’ was basically a shorter version of the first to fit the loop.
of the field recordings i used trains that passed later on through the live cuts, and also a part of the walking fieldrecording of the mechelen aurasphere that deserved more attention than it got live. there are some nice clanging and mechanical pump noises there.
again you could qualify this as an investigation into environmental noise or noises with the drone as a kind of carrier beam.
the second ‘studio track’ was basically a shorter version of the first to fit the loop.
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