pro­s­pec­ting LP

Side A of the album starts its way with the recor­dings done by Gün­ter Kipf­mül­ler of Bra­zi­li­an tra­di­tio­nal impro­vi­sed music of the Violei­ros in the 70s. This source mate­ri­al, as well as the sounds of the old recor­ding device – a Uher Repor­ter – is com­bi­ned with elec­tro­nic pro­ces­sing and the musi­cal acting of Sound­ing Situa­tions in the pre­sent, con­nec­ting dif­fe­rent his­to­ri­cal con­texts, geo­gra­phi­cal land­scapes and tech­no­lo­gi­cal pro­ces­ses over 40 years.

Side B hosts music mined from lan­guage – sounds that are not pri­ma­ri­ly pro­du­ced with a musi­cal inten­ti­on: users of a libra­ry record 20 sec of rea­ding of a book pas­sa­ge into an artis­tic inter­ac­ti­ve sys­tem. Klaus Janek and Mile­na Kipf­mül­ler exclu­si­ve­ly use the voices of the audi­ence and hte audi­en­ces reac­tion to per­form and also to trans­form them live into a musi­cal com­po­si­ti­on. The par­ti­ci­pa­ti­ve per­for­mance instal­la­ti­on is named after ano­ther form of pro­s­pec­ting: The Echo Sonar – Echo­lot. In an ongo­ing rese­arch the two mem­bers explo­re the junc­tion of seman­ti­cs and musi­cal­i­ty in lan­guage as source mate­ri­al for com­po­si­ti­on.

Side B hosts music mined from lan­guage – sounds that are not pri­ma­ri­ly pro­du­ced with a musi­cal inten­ti­on: users of a libra­ry record 20 sec of rea­ding of a book pas­sa­ge into an artis­tic inter­ac­ti­ve sys­tem. Klaus Janek and Mile­na Kipf­mül­ler exclu­si­ve­ly use the voices of the audi­ence and the audi­en­ces reac­tion to per­form and also to trans­form them live into a musi­cal com­po­si­ti­on. The par­ti­ci­pa­ti­ve per­for­mance instal­la­tio­in is named after ano­ther form of pro­s­pec­ting: The echo sonar – Echo­lot. In an ongo­ing rese­arch the two mem­bers explo­re the junc­tion of seman­ti­cs and musi­cal­i­ty in lan­guage as source mate­ri­al for com­po­si­ti­on.