Saturday, February 14, 2015

The Imitation Game - someone just sent me a link to this article on the sound design for the film, on which some of my mics were used:
“The one they shot with on the film was just built for the aesthetics and had electronic motors, whereas the machine at Bletchley looks very similar to the one in the film, but makes the authentic sound,” Walpole continues.
“Together with Andy Kennedy [sound designer], Joe Beal [sound effects editor] and Forbes Noonan [ADR mixer], I went along to record the sound of that; we took along a couple of sound devices and recorded multi-track. The mics we used were a Schoeps CMIT 5 U, Neumann KM 104s, a RĂ˜DE NT4 and JRF contact mics. We recorded every whirr, click and buzz from multiple microphone perspectives with the machine on a full run.”

Thursday, February 5, 2015

latest edition of 'the organist' podcast on KCRW, produced by Lawrence Dunn, features contact mic recordings by various folks including myself, John Grzinich & others


Thursday, January 29, 2015


digital reissue of 'dawn chorus - north and south banks' 

Saturday, January 24, 2015


Location Sound Recording Workshop
University of the West of Scotland
Ayr
19th-23rd January 2015


Me and Chris Watson headed up north, driving along increasingly snow sided roads, to Ayr on the west coast of Scotland following an invitation from Peter Snowdon (lecturer in film making) and Nick Higgins (director of the Creative Media Academy). As part of the Honeycomb - Creative Works project, funded by the EU and aiming to bring leading creative industry professionals to the border counties of Ireland and the western seaboard of Scotland.



A group of 26 participants joined us for the 5 day intensive workshop, taking in field / location recording, extended listening, critical playback and discussions on equipment and techniques.

day one: introductions
through till lunch we spent the time getting to hear about each participant: their practice, aims for the week and what motivates them to work in the field. As always when we do these courses there’s a wide variety of interests; sound art, experimental music, social contexts, film and tv production and wildlife. After lunch Chris talked through various aspects of his approach to sound recording, playing examples to illustrate. I then spoke about my work with a particular focus on creative settings and the use of non-conventional microphones / devices (hydrophones, contact microphones, ultrasonic detectors, coils, geophones, vlf receivers etc). Essential to these talks is that they aren’t lectures - they’re discussions, a sharing of knowledge. The questions and comments from those attending not only provide an essential social element but also allow for everyone to think about aspects they perhaps don’t usually consider. Someone aiming for a career in film crew work can learn a lot from a sound artist whose concern is primarily the use of material to trigger different levels of listening. Likewise an artist can think in different ways about their practice when hearing how a sound mixer works. The two worlds are often concerned with very different aims and intentions - indeed, there is often a very wide gulf between the values (in terms of listening and the texture of sound) of these different approaches and this is why there’s a lot to be gained from exploring those differences in a sociable and group setting. Having tutored on workshops for some years now I can say without doubt that there’s almost always a total ‘group linking’ in the first hours or day of a course - where everyone involved understands that, whatever our specific approach or knowledge, we are all these through an interest in better and more expansive listening.

day two: equipment and first field trip
before lunch we begin discussing field recording equipment. About half of the group have limited previous experience with field recording (though most have some background in sound, whether in a studio setting or through music) and the other half have some experience and their own kit. So steep learning curves all round - but thats one of the reasons to come on a course such as this.
The Uni campus in Ayr has the River Ayr running though its grounds and so the lecturers decided a theme of the river for this weeks course. With that in mind our first field trip was to Glenbuck Loch, the source of the RIver Ayr. We arrived to find an amazing icicle-covered wood circling the totally frozen Loch, complete with ice-anchored boats and unsteady swans attempting to break the ice sheets. 26 is a big group and lets face it, field recording and site specific listening is a solitary pastime, by necessity. With that in mind I would say that the first thing people learn on these kinds of courses is how noisy we are a species. How challenging it can be to stand or sit totally still for 10, 20 , 30 + minutes without making a sound, or without ones recording or experience being affected by the sounds of others. 
I concentrated on showing my approach to recording the ice on the Loch and the fence wires surrounding it. Chris headed into the trees to listen for bird life and we all came away with an additional, unexpected sound-memory, that of the icicles falling from trees when the wind picked up; a rain of small, cold bells - glass like fragments of sound, and very evocative.

