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EMERGE- 30 Fires (and the campfire in the Maerchenzelt) [treetrunk 353]

The installation ’30 fires’ by EMERGE is composed of 30 different fire sounds. Each fire sound has exactly the same duration and was looped 30 times in a row. Most of the sounds change their volume in steps of 0.5 decibels with each repetition. A few of the sounds were randomly placed at -20 decibels, thus interrupting the structure for seconds. Through this, the composition becomes as unpredictable to its listeners as the sounds of a ‘real’ campfire. Following the 30-minute composition, they hear an unprocessed field recording of the campfire in the Maerchenzelt (Fairy Tale Tent, a storytellers’ stage in an actual tent) on the grounds of the abraxas Arts Centre, where the sound exhibition took place. The campfire is an essential ingredient of the special atmosphere in the Maerchenzelt.

30 Fires at

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Am Eise- Transurban Loop30 Version [treetrunk 352]

For loop30, Augsburg-based sound artist Am.Eise created an installation from sounds he recorded in the city centre of Augsburg in October 2015. They were mixed, with some parts processed digitally to highlight certain sonic characteristics. Some sounds could be from almost any city, but locals will recognise some unmistakable Augsburg sounds. Among the sound sources utilised in ‘Transurban’ are trams with their passengers, buses, street noises/cars, the underground car park at Leonhardsberg, street musicians, St Anne’s Church/Martin Luther museum, fish vendors at the city market, water, abandoned buildings, shouting kids in a schoolyard, a traffic signal for the blind at Koenigsplatz square. The only sound source not recorded in Augsburg is archival footage containing the voices of US soldiers. This element references the place of the exhibition, part of a former barracks complex used by the US Army (originally built by the Nazi army and taken over by US troops in 1945).

Transurban Loop30 Version at

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Akusdix and Oda Klonk- Field Recordings by Akusdix and Oda Klonk [treetrunk 351]

The works by Akusdix and Oda Klonk you hear on this release are based on recordings made between August and October 2015 in the intercultural gardening project Grow Up! This garden, where citizens of the city of Augsburg from 14 different nations work together, is situated right next to the abraxas arts centre, where the installation version of this release was exhibited. The tracks presented here fall into the categories of field recording or phonography. Both of these terms refer to work with audio recordings of sounds from our natural and social environment. These recordings document the noise of construction machines and
cars, but by transplanting the outdoor sounds into the unusual indoor
environment of the abraxas foyer, they also open our ears to the beautiful
details we often fail to hear in everyday situations – for example when the
bells of the nearby church and the conversations of Turkish-speaking gardeners effortlessly blend into a wonderful sonic image of lived intercultural coexistence.

Field Recordings by Akusdix and Oda Klonk at

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Scott Lawlor (with mystified)- Behind The Black Industrial Curtain [treetrunk 350]

Scott Lawlor generously offered 3 great remixes of Mystified’s source piece, “Industrial Curtain” Thanks for Scott for his top notch work on these.

Behind The Black Industrial Curtain at

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Segment.fault- Industrial Curtain Reworked [treetrunk 349]

Mystified asked Segment.fault to remix his longform soundscape, “Industrial Curtain”, and he obliged with three pieces deeply exploring the sounds from the original piece, and using elements of microsound. Enjoy!

Industrial Curtain Reworked at

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Jack Hertz- Invisible [treetrunk 348]

This long form drone incorporates binaural, phasing, panning, and frequency modulation techniques to explore sound at the threshold of perception. The audio was intentionally mastered at low volume, with extremely slow changes. The listener may experience gaps in audible events, and at times may feel the sound more than hear it. The listener is invited to further modulate these effects by playing the piece at different levels, places, and times of day.

Invisible at

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Luciftias- The Night Had Gold In Its Teeth [treetrunk 347]

The idea behind this piece was to apply a Frippertronics/drone approach using a bass guitar instead of my usual 6-string. I wanted to incorporate tapped harmonics into this as well. The original recording was roughly 14 minutes long, but I did some minor stretching and additional editing to create the final track.

The Night Had Gold In Its Teeth ar

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