Dr. Klangendum

1.    Code Name : Villa B by Christophe Havard & Fabrice Arnaud-Crémon.
2.   LANDUNTER by LASSE-MARC RIEK.

Jingles by Dr. Klang 2.

MORE INFO;

Code Name : Villa B by Christophe Havard & Fabrice Arnaud-Crémon for Jet FM (Nantes, FR)

A composition for clarinets and electroacoustic devices, recorded with the binaural technology during the Sonor festival in Nantes, on October the 15th 2016.

The encounter of a space and an obsession!
The space is a bunker from Saint-Marc sur Mer, inside which Christophe Havard has started to record the sound alone or with the clarinet player Fabrice Arnaud-Crémon. He collected in these huge rooms the sound materials for his composition : some thick harmonics generated from iron structures, the clarinet with some strange reverb effects, some subtle motions of footsteps, voices and breath,…

When I record sounds in such a place, I consider its empty spaces as fictional characters! First, I gaze at them till I can feel them in my whole body. Gradually, the floors and the walls become like an organic structure that I slowly catch with my ears… I am convinced that, without the sound waves, the architecture would not exist: how could we feel the distances, the motions, the textures and maybe even the air density? Then, here comes my obsession, always the same: the desire to go through a sound which caresses my body. I feel so good when the sound affects me with delicacy or sometimes with a strong strength. I want so much to share this sensation with the audience. In this composition, the empty spaces also exist because one day, inside it, the clarinet player walked, breathed, played all kind of strange games and he ended up losing himself. And now, on stage, the games carry on and become unlikely realities and sound distorting mirrors.” Christophe Havard.

In order to have a good experience of listening, with a surround space, some relief and more sensibility, the audience is set up on the same stage (or the same place) than the 2 musicians. The clarinet player often moves from one point of the stage to another. Thus he can play with the acoustic features of his instrument in interaction with the room. The electroacoustic player creates a relationship with the music of the clarinet, which he sends on different speakers, and the phonography mixed in live.
Some lights controlled by the Max / MSP program are placed on the floor. According to the movements of the composition, these lights provide a deeper sensation for listening to the music.

Christophe Havard.
Composer (of electroacoustic and instrumental music), performer, improviser and sound artist, he began his career as a jazz saxophonist and progressively moved towards improvisation and sound experimentation. For fifteen years or so, he has been creating sound installations and electroacoustic and radiophonic pieces. He has been the guest at sound field residencies.
On stage or in his sound installations and compositions, we can find in Christophe Havard’s creations an interest for sound surroundings, the quality of timbre, the notion of memory and the opening up of stylistic forms.

Fabrice Arnaud-Crémon has been playing the clarinet since the age of eight. He studied notably with Michel Arrignon and Alain Damiens in Paris.
He is interested in all the possibilities of his instrument going through a large range of original repertory (Mozart, Weber, Brahms, Debussy, Stravinsky, Messiaen, Boulez, etc.) and transcriptions (Julien Opic, Sylvain Blassel, Gérard Chenuet). He often takes part to contemporary music (Philippe Boivin, Nicolas Frize, Julien Opic, Sylvain Kassap, Christophe Havard, Arturo Gervasoni, Benoît Granier, Jérôme Joy, Christian Wolff, Keith Rowe, François Rossé…).
His artistic curiosity brings him into unusual contexts where he is used to playing chamber music or as a solist.
Radia Show 617.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

LANDUNTER by LASSE-MARC RIEK.

Unfathomable Sea! whose waves are years, / Ocean of Time, whose waters of deep woe / Are brackish with the salt of human tears! / Thou shoreless flood, which in thy ebb and flow Claspest the limits of mortality, / And sick of prey, yet howling on for more, / Vomitest thy wrecks on its inhospitable shore; / Treacherous in calm, and terrible in storm, / Who shall put forth on thee, / Unfathomable Sea?

[Percy Bhysse Shelley: Time. From: “Posthumous Poems”, Ed. by Mary Shelley, 1824]

LANDUNTER, two words merged into one: “Land unter!”, “Land submerged”. The howling winds are announcing a storm. Its ravenous anger will stir up the sea; waves raising high, hitting the coast, covering the land. “Land unter!” Sure, theyíve taken measures to break the forces, and for some decades, at least it would seem so, with reasonable success. However, in the meantime ñ sick of prey, yet howling for more ñ they forgot about other measures that should have been taken, so the winds became stronger and the waters rose. And the waves are singing. Sooner or later the island will be literally gnawed down and eaten up by the winds and the sea and sink forever in the ocean of time.

The sounds of LANDUNTER have been, in major parts, recorded on Helgoland. No known connection between the poet and the island. Except perhaps that after decades of being a sport of desires handed back and forth between different nations Hel(i)goland went from Denmark to Britain in the very year when Percy Bhysse Shelley left his pregnant wife for Mary Wollstonecraft ñ but that’s of course another story. Just as the fact he later would himself drown in another sea, terrible in storm – in a custom made boat about which Mary would later say it had never been seaworthy. As so many boats sinking there these days, but under considerably different conditions. Ah, a propos the inhospitable shores of national interests: did you know that Hoffmann von Fallersleben (no blame on him, seriously) wrote “Das Lied der Deutschen” during a stay on the island that was at that time, in 1841, of course still British?

The sinking island probably does not care about its nationality. However, while storms are still a natural force, their increasing strength in many parts of this world can be well considered as a result of national(ist) politics, and their liaisons dangereuses with global player economies. These are not as unsearchable as the unfathomable sea. But that’s again another story. We will see later.
Let us listen first.

LASSE-MARC RIEK.
is an artist mainly working in the field of sound art, acoustic ecology and related interdisciplinary research, including cooperations with other artists as well as scientist. He is also the co-founder of GRUENREKORDER, an outstanding label for phonography, sound art and field recordings.
Find out more about his projects at www.lasse-marc-riek.de
and about GRUENREKORDER at www.gruenrekorder.de

credits:
great many thanks to LASSE-MARC RIEK for LANDUNTER!

metadata:
LANDUNTER
by LASSE-MARC RIEK.
radia production + txt: miss.gunst [GUNST + radiator x].
production date: january 2017.
station: radio x, frankfurt am main (germany).
length: 28 min.
licence: (c) Lasse-Marc Riek
radia season 3.

www.radiox.de – www.lasse-marc-riek.de – www.gruenrekorder.de – www.gunst.info

Additional info:
includes radia jingles (in/out), station and program info/intro (english).