Meridian
Dec 10, 02:39 PM
Share
Subscribe
"This raw desert field recording, resonating from the halls of the Klimahaus Bremerhaven in Germany (Climate House Museum Bremerhaven), sparked a vision of musical imagination within me.
"It drew me into a hidden world of untold stories, and from its pulse and breath, I shaped a soundscape I call Meridian. A sonic journey tracing the secret heart of the desert and revealing an oasis born of imagination.
"I chose to keep the original field recording largely untouched, aside from a few subtle adjustments to its timeline. Rather than altering it, I composed around the field recording, employing gentle musical techniques, layered resonance, micro-harmonic drifting, and slow spectral unfolding so that the environment itself becomes the primary instrument.
"As the piece unfolds, the distant cries of unseen creatures, the soft patter of rain, and the quiet exhalation of wind emerge in deepening layers. From these textures, harmonies and melodic traces seem to arise naturally, weaving through the soundscape until the line between composition and ecology dissolves. What begins as a simple recording becomes, for me, a passage toward Meridian Consciousness: a threshold where reality softens, and listening transforms into an act of awakening. Loops, concrete recordings, found sounds and open source synthesised sounds enhance the piece, expanding its atonal contours, a space I have long loved to explore.
"Meridian reflects my meditation on the fragile, far-reaching threads that bind Earth to Cosmos, and the heightened attentiveness demanded in an age of ecological uncertainty. It is an invitation to listen with openness, to drift inward, and to sense the delicate equilibrium that sustains our shifting world.
"When I compose a soundscape, I enter a dreamlike state of heightened awareness. Intuition and curiosity guide me, while musical notation and my enduring affection for atonality serve only as a gentle compass.
"My aural journey began at six, seated at the piano and discovering classical music.
It expanded through the unconventional energy of Germany’s 1990s DJ culture of which I was a part and deepened during my years as a contracted composer with BMG. And was refined through studies in Sound & Visual Art at Middlesex University’s Lansdowne Centre for Electronic Arts. These experiences shape a practice that moves fluidly between structure and instinct, between inquiry and an enduring love for crafting soundscapes."
Klimahaus installation, Bremerhaven reimagined by Linda Himbert.
"It drew me into a hidden world of untold stories, and from its pulse and breath, I shaped a soundscape I call Meridian. A sonic journey tracing the secret heart of the desert and revealing an oasis born of imagination.
"I chose to keep the original field recording largely untouched, aside from a few subtle adjustments to its timeline. Rather than altering it, I composed around the field recording, employing gentle musical techniques, layered resonance, micro-harmonic drifting, and slow spectral unfolding so that the environment itself becomes the primary instrument.
"As the piece unfolds, the distant cries of unseen creatures, the soft patter of rain, and the quiet exhalation of wind emerge in deepening layers. From these textures, harmonies and melodic traces seem to arise naturally, weaving through the soundscape until the line between composition and ecology dissolves. What begins as a simple recording becomes, for me, a passage toward Meridian Consciousness: a threshold where reality softens, and listening transforms into an act of awakening. Loops, concrete recordings, found sounds and open source synthesised sounds enhance the piece, expanding its atonal contours, a space I have long loved to explore.
"Meridian reflects my meditation on the fragile, far-reaching threads that bind Earth to Cosmos, and the heightened attentiveness demanded in an age of ecological uncertainty. It is an invitation to listen with openness, to drift inward, and to sense the delicate equilibrium that sustains our shifting world.
"When I compose a soundscape, I enter a dreamlike state of heightened awareness. Intuition and curiosity guide me, while musical notation and my enduring affection for atonality serve only as a gentle compass.
"My aural journey began at six, seated at the piano and discovering classical music.
It expanded through the unconventional energy of Germany’s 1990s DJ culture of which I was a part and deepened during my years as a contracted composer with BMG. And was refined through studies in Sound & Visual Art at Middlesex University’s Lansdowne Centre for Electronic Arts. These experiences shape a practice that moves fluidly between structure and instinct, between inquiry and an enduring love for crafting soundscapes."
Klimahaus installation, Bremerhaven reimagined by Linda Himbert.