“Os Canais” sprouted on a boat,
while wavering inside
an old canal system.
Inside the memento of the hearth
of altepepl Tenochtitlan.
Where we dressed ourselves
in the highstrung robes of history.
And subconsciously
warbled a symbolic counterpoint
to flashes of the boiling torso
being the current Ciudad De México.
And afterwards, our exhaled alphabet
left sightless traces full of meaning.
Like the diagrams in the sand,
peering after a dance of the Judwalis.
They way Lieven Martens describes his art-work with field recordings is exactly how I collect releases, physically. Unlike tattoo brandishing, I feel like my physical music/release collection is less of an extension of me, but more of a collaboration of creativity. Whether or not I’m putting forth effort into writing, hanging with a friend, or simply walking my dog, the music is constantly influencing and moving me forward.
The most releases I have from an artist is Dolphins into the Future. That, or just as many Dolphins into the Future releases as I do Spencer Clark/Monopoly Child/Fourth World/Charles Berlitz tapes. But to digress, the deepest appreciation here is toward the end of …in Xochimilco when Lieven talks about Romantic painters interpreting the boat in he’s riding in, and in reference to his works, explains that the sounds are just an expansion of his interpretation of the natural world, and comprised — like the boat by a Romantic painter — in appreciation of the world providing him this opportunity. Also, I didn’t know his partner took the photos, tite!
Above and below the above were taken from the Sic Sic Tape, Os Canais, made by Lieven last year. Scope it all out and find YOUR true meaning of field recording through a dedicated fellah!
• Dolphins into the Future: http://edicoescn.be
• Sic Sic Tapes: http://www.sicsic.de
More about: Dolphins Into The Future