]


day three: second field trip
moving down the river, towards Ayr itself, we first visited the site of Wallace’s Cave (or at least one of the caves associated with him). Some of the group went searching for the cave itself and others took the time to find their own spots amongst the trees and along the tracks.  Here folks began to get a sense of how radically different the sound of single source (the river) can be every few centimetres or metres, and when its filtered through trees, fences, caves and other surfaces.
The next stop was at Ballochmyle, where we’d been told there were cup and ring markings  (a form of prehistoric wall art, the exact meaning of which is subject to various theories) on several stones. Here we walked along one of the paths, leading us past numerous icicle screens where the melting snow was running into the small stream by the side of the track, to a bridge over the river and a rather odd box, marked AV, which at high volume was pushing water up through its cover. This ‘break’ in the soundscape of the walk had the effect of re-setting our ears and, of course, opening up thoughts about how our perception of place is often linked to what we expect rather than a more momentary and immersive openness to reality. Walking further the group began to split - some heading for the cup and ring marks and others taking time to venture down to the river to use hydrophones and contact microphones.



day four: third field trip and recording logging
we began at the Uni campus, following the path along the banks of the Ayr to a footbridge. I stayed near the bridge, with around half the group, attaching contact mics (not enough wind to resonate the structure on its own) and the others spent time recording along the banks or with Chris setting up mics around piles of bread and biscuits to try to attract birds closer to the mics. 
As the bridge wasn’t sounding I then attached contact mics to a tree nearby, choosing one with dry, crisp leaves. Several of the group listened and then got on with finding their own tree sounds, either allowing the breeze to cause the sounds or taking a more interactive approach.




From here we decided to push back the scheduled lunch break and head to the docks at the mouth of the Ayr. By this time all participants were fully heading off on their own to use whatever kit they had or had borrowed. Some spent time on the beach and others concentrated on the diffused sounds of the active docks on the other bank of the Ayr; 2 cargo vessels were being loaded , the small pilot boat ran up and down the river, a nearby construction site, and of course the wind and water.
I took the opportunity to test some new omni mics, comparing them to my trusty DPA4060’s. Having made several recordings along the pier facing the docks I then switched to contact mics. As is often the case I stumble across one surface that offers up something special and here it was one of the large, flat metal pier plates stretching from the top to just below the waterline (at the time we were there). A massive low end filter for the tide and all activity on the river - deep drones from machinery, less focused elements which, whilst somehow representing the sensation of being on this windswept promontory, were abstracted - mirroring again ones ability to listen beyond the obvious. I’d have happily stayed listening to this one surface for hours.
Returning to the Uni campus participants either stayed and logged their recordings or set off to work on this at home. The point was to fully document each recording they’d kept, noting location, date, time and equipment used (either from notes taken in the field or from spoken idents on the recordings).




day five: critical playback
coming together as a group we listened back to one or two recordings from participants, discussing each one. Amongst the tracks were recordings of:
icicles falling from trees
ice sheets on the loch
fence wires
swans pecking seeds from the ice
sound of the river from inside and outside Wallace’s cave
frozen waterfall at the gorge
icicle drips
metal pier plate
dock ambience
and more....

These playback sessions are always valuable, not only to compare different microphones, recorders and techniques but to hear the radical differences that even small decisions can produce. Quite often someone will say ‘I don’t think this is very good’ and on hearing it played back to the group, through speakers rather than in the enclosed world of solitary headphone listening, it becomes obvious that the recording not only ‘works’ but represents something of the individual. It is the aspects of our work that we doubt that we perhaps perceive what makes it ‘ours’.


Wednesday, January 14, 2015

Friday, December 26, 2014


two new video pieces uploaded to preview the release of the 'salts / adagios' project cd / download:

'salts / adagios' - seconds from string works re-scored as durational pieces and recorded by placing jrf contact microphones & geophones on surfaces under & around the orchestra / ensemble performance venues

cd / download - to be released January 2015


Thursday, December 18, 2014

myself & Chris (Watson) will be teaching on this 5 day intensive field recording course at Ayr Uni in January 2015:

IMPORTANT: places are only available to people within certain post code areas of the UK - see the info below for more details:




