2018年重要リリース作。サウンドアート、実験音楽全般に於いて決して避けては通れない二人の女性サウンドアーティストChristina Kubisch & Annea Lockwood。1975年にニューヨークで初めて出会い共通のアイデアがあった為に意気投合、しかしその後なかなか会う機会に恵まれず実現できなかったコラボレーションが42年越しで遂に実現。お互いのサウンドマテリアルを交換し合い、それぞれが独自に作り上げたソロ音源をディスク1(Annea Lockwood)、ディスク2(Christina Kubisch)に完全に分けた形で収録、二者ともにコンセプトだけでは無い内容で聴かせる素晴らしい音源を提示しています。マスト。
CD 1 – Annea Lockwood
WILD ENERGY | 2016 (with Bob Bielecki) — (29:49)
STREAMING, SWIRLING, CONVERGING | 2017 — (8:25)
Sound engineering and mastering: Tom Hamilton, New York
CD 2 – Christina Kubisch
NINE MAGNETIC PLACES | 2017 — (13:26)
BELOW BEHIND ABOVE | 2017 — (22:32)
Annea and I first met in New York in 1975. I was writing an article about the experimental music scene in New York for an Italian magazine. We soon found out that we had a lot of common interests and ideas. In 1979 she came to Italy and together we performed her piece „World Rhythms“ at a festival in Como. I was deeply impressed by how Annea combined technical skills with intuitive performance.
Sound for her always has been more than just material to bring into a compositional form. It was more than raw material, it had a complex structure of its own and was transporting energy. Annea translated and communicated this energy to the listener and she does this with unusual intensity until today.
Over the years we followed each other’s works but unfortunately did not meet as often as we would have liked. During her stay in Berlin earlier this year we had another chance to discuss our works, materials, researches, concepts, doubts and future projects. The idea of a collaboration was a natural consequence of this exchange. We both investigate soundworlds which normally are not audible. Annea questions how the forces of nature influence us, I question how manmade electromagnetic fields have an impact on our lives. And we both love field recording, especially exploring underwater sounds with hydrophones.
We decided to exchange sound materials and left it open to the other what to choose and how to mix it into a new composition. The two new pieces which were created by this exchange are different but at the same time seem to belong together somehow. Annea sent me extracts from recordings of VLF chorus waves, solar oscillations, earthquakes, gas vents etc. while I transmitted to her a collection of recordings of electromagnetic waves which I had made audible and recorded with special custom designed induction headphones. Annea’s sound material was coming from sonic ultra and infra ranges and was speeded up or shifted down in order to become audible, my recordings are analog and were made directly on site in different cities. The sounds we use are all strange and powerful and they go together as if they were especially made for this collaboration. Until now what kind of influence the sources of these normally hidden waves have on us is not much explored. It is up to the listener to find out more about it.
Thanks to Gruenrekorder who supported our project from the beginning. — Christina Kubisch, November 2017