Christmas is upon us, and tomorrow marks the first official day of winter. However, that doesn’t mean we can’t take a trip to the beach.Â Tolvi Moana, from what can be heard in the short previews at least, is equally foreboding, with its alien synthesizer waves ringing in from Antti Tolvi and welcoming, as Lieven Martens Moana (formerly known as Dolphins Into The Future who I’ve written up before) takes us with him on a walk through a Portuguese island. Along his walk, you can hear crickets (it’s most likely night time or a mix of multiple audio tracks) and the water ebbing and flowing from the island’s coastline. You can hear bird chirps, a small dog barking and the island breeze. Moana’s recording faintly recalls Francisco Lopez’s surreal masterpieceÂ La Selva. Tolvi’s track is supposed to be a complementary piece to Moana’s, but from what can be heard it’s a polar opposite. Listen to the previews below via the Bandcamp player and see what you think of it. Cheers!
Lieven Martens Moana "Estrada Do CaldeirĂŁo, A Sonata"
To get to know the people, is to walk in their footsteps. Thus by walking Corvo Islandâ€™s only road, the Estrada Do CaldeirĂŁo, I entered the mind of her dwellers.
Corvo Island is the smallest of the Azorean archipelago. Itâ€™s a rustic volcanic cone, housing one small settlement, the Vila Do Corvo with her 400 inhabitants, Aerodrome and several bars. The remainder of the isle is a rough patchwork of cliffs, rocks, farmland, steep slopes and a few human built walls and structures. The main and more or less only labour that is being performed on the island â€“ thus the main raison dâ€™ĂŞtre - is keeping livestock. An occupation more popular than the commercial fishing one would expect to be ever-present in a society surrounded by such rich fishing grounds.
In former times, Corvo held about ten thousand sheep, until the local wool fell out of favour in the early 80â€™s. Since then, the Corvonians started herding cows for their meat and milk. Most of these bovines graze peacefully inside a giant volcanic crater, referred to as the CaldeirĂŁo, on an abundant banquet of grass and weeds. Always accompanied by a few people, minding their own businesses. The ramshackle Estrada Do CaldeirĂŁo connects this crater to Vila Do Corvo, passing through pastures and farmland, thus being the centre of daily life for most Corvonians.
About three years ago, I tracked this road - a one-hour walk or a 10 minutes pick-up drive - by walking forth and back between the caldera and the village, only bringing with me my faithful Marantz recorder. This trip resulted in a few hours of sound recordings. Over the past summer, I edited out five movements from the raw material and structured these like a sonata. I slightly altered these movements with simple phasing and panning, energizing the composition.
Hereâ€™s to Corvoâ€™s only road, a solitary story of expectations aligned by firm cemented certainties. Hereâ€™s to the people of Corvo.
Antti Tolvi "Piha, MetsĂ¤ Ja Iso MĂ¤ki - Garden, Forest And Big Hill, Imagined Field Recordings"
The idea for these pieces came up when I heard Lievenâ€™s side - early version - for this split cassette. The idea was to make music which is the same as, and also totally different from Lievenâ€™s side. I decided to make different set ups with my analog synths, and let them play themselves. Then do field recordings out of those. Well, because I was there, I couldn't stop my self to turn knobs a bit. Iâ€™m sorry about that.
In performing music, music should come through playing like a river or something. Just pure playing, no thinking, analyzing or anything. Just playing. In Tao and Zen traditions the main idea is to do things without doing. Let it just happen without forcing. Let the nature do the work. In field recording I feel that thereÂ´s lotÂ´s of this involved. You make music, but you kind of not do it. You just let it happen. Find it. This has interested me a lot. Forget notes, forget instrument, forget everything. Just do it. Let it happen. To do this you need some kind of balance.
When you find/feel balance, our inner world match 100% with the outer world. This is natural state of being. The problem comes when we start to try/hope too much, try to stop never ending change of things and so on. As the outer world change constantly, we should let our inner world do the same. Let go. Here we need ultimate flexibility. Listening is one part to connect these two. Letting outer to become inner. By acting (playing for example) we make the inner world part of outer world. When these worlds match, we feel a balance. We are in the field. We are the field.
ps. During mastering these pieces, our cat Silli showed up huge attention to this music..
released December 15, 2015
Composed in Kiila â€“ Finland, and Antwerp - Belgium, 2015.
Map drawing by Wietske Van Gils.
Lay Out by Jeroen Wille.
Risograph printing by Jelle Crama.
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