Interest in the sound recording of natural and human environments has grown rapidly in the last few years. Described in various ways: location, field, natural, wild etc., these recordings can be put to a multitude of uses including film, television, radio, art installations, web and CD releases, video game soundtracks, as part of musical compositions and so on. Although we often think of these art forms as primarily visual, in fact the sound track often plays a dominant role in the viewer/user's experience. Learning to create original and effective sound tracks is a crucial and major part of many creative processes. New digital equipment makes recording and editing sound more accessible to many non-specialists, but also requires skill and experience in order to get the most out of it.
Who is this for? This five-day course aims to teach you the skills necessary to produce superb field recordings that can be used in a wide range of different media projects, and will give you hands-on experience with some of the latest equipment. The course is suitable for film-makers, sound recordists, radio producers, audio artists, musicians and video game designers, both professional and amateur.
About the trainers: Taught by Chris Watson, one of the world's outstanding field recordists, whose work ranges from CDs released in his own name to the soundtracks of countless BBC wildlife films, and by audio specialist Jez riley French.
Who can apply? This is a free Honeycomb programme, award recipients must be located within the following territories: Western seaboard of Scotland – Lochaber; Skye & Lochalsh; Arran Cumbrae; Argyll & Bute; East Ayrshire & North Ayrshire Mainland; South Ayrshire; Dumfries & Galloway; NI, excluding greater Belfast; Six border counties of the Republic of Ireland – Cavan, Donegal, Leitrim, Louth, Monaghan and Sligo.
Deadline for Applications: Please email rosie.crerar@uws.ac.uk by Friday 9th January, please title your email – Sound Module application request.

Saturday, November 22, 2014

Friday, October 17, 2014


dordolla, val d'aupa, italy
recordings:
river foot bridge - with JrF c-series contact microphones
teleferica, val d'aupa - with JrF c-series contact microphones
dolomite dissolve - with JrF d-series hydrophones
the audio is an extract from a performance given during my residency in the village
the video was filmed in the moments before the performance, sat watching the mountain above the village

Friday, October 10, 2014


digital re-issue (+ 10 physical copies left) or 2007 release

Sunday, October 5, 2014




GENE POOL#69 SONIC SEASON: JEZ RILEY FRENCH



P6080071This episode is the first of a five episode “Sonic Season” of improvisation and sonic arts shows.
The life of the field recording artist explored in conversation with Jez riley French.
Independence and integrity of artistic practice are strong themes with the globetrotting Yorkshire-man whose DIY JrF contact microphones have become something of an industry standard tool among sound artists.
We discuss community, microphones and recording equipment including geophones, hydrophones and contact microphones as well as vibrating staircases and the “Stairway to Heaven” of the field recording world.
This podcast features some original recordings made during a weekend workshop led by Jez as well as audio from his own archive material.
More Info
The podcast can be delivered directly into your Mac/PC, tablet or mobile via the iTunes ChannelBlackberry PodcastBlubrryMiro
Listen: Gene Pool#69: Jez riley French

Monday, September 22, 2014


nice to be asked to write something for issue 3 of 'Reflections on Process in Sound' & some of my daughters (www.pheoberileylaw.yolasite.com/)  photo's are also included.



Issue 3 of "Reflections on Process in Sound" is online now: Viv Corringham gives an account of how her ongoing series Shadow-walks came about, as an amalgam of singing and walking; Riley Frenchconsiders three specific trips he took this year to record telefericas, geological dissolves and other fascinations in Italy and Iceland; Felicity Ford explores how wool and sound come together for her in her project KNITSONIK, with some excursions into feminist concerns; Michelle Lewis-King explains how and why her Pulse Project blends accupuncture with sound; Jo Joseph Hyde considers his take on visual music; Rob MacKay discusses the parameters of the world’s first concert for artificial and human voices.

http://www.reflections-on-process-in-sound.net/issue-3/

Monday, September 15, 2014

following the announcement of the 2015 Iceland field recording trip / course (which was fully booked within 2 days) i've also been working hard on planning a new course for Wildeye - this time we venture further afield here in the UK:


Sound Recording in Northumberland
with Chris Watson and Jez riley French

This long weekend field meeting is an opportunity to practice and develop sound recording skills in the company of Chris Watson in his home patch of Northumberland. Audio specialist and artist Jez riley French will also be present throughout to share his experience, particularly with the use of extended field recording techniques including the use of non-conventional equipment such as hydrophones and contact microphones.
The base location is Mounthooley bunkhouse in College valley, Northumberland, UK. Accommodation is shared bunk rooms. The College valley is in one of the remotest and quietest parts of England. It’s north of Hadrian’s Wall in the wild lands once controlled by the Border Reivers.

In the Cheviot Hills and close to the Scottish border this a wonderful location for wildlife sound recording, around here there are many upland birds, roe deer, red squirrels and the possibility of feral goats. This is a great location for recording individual featured species and spatial soundscapes.

