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about

former available as 3"CD-R / SOLD OUT !

Sound sources:
1 - water
2 - water, snow
3 - water, gas
4- water, bass guitar

Composed, performed & produced by Gerald Fiebig

Field recordings by:
1- Gerhard Zander & Gerald Fiebig
2- Tine Klink & Gerald Fiebig

Photography: Tine Klink
Layout: Gerald Fiebig

www.geraldfiebig.net
www.soundcloud.com/gerald-fiebig


www.attenuationcircuit.de

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more releases by GERALD FIEBIG on attenuation circuit:
emerge.bandcamp.com/album/for-the-record
emerge.bandcamp.com/album/recordings
emerge.bandcamp.com/album/pferseer-klangtrilogie
emerge.bandcamp.com/album/split-7
emerge.bandcamp.com/album/14-x-2b-4a-4b
emerge.bandcamp.com/album/compound
emerge.bandcamp.com/album/post-industrial
emerge.bandcamp.com/album/sustained-bending
emerge.bandcamp.com/album/gleaming-fluff
emerge.bandcamp.com/album/viator
emerge.bandcamp.com/album/condensed-endeavour
emerge.bandcamp.com/album/convection
emerge.bandcamp.com/album/confound
emerge.bandcamp.com/album/split-8
emerge.bandcamp.com/album/modul-3
emerge.bandcamp.com/album/raumpunkte
emerge.bandcamp.com/album/soundcycle

as SUSTAINED EVELOPMENT:
emerge.bandcamp.com/album/sustained-development
emerge.bandcamp.com/album/water-remix
emerge.bandcamp.com/album/crossgrained
emerge.bandcamp.com/album/split

as ORIENTALISM:
emerge.bandcamp.com/album/alis-riot-men

as JESUS JACKSON UND DIE GRENZLANDREITER:
emerge.bandcamp.com/album/kohlenstoff-und-aspirin
emerge.bandcamp.com/album/zumauern
emerge.bandcamp.com/album/wall-of-sound

as DER BAYER:
emerge.bandcamp.com/album/sommerloch

credits

released November 25, 2012

Sustained Development’s debut album (AC 1001) combined analogue drones with field recordings. The four tracks on this new release are exclusively generated from field recordings and found sounds with the exception of a bass guitar fragment. Like labelmate EMERGE, Sustained Development have restricted the choice of source sounds to water in its different aggregate states.

The move from “Liquid” to “Solid” (based on water and snow sounds) and then to “Aeriform” (with sounds based on water and hissing gas) is not only reflected in the material, but also in the way it is treated. While the first track uses largely untreated field recordings, the following two proceed towards increasing degrees of abstraction, with layers of tones derived from the basic sounds. The coda “Scarce & Polluted” confronts the sound of a dripping tap with the “impure” sound of a bass guitar. In contrast to much concept-based phonography, this release works well not only on an anecdotal level, but as a musical experience thanks to the wide variety of textures derived from the material.

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