Fog Tropes featured in a recent survey by The Wire of great bass sounds, along with recordings by some of the other environmental sound artists I've mentioned here before: Alan Lamb, Chris Watson, Jana Winderen. One contributor actually chose a recording of foghorns, having searched the internet for examples of their lonely calls echoing across the water. Fog Tropes was selected by Brian Morton, who writes that it reminds him of Ray Bradbury's story 'The Beast From 20,000 Fathoms' in which a dinosaur falls in love with a lighthouse. 'It's possible to hear the pneumatic voices of Fog Tropes as the minimalist love songs of a forgotten species, but the music is also admonitory and vaguely threatening, suggesting Alcatraz island in a sea mist, imminent shipwreck, phantom disappearance.' Alcatraz itself was the subject of another Ingram Marshall project: a 1982 collaboration with the photographer Jim Bengston which evolved into a two hour performance piece. In liner notes for the resulting record, Marshall says that he visited the island to record 'the sounds of buoys, birds and fog horns as well as singing and gambuh flute playing in some of the resonant spaces of the prison. I also captured the famous roar of the cell doors' mechanized closings - this chorus of metal echoing through the wildly reverberant spaces of Alcatraz is probably the perfect sound print of the desolation and utter finality of the place.'
Sunday, July 22, 2012
Fog Tropes
Fog Tropes featured in a recent survey by The Wire of great bass sounds, along with recordings by some of the other environmental sound artists I've mentioned here before: Alan Lamb, Chris Watson, Jana Winderen. One contributor actually chose a recording of foghorns, having searched the internet for examples of their lonely calls echoing across the water. Fog Tropes was selected by Brian Morton, who writes that it reminds him of Ray Bradbury's story 'The Beast From 20,000 Fathoms' in which a dinosaur falls in love with a lighthouse. 'It's possible to hear the pneumatic voices of Fog Tropes as the minimalist love songs of a forgotten species, but the music is also admonitory and vaguely threatening, suggesting Alcatraz island in a sea mist, imminent shipwreck, phantom disappearance.' Alcatraz itself was the subject of another Ingram Marshall project: a 1982 collaboration with the photographer Jim Bengston which evolved into a two hour performance piece. In liner notes for the resulting record, Marshall says that he visited the island to record 'the sounds of buoys, birds and fog horns as well as singing and gambuh flute playing in some of the resonant spaces of the prison. I also captured the famous roar of the cell doors' mechanized closings - this chorus of metal echoing through the wildly reverberant spaces of Alcatraz is probably the perfect sound print of the desolation and utter finality of the place.'
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