Art and Music

Field Notes is a free bi-lingual magazine published by the German label Gruenrekorder, edited by Daniel Knef and Lasse-Marc Riek. Generally speaking our magazine is concerned with the phenomenon of sound from the most varied perspectives: artists, musicians, journalists and scientists add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series.
PublisherGruenrekorder2008
Field Notes is concerned with the phenomenon of sound from varied perspectives: artists, musicians, journalists and scientists. They add to Field Notes with their essays, interviews, travelogues, anecdotes, notes and picture series. This first issue features six articles written by Costa Gröhn, Tanja Hemm, Christoph Korn, Stefan Militzer, Marcus Obst ( aka Dronæment), and Aaron Ximm (aka Quiet American).
PublisherGruenrekorder2009
Our second issue features Marcus Kürten’s interview with the passionate phonographer Walter Tilgner, the second and final part of Stefan Militzer’sessay about “Tones, Sounds and Noises,” a collection of old Chinese texts regarding silence and noise – compiled by sound artist Lin Chi-Wei –, anecdotes by Yannick Dauby regarding his recording and hearing experiences with frogs as well as thoughts and reports based on Gabi Schaffner’s personal experiences with accidentally deleted or never recorded sounds from Finland. The magazine closes with an essay of the componist and sound artist Andreas Bick regarding the construction of meaningful correlations when listening – “listening is making sense.”
PublisherGruenrekorder2012
Traces begins with Tom Lawrence’s fascinating and soon unsettling insights into Ireland’s largest wetland Pollardstown Fen and its ongoing destruction through men. Furthermore he describes his elaborate attempt to record the fen’s rich world of water beetles and talks about the startling discoveries he’s made. ♦ Regarding the question ‘Phonography: Art or Documentation?’ sculptor Scott Sherk examines the history of photography and its parallels to the developing world of phonography via selected historical imagery. ♦ From moments of excited listening in his childhood Jim Cummings carries us to the founding of his label EarthEar and his eventual step into scientific fields with the Acoustic Ecology Institute. ♦ ‘Something which lasts, passes by’ is Marcus Kürten’s ...
“We are continually made aware of musicians who have in the past seen value in spuriousness and enacted it in their work, pioneers whose realizations of fakeness preceded the vocabulary for it. Fake Music‘s new initiative will be not to reissue the works of these unimportant artists so that they might persist in their obscurity. FakeMusic Re–Anticipations will periodically issue notifications that we will not be reissuing one of these forebears. The first of these nonreissues is the lack of a catalogue of VOLVO, a Dutch rock and roll band who in the 1980s did not play, perform, or record. We ...
“The second nonreissue in our Re–Anticipations series is the 1995 debut CD of Argentine band Reynols, Gordura Vegetal Hidrogenada. Reynols have staked an important claim in fake music history, repeatedly asserting the nonexistence of their group. Fake Music is very pleased to not reissue this seminal work in no format that can be heard or owned by enthusiasts or collectors. We deeply believe this is a history that should be greatly treasured and heard by none.” —Fake Music Re-Anticipations
“Fake Music offers the third in its Re–Anticipations series, the complete catalogue of the Dutch trio the Heroines, a band who from 2006 to 2011 were visible in Amsterdam’s music scene despite their intention to produce no musical output. This collaboration has been years in the making and we are excited to acknowledge our inability to reissue their work.” —Fake Music Re-Anticipations
“Fake Music offers the fourth in its Re–Anticipations series, Yves Klein and Charles Wilp’s 1965 Prince Of Space, Musik Der Leere, an extremely rare LP heard by no one until today. We are proud to announce that with the present release this work will remain unheard. Such a significant work as this deserves nothing less than to persist in silence and obscurity.” —Fake Music Re-Anticipations
“We do not know where in the world you are receiving this email, but we are sending it from cities whose inhabitants are starting to speak of warmer seasons. As we from FakeMusic look forward to sweatier days, we think too of the comfort and well-being of our listeners, and so we offer our fifth nonreissue, an acknowledgement of Daniel Eatock’s intent to produce “Audio Mosquito Repellent.” In its broad implemental scope, the piece might have powerfully addressed issues of public health, aesthetics, naturalistic observation, leisure, etc. Unrealized as it is, we cannot reissue this work (to do so would be ...
“Silent or absent music often conveys a sense of headiness, the impression that its lack of a low end (or any end at all) makes it more mentally than physically stimulating. Pootie Tang’s silent hit from his eponymous movie stands out from these less scrutable compositions by getting radio play on hip-hop stations and inciting physical expression in its listeners. (Un)Named for the mannerism that stands in for its traditional title, [untitled gesture] upends the typical genre assignation of “non-music” simply by changing its means of dissemination. The piece is of course able to effect such a shift only because it appears ...
“Our catalog thus far consists of works conceived and works issued that we are unable to re-release for pragmatic and conceptual reasons. Yet this focus occludes a domain of the nonreissuable: works that were neither conceived nor issued. With this present announcement, we acknowledge our inability to make public any of the compositional work of Eliane Radigue between the years 1974 and 1977 due to the fact that these years marked a hiatus in her production. We choose to mark Radigue’s nonproduction in particular given the deliberate intent of her temporary retreat and given the deliberate subtlety of her subsequent compositional work. ...
“Does funkiness have anything to do with mourning? Does it depend on how we use the word (do we attribute something of the stinky to the offbeat?)? How can funkiness precede funk? Is it the job of funkiness to flatten pomp? Can we ignore mourning when we think about funk? (What does Alphonse Allais have to do with this?)” —Fake Music Re-Anticipations

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