A journey in sound from composer Eric La Casa, who organized these recordings of water and wind captured over 12 years as a sonic journal of the various geographic locations he visited, transforming them into an absorbing story about the living world.
Label: Herbal International
Catalog ID: 1005-2
Squidco Product Code: 20798
Format: 2 CDs
Packaging: Cardboard Gatefold 3 Panels
1. 2. from "Les Pierres du seuil 4-7" CD . Edition ... (USA) 2000
3. 4. excerpts from "The stones of the threshold " CD. Groundfault Recordings (USA) 1999
5. Unreleased. Originally composed for the house of the river at Saint-Georges-de-Montaigu (Frace) 2003
6. 7. excerpts from "Les Oscillations part 1 and 2" CD. Fringes Recordings (Italia) 2005
8. from Explorer series, 7". Production : Povertech (USA) 1999
1. from "The sound of nature - The nature of sound" compilation. Kaon (France) 2001
2. from "Les pierres du seuil 4-7" CD. Edition... (USA)
3. from "Quelque chose de cela, le desert part 1 to 3". Collection Memories (France) 1999
4. Unreleased. Originally Composed for Halana magazine (USA) 2001
5. from "Sul" compilation, a tribute to Chris Marker. Sirr.records (Portugal) 2002
6. excerpt. Unreleased. Originally composed to Cledat & Petitpierre's performance (France)2008
Eric La Casa-field recordings
Highlight an artist name or instrument above
and click here to Search
1. Les Pierres Du Seuil Part 4 11:51
2. Les Pierres Du Seuil Part 5 20:37
3. Les Pierres Du Seuil Part 2 3:16
4. S'ombre Part 1 7:25
5. Spirale 3 10:09
6. Les Oscillations Part 2 10:33
7. Les Oscillations Part 1 2:45
8. L'Inspir Du Rivage Part 2 6:41
1. Dans Le Feuillage Du Lointain, La Clameur D un Bruissement 13:15
2. Les Pierres Du Seuil Part 6 18:15
3. Quelque Chose De Cela, Le Desert Part 1 and 2 16:39
4. Les Pierres Du Seuil Part 8 9:39
5. L Air Au Fond Rouge 9:06 6. Les Aubes Sont Navrantes 8:05
Related Categories of Interest:
Organized Sound and Sample Based Music
Solo Artist Recordings
sample the album:
"When I listen today to these pieces, I hear, of course, a geographic inventory of all the places I encountered. Above all, though, and as if by default, I hear the sonic journal of twelve years spent recording sound.
My relation to the sites wasn't based on a desire to " document " but it is worth noting, however, that a " sound story ", more trivial perhaps, has instituted itself, expanding and commenting on my musical journey: that of a man listening.
Moreover, it has never seemed more obvious to me that listening is always situated in what I would qualify as the extreme present, that is, the instant when listening, landscape and time become one.
Bouvier was right : the more we journey, the more the journey transforms us. Fascinated by water and by wind, these agents of transformation, activators of change, became, during those twelve years, my principal, almost exclusive, subjects, wherever I happened to be. Progressively, a methodology, informed by cartography, gave my way of working a certain determinism without, however, breaking my intuitive relationship with the landscape. This also informed my conception of that which is sonic (le sonore), and its importance: being inside, at the very heart of movement. Listening, without drawing breath, led me beyond my preconceptions - and into the depths also, along with all my recording gear: I remember very well my fall into the cold water of a waterfall's plunge pool. That was in 1991...
Listening to water or to wind is to bring one's attention to bear on the perpetual motion of things, a living alchemy, the pulsing of the world.
Eric La Casa, Summer 2010