The long weekend will include a day trip, arranged around the tides, across to the island of Lindisfarne and the coast where Chris recorded this the CD In St Cuthbert's Time.
This trip is particularly aimed at those who have already taken our Wildlife Sound Recording Course and who want furrther guided experience in the field (but this is not a prerequisite). It is expected that you will bring your own recording equipment, although there will be additional kit you can borrow from the tutors during the trip. Some hill walking so stout shoes required and wet weather gear.
Itinerary
Friday: Arrive at Mounthooley from 3pm but please aim to arrive by 6pm.
7pm - evening meal served.
8pm - introductory chat - who we are, who you are, and what we will be doing over the next two days.
Saturday and Sunday: Practical sound recording activities at various locations and listening/reviewing sessions back at base. Breakfasts and evening meals will be provided at Mounthooley.
Areas of local interest:Weetwood Moor cup and ring marks Great place to begin an exploration of the many remains left by our ancient ancestors to keep us guessing about their daily activities and unknown rituals. This can be followed by a walk up one of the many hill forts in North Northumberland such as close by Yeavering Bell, home of the famous feral goats. 
Henhole A short walk from the bunkhouse this is a great glacial hanging valley of waterfalls cutting through the Cheviot granite. 
Holy Island 
Weather permitting we’ll take one day to explore as far as Lindisfarne / Holy Island - Home of many seaside walks, ducks, seabirds, religious figures, mead and scriptures. 
Monday: After breakfast depart the venue.....you can of course then head straight home or spend the day exploring Northumberland further.
Tutors
Chris Watson - Sound RecordingTutor - Chris is a composer who specialises in recording the sounds of wildlife and the natural world. His freelance career in film, radio and TV has taken him to some of the worlds’ remotest places. Watson worked on David Attenborough’s Life and Frozen Planet productions for the BBC, which both went on to receive BAFTA Awards in the Best Factual Sound.
Chris’s compositions are based on the voices of animals and habitats in the natural world and the built environment such as heather moorlands, tropical forests, deserts, steelworks and the arctic ocean. As well as creating soundtracks for broadcast, Watson produces multi channel sound installations, live performances, public lectures and workshops. His music career stems back to the early 1970s when he was a founder member of the experimental group Cabaret Voltaire. In 2000 he received an Award of Distinction for his Touch CD ‘Outside the Circle of Fire’ in the Digital Music section of the Prix Ars Electronica. The University of the West of England awarded him an Honorary Doctorate of Technology degree in 2006, and in 2011 he received an Honorary Doctorate from the University of the Arts, London. He has undertaken commissions from Aldeburgh Music, FORMA Arts & Media, the British Film Institute, The Louvre and Museums Sheffield. 
See www.chriswatson.net

Jez riley French - Sound Recording Tutor - Jez is a composer, artist & audio specialist whose output involves elements of intuitive composition, field recording (using conventional & extended methods) photographic images (including their use in photographic scores) and improvisation. He has performed, exhibited and had his work published widely across the world and also lectures in both field recording and the act & art of listening. Recently his work has been exhibited at Tate Modern, Tate Britain, Artisphere (USA) & at festivals and galleries in Italy, Japan, Czech Republic, Australia, Iceland etc. He also curates the 'a quiet position' project / facebook group on aspects of field recording / listening.
Jez also makes & sells his own hydrophones and contact mics (http://hydrophones.blogspot.com). In recent years Jez has been working closely on a number or projects that seek to capture a sense of place and moment that is both highly personal and yet offers a fascinating opportunity to look and listen anew to the environments in which we spend our time.http://jezrileyfrench.co.uk

Booking Information

Costs: £375 per person
This includes tuition, 3 nights accommodation, breakfasts and 
evening meals. Lunches are available from Mounthooley for £4.50 or self-catering. .
Note that transport during this trip will be in cars of the tutors and attendees, so it is hoped that enough of you will be coming in cars and be happy to offer lifts to others durting the trip to facilitate this. The longest trip however is expected to be to Lindisfarne which is only 40 mins drive. When you book please mention if you will coming by car and if you are happy to offer lifts to those who are not.
College valley is remote and it has restricted access to cars (but ok for us staying there).
Dates:
8-11 May 2015


a new 'score for listening' will be part of the Silo City event curated by Null Point in Buffalo, USA - June 2015

alongside performances, guided walks and installation by other artists

Sunday, September 14, 2014

Sound Recording in Iceland
with Chris Watson and Jez riley French





Following our previous highly popular sound recording trips to Iceland in 2013 and 2014, for 2015 we’re returning to this fascinating country, this time to the Selfoss region in the South for an opportunity to spend several days recording the sounds of spring in 24 hour daylight with Chris Watson, a leading figure in the world of wildlife sound recording, and field recordist and artist Jez riley French.

