3 Leaves
Rod Cooper built his own instruments such as a Pole Box Amp (piano wire with bowed metal spikes and an oscillator), MFP Sund (homemade microphone among other gear), and Pipe Spring Bow (drum head on pipe with piano wire) and others–all recorded in an outdoor setting. In the background cooper let his microphone capture outdoor environs like wind, wildlife, and tempest from electronic equipment–all brought together into moments of undistilled ambience. Gorgeous disc in surpassing packaging with digital document card.
“The work at hand, “Habitats”, deals with habitats, areas and living spaces. In this particular case, these spaces were created from a pool of acoustic field recordings I realised while in Finland in Spring of 2007. Over the course of the past year, I have, for various reasons, increasingly been absorbed by the sounds emited by nature. The piece researches the interplay between natural elements on the one hand and passages I arranged at a later stage on the other. It deals with directional hearing and of course with the vast array of bird voices – as well as the silence one can detect in between all of these different sound sources.” -Lasse Marc Riek
“Pilis is a sacred place. Bound north we leave the big city Budapest behind and we find ourselves surrounded by wonderous mountains and natural habitat. The Pilis mountain is located on the right bank of the Danube between Budapest and Esztergom. Its highest peak is only 756 meters, however, the scenery is picturesque. The beauties of nature, the fresh forest air, and the presence of positive energies this area are sought by many visitors. A big portion of the area is protected as a National Park, with numerous bicycle and hiking trails. In April 2009 I began my hike from the highest point of Pilis, and descended slowly. I was accompanied by a charming stream of clear water all the way. As we walk through the forest and listen to the sound of the small stream, with each step, we arrive into different worlds and see, hear, and perceive the surrounding nature accordingly. I could not describe why “there and then”: when I felt like, I stopped, sat down and recorded the sounds of the stream and the environment. Later, when I listened and selected these field recording tracks at home, I decided that I’ll compose various computer generated layers in addition. In time, these layers transformed into sonic thoughts in brackets inspired by the original field recording tracks and the wonderful memories of the hike. This was the birth process of a flowing, self re-creating and re-analyzing, yet coherent composition. A relentlessly meandering and laughtering auditory flow: a second hike to the Pilis.” -Ákos Garai













