dem Titel “Voyage”, die beide wie Reisen durch verschiedene Episoden anmuten, in denen Field Recordings, elektronikmund Effekte die Schauplätze immer wieder verändern und prägen, ganz nach den inspirierenden Worten der Dichterin Brigitte Lyregaard: “I move from place to place/frame to frame/collector of views through windows/of cars, boats, planes, trains and houses/collector of corners”.

“New Relics” von Savvas Metaxas bildet einen weiteren Teil der Trilogie und offenbart leicht jazzig ingefärbten elektrifizierten Gitarrenambient, der eine Atmosphäre entspannter Genügsamkeit verströmt, aber auch Raum für feine Zwischentöne lässt. “Sotto l’albero tutto si copre” von Elia Piana dagegen enthält kurze, oft aufwühlende Tracks auf der Basis verschiedener, z.T. perkussive Instrumente aus dem

ethnografischen Fundus von Carlo Fasser, die unter Zuhilfenahme modularer Systeme zu momenthaften auditiven Schnappschüssen verarbeitet wurden. Die jeweiligen Tapes sind auch einzeln erhältlich, ebenso kann man die drei Alben auch digital erwerben.

“In resonance with French botanist and landscaper Gilles Clément’s concept of Third Landscape (areas whose evolution depends on nature alone and that are thought as ideal places for thriving biodiversities while unimpededly building genetic reservoirs), Ristić’s compositions draw our attention towards the hidden corners and the micro-environments of littoral and traumatised landscapes — former exploited spaces which were eventually abandoned and given back to non-human regenerative powers. Thus, the album takes the ancient, half-sunken, limestone quarries of Korčula as its primary stage and invites us to listen to the minute acoustics of crustaceans, molluscs, swallows, cicadas, creaking trees, wind breezes, lapping waves, and occasional anthropogenic motions while sharing a haunting reflection on underwater noise pollution as submerged sounds of distant boats overtake the delicacy of the bio- and geophony at play. The result is a dronesque, ambient, quasi-continuous piece that plays with psychoacoustic gestures and builds self-generated fantasies that feed our subconscious and emotional plane. But when listening between the lines, kairos & the dwellers unveils, like most of the artist’s work, a political dimension that involves ecological activism and a strong empathy towards the world’s ecosystems and their dwellers.” (Forms of Minutiae)

@ Manja Ristić