Our base will be Hotel Borealis, close to the largest lake in Iceland, Pingvallavatn, and surrounded by stunning locations including the Pingvallir national park and volcanic rift, the Gulfoss waterfall and the famous Geysir geothermal area. Further afield is the moon-like landscape around the geothermal vents of Krysuvik. 

We’re also within a couple of hours of the South coast, with its numerous black sand beaches and the fishing villages of Eyrarbakki and Stokkseyri, with its surrounding swamp-like waterways. 
June in Iceland is a time of 24 hour daylight - so we’ll have lots of time for recording, exploring, discussing and, occasionally, sleeping ...
We’re booking all rooms in the main hotel and two separate bungalow style buildings and as well as the friendly hotel staff there will be a French chef (who has lived in Iceland for over 30 years and is an expert in both French and Icelandic cuisine) and two minibuses to allow us the greatest flexibility for recording trips. The range of spectacular habitats will enable us to experiment with surround sound techniques, ambisonic microphones & software, hydrophones, contact mics, geophones, ultrasonic detectors, parabolic systems and a range of stereo and mono recordings. We will also have genelec speakers at our base for reviewing recordings and group discussions. It is expected that you will have some recording experience and your own equipment to bring (although we will have some extra gear with us that everyone is welcome to try).
Some of the many wildlife species we may encounter include: red throated diver, whooper swan, atlantic puffin, himbrimi, arctic fox, arctic terns, whimbrel, golden plovers... whilst we’ll also be hunting for fence wires, bubbling mud pools, abandoned structures, melting ice and spaces with unique natural acoustics.

Accommodation is in private rooms with wi-fi. Most of the rooms are in the main hotel (which we are booking in full) and each room has its own bathroom. Three rooms will be in 2 separate bungalows (each with one bathroom). Breakfasts and two course evening meals are included.
In an interview with Chris Watson in Music Tech magazine (Dec 2012 issue) when asked his favourite place to record Chris said: 'Iceland ! it's a beautiful place, with great people and great culture. What's more, it's relatively noise-poluution free. It's where fire and ice meet, of course, so there's great sound potential there.'


Itinerary
Day 1: Travel from Reykjavik to Selfoss - an approximate 2-3 hour drive in our two minibuses. We’ll break the journey for a rest and also to call at a supermarket for basic extra supplies. We aim to arrive no later than 6pm, in time for an evening meal and to settle in.
Day 2-7: Recording activities - places we are likely to visit include:
Day 8: Depart. We will set off early, after breakfast, for our return drive to Reykjavik, perhaps taking in one last stop along the way. We will aim to arrive in Reykjavik in the early evening.

Personnel

Chris Watson is a composer who specialises in recording the sounds of wildlife and the natural world. His freelance career in film, radio and TV has taken him to some of the worlds’ remotest places. Watson worked on David Attenborough’s Life and Frozen Planetproductions for the BBC, which both went on to receive BAFTA Awards in the Best Factual Sound.
Watson’s compositions are based on the voices of animals and habitats in the natural world and the built environment such as heather moorlands, tropical forests, deserts, steelworks and the arctic ocean. As well as creating soundtracks for broadcast, Watson produces multi channel sound installations, live performances, public lectures and workshops.

His music career stems back to the early 1970s when he was a founder member of the experimental group Cabaret Voltaire. In 2000 he received an Award of Distinction for his Touch CD ‘Outside the Circle of Fire’ in the Digital Music section of the Prix Ars Electronica. The University of the West of England awarded him an Honorary Doctorate of Technology degree in 2006, and in 2011 he received an Honorary Doctorate from the University of the Arts, London. He has undertaken commissions from Aldeburgh Music, FORMA Arts & Media, the British Film Institute, The Louvre and Museums Sheffield. 
See www.chriswatson.net

