Cracking ice on a lake, cicada songs, rusty gates, dripping water, moving trains, and a handful of other captured sounds provided the instrumental palettes for these compositions. The tracks represent everything from highly composed tracks telling stories or capturing the essence of far away locales to straight field recordings that the artist felt did not need any processing to demonstrate the beauty of the situation. "The results that I received were astounding. This compilation allotted the artists the opportunity to find a middle ground in the realm of musique concrete. However, in relative terms, the phonographers product is rarely as ordered as a musicians composition and a composers product utilizes sounds that are generated for his or her specific purpose. In reality, phonography can be quite active in the choices of location and timing of the recordings, the placement and movement of the microphones, etc. The terms passive to describe the phonographers process of capturing sound and active to describe the composers process were used however, this sparked a great debate over how passive the phonographers craft is. "The idea behind this compilation was to challenge phonographers and musicians to find a middle ground between their two crafts by sculpting field recordings into creative compositions without using traditional instrumentation (unless captured in the field). This 2-CD compilation was curated by Fred Yarm. Sounds of nature, sounds of the city, using the non-instrumental rhythms and melodies of the source recording as the focal points, coaxing the music and beauty out of unplanned, un-orchestrated events. This compilation treats this no-man's land as its playground.įield recordings they are, with some processing, but not just walls of rhythmic noise. Somewhere in the spectrum between Musique Concrete and Phonography, is a vast gray area that is disowned and disputed by either side.
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