From B with L
on Plus Timbre (2018)
This is a recording of a soundwalk observed from a first person's point of listening. As all sound recordings do, this soundwalk recording presents what the specific one person hears when she went on a particuar walk. The unusual feature of this work as a soundwalk recording is that it also provides an insight to the thoughts that occur to her while she is on the walk, rendered as a voice letter to an unidentified acquaintance. This reveals personal stories and memories related to the places she visits as part of the soundwalk.
Download includes bonus artworks.
in Transit: [& transitions]
on Impulsive Habitat (2017)
When before and/or during traveling for work, not always feeling exactly excited, taking sound recordings or better described as listening to the environment through a sound recording device in a concentrated form is helpful to me in calming myself down and making me feel safe. This 31 minute long composition consists of 12 sound recordings taken over the course of 5 days in 3 countries, 6 cities and 3 houses between 2 homes of mine via 1 international airspace.
- from the release notes
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Les Impressions Marocaines (2016)
These are selected recordings from my personal trip to Morocco: impressions that I gained as a visitor, which now remain as sound - always recorded spontaneously, as a reflex to the environment. I want to share these recordings with those who haven't been on the trip with me, from which further impressions might be gained, extracted from initial impressions on my part.
The sites, in which each recording/track was made, are marked with correlating numbers on the 'map of sounds', which is included in the download as bonus item. The map doesn't contain any names of the places, which you are invited to look up or take a guess and discover.
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Impulsive Habitat curator David Vélez invited me to acoustically explore the concept of friction and contact working with wood, stone and water as resonating matter. Using the recordings derived from this exploration, I composed 'Dah Eum' (reach/touch on Korean) a work where friction and contact are thrivingly articulated and explored though repetition, rhythm and movement.