Field recordings (mono _ stereo _ binaural), contact mic, hydrophone and computer processing / Amarante, Budapest, Coimbra, Moscow, Saint-Petersburg, Sesimbra, Travanca do Monte,Tallinn and Vienna / 1998 - 2019
All field recordings, editing, composition, mixing and mastering by João Castro Pinto
released January 24, 2020
The No Land Soundscape, which, as the name implies, is meant to represent no specific location, but rather to suggest a phenomenological sonic experience that re-contextualizes both the spaces and the time of the field recordings in an unusual and captivating sonorous reconfiguration (its field recordings were done within a period of 21 years, in diverse locations). This work was developed within context of João Castro Pinto’s ongoing PhD research about soundscape composition thematic, and it intends to question the notion of spatio-temporal coherence, a key concept within the academic conceptual theory supported by Barry Truax, regarding the practice of soundscape composition.
The No Land Soundscape is a work composed with field recordings captured from totally different latitudes, which are mixed in such a way that their differences fade at the listening moment. What is at stake here is, on the one hand, to question the perception of the ambiences portrayed in terms of the objective provenance of the presented sounds and, on the other, to draw attention to the richness of different sound scenarios: from rural to urban, from calm to noisy. In this soundscape are presented different scenarios with which we have sonorous familiarity, coming from various geophonies, biophonies and anthropophonies, including: sounds of water (river - in natural and artificial scenery / city - OR sea / beach), rural sounds of the countryside / animals, sounds of works / construction, sounds of churches (choirs), sounds of fairs and playgrounds. All of these sounds have been crafted and mixed in order to highlight and enhance their sonic and musical qualities. This work intends, in the sense of the acoustic ecology, to arouse the interest on sounds and on the importance of the development of an attentive listening, and therefore to contribute towards the preservation of the acoustic environment, but it is not intended to serve as an apology for the so-called natural sounds. Rather than advocating judgments as to which sound typology is best suited to listen, purpose that is intended by the acoustic ecology, The No Land Soundscape does not segregate sounds, it highlights both natural and artificial sounds, calm or noisy, hi-fi or low-fi, processed or just raw field recordings. Sounds animate the places that we inhabit and in that sense they are a phenomenological access to reality, and it's their qualitative unity that is portrayed in this soundscape, rather than the singularities of cultural or anthropological nature / interpretation, more akin to a ethnomusicological discourse / analysis. The No Land Soundscape is a sonic journey that focuses on the soundscape and on some of its aspects / factors, a proposition that evokes the necessity of the development of a present and attentive listening.
supported by 12 fans who also own “The No Land Soundscape”
A totally absorbing album, I love how the subtleties and intricacies grab and hold your attention. Melodies and rhythms weave around drone and noise elements which themselves have great movement. Field recordings add tension, at times there's a mechanical feel yet each song also feels like an unfolding story that you are a part of. Andrulian