Jez riley French is a composer, artist & audio specialist whose output involves elements of intuitive composition, field recording (using conventional & extended methods) photographic images (including their use in photographic scores) and improvisation. He has performed, exhibited and had his work published widely across the world and also lectures in both field recording and the act & art of listening. Recently his work has been exhibited at Tate Modern, Tate Britain, Artisphere (USA) & at festivals and galleries in Italy, Japan, Czech Republic, Australia, Iceland etc. He also curates the 'a quiet position' project / facebook group on aspects of field recording / listening.
Jez also makes & sells his own hydrophones and contact mics (http://hydrophones.blogspot.com). In recent years Jez has been working closely on a number or projects that seek to capture a sense of place and moment that is both highly personal and yet offers a fascinating opportunity to look and listen anew to the environments in which we spend our time.http://jezrileyfrench.co.uk


Travel Information
Visas: Please check if you need a visa to enter Iceland (holders of normal British 'European Community' passports do not need one).
Insurance: It is essential you take out comprehensive travel insurance. Whichever insurance you choose please ensure it provides adequate cover for both you personally and also for any equipment you may be bringing with you.











Dates:
9-16 June 2015

Costs:
UK£1,595.00 plus international flight to Reykjavik (which you book yourself - recommendations will be sent on booking). You may have to/wish to arrive a day or so early due to flight times, so you should also budget for accommodation to cover this.
Includes activities, local travel, accommodation and breakfast/evening meal each day.

Booking: If the home page shows that there are places available please complete the online application formand send in your deposit/fee as detailed. Booking requires a deposit of £200, the balance to be paid two months before the start of the trip.
Places are strictly limited so early booking is recommended (as is the booking of flights).

Saturday, August 23, 2014



'if you so wish....' (scores for listening)



high resolution pdf book of the scores + an on-going archive of realisations by various artists.





inc. recordings / performances  by JrF, Ryoko Akama, Cheryl Leonard, Yui Onedera, Pierre Gerard, Phil Maguire, Mihalis Santamas & more....
 

jez riley french  |  dissolves: the eating of fruit

eg059



using specially adapted JrF contact mics - strung with wires - these two recordings made in Italy capture the sound of different species of ant consuming fruit. The first (a section of which formed part of the piece 'resonances di topoolo') is what remains of an original 4 hour recording of ants eating an apricot. The second captures a more subtle event - with a smaller number of ants eating a strawberry.

Tuesday, July 22, 2014


catch AQP at 'end of the road' festival !

with Jez Riley French, Chris Watson, Julia Holter, Jana Winderen, Signe Liden, Dawn Scarfe, Kiyoshi Mizutani, Sawako, Ames JN Newton, Embla Quickbeam, Fiona Sally Miller, Peter Toll, Anne Guthrie & more....


Saturday, July 12, 2014

jez riley french - 'a quiet position  |  (resonances) leigh woods'

digital download




leigh woods sits on the south bank of the avon gorge on the edges of bristol - one of those liminal spaces that we perceive according to our subjective ideals - a small piece of nature where we might find some calm, both in terms of sound and sensation. 

‘an english woodland is a place of contemplation, wherein ones most obvious companions are the birds, trees and ones preoccupations alone’ in fact, as the lens of field recording shows, there is a cacophony of sound that, closely observed, allows us to form a more rounded view of locale and our impact on it. In this way, when the question is asked ‘what is the sound of leigh woods ?’ the first responses could be birdsong, the rustle of leaves in the breeze, children playing and climbing etc. However, if a single sound dominates the woods it is the constant sound of traffic on the A4 below. Perhaps, as listening becomes a more diverse and enacted choice with a wider potential than mere hearing, we will begin to take stock of whether our understanding of nature and countryside is or ever was based on a stable reality. over the course of the year I visited leigh woods there seemed an invisible barrier between myself and the locale. Eventually I gathered around 40 recordings that represented various aspects of the woods and that communicated something of its position. A selection of these were used in a three sectioned commission exploring the contemporary and historical use of the woods. this release uses some of the field recordings to form the two ‘a quiet position’ pieces, which can be listened to anywhere, including as you sit in or walk through leigh woods, if you happen to visit. Also included are some of the individual recordings and a map showing the locations. 

commissioned by: National Trust / Trust New Art Bristol / MAYK

Tuesday, June 17, 2014


an extract from a recording of cod, shrimp & krill recorded in Iceland, June 2014 with 2 x JrF d-series hydrophones....
                        https://soundcloud.com/jezrileyfrench/cod-grunts-and-other-species



recorded with 2 x JrF d-series hydrophones placed directly in the 100 degree centigrade + mud pools at Krafla, Iceland, June 2014....

https://soundcloud.com/jezrileyfrench/krafla-mud-pools-with