To coincide with the return of the Vikings TV series in Australia on SBS (Wednesday 8:30pm, 24 February), I am offering a 95% discount on my album Soundprints: Sealed In Sweden.
To buy the album, go to https://colinblack.bandcamp.com/album/soundprints-sealed-in-sweden click on “Buy Now” then type in the word Vikings as the discount code. You have until 9:30pm (Sydney time) on Wednesday, 24 February (when the first Vikings episode finishes) to take advantage of this special offer! Soundprints: Sealed in Sweden has been selected for broadcast in its entirety on the following list of stations: * WDR 3 (Germany), 16 November 2012. * HRT Croatian Radio 3, 5 June 2012. * Kunstradio, Austrian public radio ÖRF, 27 May 2012. * RadiaLx 2012 International Radio Art Festival, Lisbon, Portugal * RTP (Rádio e Televisão de Portugal), Dois ao Quadrado programme, 12 December 2011. * YLE Radio 1 (National Finnish Radio), 31 October 2011. * ABC Classic FM (Australia), 27 August 2011 * Sveriges Radio (National Swedish Radio), 24 and 25 August 2011. * Radio Clásica, Radio Nacional de España (Spanish Public Radio), 21 August 2011. * Resonance104.4fm (London), 8 July 2011. Soundprints: Sealed in Sweden is a fifty-one minute work in twelve movements that, while it contains documentary aspects, has more in common with Peter Leonhard Braun’s recordings of London from 1964 entitled Londoner Abend [London Evening] “an account which is primarily sensuous and only secondarily factual.”[1] Soundprints: Sealed in Sweden is a work that utilises Hans Flesch’s notion of radio as a “harmony of noises”[2] comprised of “interview”, “new music” and “studio”. Like Braun’s Londoner Abend it also aims “to make noise the star performer”[3] alongside the interviewee’s voices. The work develops along Donald McWhinnie’s aesthetic preference for favouring more carefully selected abstracted “radiophonic” sound effects and away from using realistic sound effects (including recognizable location recordings).[4] Further to this, these radiophonic sound effects are not simply used chiefly to illustrate and support the dialogue, but are conceived as independent elements within the work’s construction. In many movements these elements present poetic juxtapositions of the audio components so as to create a kind of polyphony between the parts. The aim, in a post-structuralist sense, is to give the listeners space in which to conjure up their own idiosyncratic connections. This is an approach that I have been developing for some time now [see my contribution in Seán Street, The Poetry of Radio: The Colour of Sound (London: Routledge, 2012), 117]. -------- For those of you who may be interested, you can now download my full notes on the making of, the ideas behind the work and the transcript of my album “Soundprints: Sealed In Sweden” from the following URL https://www.dropbox.com/s/jhcxvrycpnk19pd/Soundprints%20Sealed%20in%20Sweden.pdf?dl=0 [1] Peter Leonhard Braun, “Prix Italia 1966: Londoner Abend/London Evening,” in: ARD Prix Italia Transcripts (Radio documentary) (Germany, 1966), Text introducing the transcript. [2] Hans Flesch, “Mien Bekenntnis zum Rundfunk,” trans. Daniel Gilfillan, in Daniel Gilfillan, Pieces of Sound. (Minneapolis: University of Minnesota Press, 2009), 70. “um durch den Zusammenklang der Geräusche eine rundfunkeigentümliche Kunstgattung anzudeuten” [3] Peter Leonhard Braun, “Prix Italia 1966: Londoner Abend/London Evening,” in: ARD Prix Italia Transcripts (Radio documentary) (Germany, 1966), Text introducing the transcript. [4] Donald McWhinnie, The Art of Radio (Faber and Faber: London, 1959), 51
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