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Phil Mouldycliff & Colin Potter - Trajectories CD

Phil Mouldycliff & Colin Potter - Trajectories CD

£7.00
Phil Mouldycliff was contacted by Dave Carson with a view to making a work based on the unique wildlife of this very isolated island in the Pacific Ocean.This resulted in Phil visiting the island to absorb the environment & make many hours of field recordings.The final work will be an audio-visual show designed to be shown in domed structures & planetaria.The field recordings were taken back to IC Studio where Phil & Colin Potter processed them & mixed them with female voice and piano interpretations of birdsong.As unlikely a this sounds,the end result is an album which sounds simultaneously electronic/synthetic & natural.Hopefully this conveys the nature of the island from an unusual tangent. REVIEW : VITAL WEEKLY number 700 'Not right on the list 'places I need to have seen', but Christmas Island: yeah, if I'm around, why not (Easter Island is actually on top of that list). One David Carson and Phil Mouldycliff have been to the Christmas Island where they recorded a whole bunch of sounds, all of which are carefully mentioned, per track, on the cover: Frigate birds, Red footed Boobies, Cicadas, Emerald Doves, White Eyes, Christmas Is. Trush, Abbots Boobies or the Imperial Pigeon, well, among others, actually. Also locations are described on the cover, and back home (I assume), Mouldycliff composed pieces of music with these recordings, which Colin Potter then 'processed and produced', which allows him the same front cover credit, I guess. It makes it, on the other hand, not easy to tell what is what here: what is Mouldycliff composition and what is Potter's processing and production. There is lots more mentioned on the cover, such in the 'Trajectories 1' there is a 'time stretch voice Soloist', which I must say sounds a bit like an easy trick. All four pieces use bird sounds, but the results aren't always the same. The first 'Trajectories' use this time stretched voice, whereas in the second there just bird and bell sounds and things sound rather open. In this third part drones return in a very peaceful fashion, along with the birds. With twenty-four minutes the best part of the release. In the final part there are also drones but of a much more darker nature. Four quite different pieces of music, of which the first one was the least appealing one, but the other three sounded great. Excellent drone music with field recordings - or vice versa.' (FdW)

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