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.