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    cover drawings by Victoria Stolz - cover art Clare Cooper

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about

The photo is of a rock wall at the back of the buran (cave in Dhurga) where Tones of Stone was recorded. Our cave is a fifty-metre vertical climb above the central swamp on the eastern side of the valley, so throughout the recording we hear the diffracted effects of distant frog and bird calls as a background underlay to the more proximate details, as Buran enfolds us in her acoustic embrace. We hear us walking-on, gently tapping and scraping bura (stones) — the specific grain of rough-soft sandstone and its crumbled form — sand — contrasted with the ping of smooth-hard quartz. The frequencies bura gift range from bass to high-pitched. We normally think of rock and stone as being grounded — set in earth — here stratified stone is high in the sky, mingling with air, less bedrock, more marble-cake like skyrock. Weather sculpts drums into the rock wall — fragile-thin membranes of stone and associated volumes of air that can be played with fingers, sticks or other stones generating arational tones. These tones don't sit within human tonal, atonal, or non-tonal systems — they are eco-tonal. Buran and their critters afford us specific tones — fundamentally indeterminate performances — and to be in-tune, we human musicians need to de-master from anthropocentric systems, attune to layers of the arational and indeterminate, and leave space for others, the unidentified. The form of Buran acts as a giant pinna, a parabolic dish, concentrating distant soundwaves and bringing them to microphones — Buran listens — and also as a giant projecting horn to send sounds out into the larger acoustic of the valley — Buran sounds. We positioned 3 stereo hard disc recorders, one on a rock ledge at the back of their rock overhang, one closer to an open area of bushes where Adam plays leaves and branches, and one at the edge of the escarpment pointing away from us and into the acoustics of the valley. What you hear in the mixed audio are layers superimposed on other layers, three stereo blocks of synchronous timespaces. Human musicians, wind, birds and insects all wander around in multi-contextual spacetimes, but we meet in the musicking, where we become musickin. (To borrow Hannah Reardon Smith's term)

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from In Weather Volume 1: The Hidden Valley, released December 12, 2022

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Splitrec Sydney, Australia

Eco-musical, experimental and improvised music from the vibrant Sydney scene.

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