Gleb Glonti
SOUND LABORATORY, FIELD RECORDING LAB, SOUND ECOLOGY
FIELD RECORDING LAB 2020
TERIBERKA
TERIBERKA
A new event in the Field Recording Labs series for sound artists and musicians working with the sounds of the environments.
The third release of the Laboratory is an expedition to a fishing village on the shores of the Barents Sea from February 3 to 5, 2020.
The sounds of the endless Arctic space and the whisper of the tundra at the edge of the Earth in front of the Arctic Ocean.
Curators:
Idea, implementation — Gleb Glonti — sound artist, curator, general producer of the Kotä music company, and Experimental Music and Art (EMA) Expo.
Local curator and guide — Slava Krasnov — musician and author of the electroacoustic project Jasnazima.
Hosts:
Fridaymilk, independent project and curating group.
http://fieldreclab.com/
The third release of the Laboratory is an expedition to a fishing village on the shores of the Barents Sea from February 3 to 5, 2020.
The sounds of the endless Arctic space and the whisper of the tundra at the edge of the Earth in front of the Arctic Ocean.
Curators:
Idea, implementation — Gleb Glonti — sound artist, curator, general producer of the Kotä music company, and Experimental Music and Art (EMA) Expo.
Local curator and guide — Slava Krasnov — musician and author of the electroacoustic project Jasnazima.
Hosts:
Fridaymilk, independent project and curating group.
http://fieldreclab.com/
noosa — raunioina
Abandoned buildings, broken promises,
«linding snowstorms, crushing waves, —
Digital glitches, and chaos, —
Underneath, the melancholy
of loss, and decay.
Yet somewhere, there is
a time after us.
jasnazima — snowballs at 30 meters per second
This composition is entirely composed of samples recorded during the functioning of the laboratory, the synthesizers are also been recorded with the use of a sampler. I often rely on the practice of creating instruments from field recordings. Working with melody and harmony in this manner seems to be more rewarding.
bad junior — frl
Personally, this composition is close to the test in the psychologist's office, the results of which show a high level of anxiety.
I wanted to add melancholy, inspired by the beauty of northern landscapes, but this overturned into an existential horror with elements of melodrama. It is hardly surprising, acknowledging the fact that from all the records collected in the laboratory, the most ominous and uncomfortable ones were selected. The composition is based on a sample of silence, which was cut from the dense darkness of an abandoned school in Teriberka. It was a pretty eerie experience.
Abandoned buildings, broken promises,
«linding snowstorms, crushing waves, —
Digital glitches, and chaos, —
Underneath, the melancholy
of loss, and decay.
Yet somewhere, there is
a time after us.
jasnazima — snowballs at 30 meters per second
This composition is entirely composed of samples recorded during the functioning of the laboratory, the synthesizers are also been recorded with the use of a sampler. I often rely on the practice of creating instruments from field recordings. Working with melody and harmony in this manner seems to be more rewarding.
bad junior — frl
Personally, this composition is close to the test in the psychologist's office, the results of which show a high level of anxiety.
I wanted to add melancholy, inspired by the beauty of northern landscapes, but this overturned into an existential horror with elements of melodrama. It is hardly surprising, acknowledging the fact that from all the records collected in the laboratory, the most ominous and uncomfortable ones were selected. The composition is based on a sample of silence, which was cut from the dense darkness of an abandoned school in Teriberka. It was a pretty eerie experience.
dmtrgrbs — tera teri
I am convinced that all beauty already exists in the surrounding world, it just needs to be noticed, and this is the main artist's role. Therefore, the primary principle in creating this composition was the principle of non-interference in the field of found sounds. The second one is following the general rhythm of the expedition. Beginning gently with a touch of mystery, like a tea ritual, it develops into a stream of vivid emotions.
gleb glonti — dyadya volodya
I focus on the anthropological nature of things. I put people in the first place. While the participants of the laboratory wandered in search of unusual sounds along the cape, where the defense line of the Arctic Circle passed and the cannons of the Second World War were standing, I was lucky enough to record the story of Uncle Volodya. I called it Quiet Flows the Don on rewind, the form of the story is so similar to the history of people who lived in the period between the 20s and the 40s on the territory of the Soviet Union.
As for the performance, in the creation of most of my tracks, I like to imply the approach proposed by Luc Ferrari which is called "presque rien" (almost nothing in French). This means that all work on the composition takes place during the recording and the studio work is almost absent in post-production.
I am convinced that all beauty already exists in the surrounding world, it just needs to be noticed, and this is the main artist's role. Therefore, the primary principle in creating this composition was the principle of non-interference in the field of found sounds. The second one is following the general rhythm of the expedition. Beginning gently with a touch of mystery, like a tea ritual, it develops into a stream of vivid emotions.
gleb glonti — dyadya volodya
I focus on the anthropological nature of things. I put people in the first place. While the participants of the laboratory wandered in search of unusual sounds along the cape, where the defense line of the Arctic Circle passed and the cannons of the Second World War were standing, I was lucky enough to record the story of Uncle Volodya. I called it Quiet Flows the Don on rewind, the form of the story is so similar to the history of people who lived in the period between the 20s and the 40s on the territory of the Soviet Union.
As for the performance, in the creation of most of my tracks, I like to imply the approach proposed by Luc Ferrari which is called "presque rien" (almost nothing in French). This means that all work on the composition takes place during the recording and the studio work is almost absent in post-production.
Release date: 26.10.2020
Music produced by: Joonas Parviainen, Slava Krasnov, Alla Burakova, Dmitry Gorbas, Gleb Glonti
Mastered by: Mikhail Myasoedov
Curated by: Gleb Glonti
Photos by: Slava Krasnov, Dmitry Gorbas
Cover photo by: Slava Krasnov
Music produced by: Joonas Parviainen, Slava Krasnov, Alla Burakova, Dmitry Gorbas, Gleb Glonti
Mastered by: Mikhail Myasoedov
Curated by: Gleb Glonti
Photos by: Slava Krasnov, Dmitry Gorbas
Cover photo by: Slava Krasnov
