![\"Phantasmic](\"https:\/\/www.ambientblog.net\/blog\/wp-content\/uploads\/2023\/10\/phantasmic-birds.jpg\")
<\/a><\/figure>\n<\/div>\nKATE CARR \u2013 A FIELD GUIDE TO PHANTASMIC BIRDS<\/a><\/em><\/strong>\u00a0\u00a0\u00a0![\"Also](\"https:\/\/www.ambientblog.net\/blog\/images\/spotify-logo.jpg\" "\\"Also")
<\/a><\/h3>\n\u2018All the birds Kate Carr <\/strong>never recorded, and some she did. In a field recording she never made\u2019.<\/em><\/p>\nField recordings always raise the same question: is this for documentary purposes, can it be considered music?
If \u2018music is organized sound\u2019 (R. Murray Schaefer),<\/em> the answer is clear. But for some, even the unaltered, unorganized sound of nature is the most beautiful music in their ears. Kate Carr<\/a> <\/em><\/strong>further challenges this discussion with her new album: field recordings of non-existent birds. <\/p>\nThe first track is called Unlikely To Be Heard, <\/em>and is created primarily with bird horns. The three following tracks are composed (or \u2018organised\u2019) from various dawn chorus field recordings from South Africa, Australia, and the UK.
One might argue that only the birds in the first track are phantasmic because the others really do exist somewhere on the planet. But not in this setting, \u2018re-imagined. Stretched and stuttering, glitching and morphing, swirling and sputtering. Artifact and performance, digital bits all.\u2019<\/em><\/p>\nThe tracks all have descriptive titles: \u2018A Loud Hissing Screech Which Drops In Pitch Halfway\u2019, \u2018Usually Concealed In Dense Foliage\u2019, and the melancholic closing track \u2018Shy, Typically Alone Or In Pairs\u2019. <\/p>\n
By adding her layered electronics, Kate Carr <\/em><\/strong>settles the argument for once and for all: this definitely is \u2018music\u2019. Music for Phantasmic Landscapes.<\/p>\nA Field Guide To Phantasmic Birds<\/em><\/strong> is released on Room40<\/em> and mastered by Lawrence English<\/em>, who is no stranger to challenging field recordings himself.<\/p>\n
Field recordings always raise the same question: is this for documentary purposes, can it be considered music? The first track is called Unlikely To Be Heard, <\/em>and is created primarily with bird horns. The three following tracks are composed (or \u2018organised\u2019) from various dawn chorus field recordings from South Africa, Australia, and the UK. The tracks all have descriptive titles: \u2018A Loud Hissing Screech Which Drops In Pitch Halfway\u2019, \u2018Usually Concealed In Dense Foliage\u2019, and the melancholic closing track \u2018Shy, Typically Alone Or In Pairs\u2019. <\/p>\n By adding her layered electronics, Kate Carr <\/em><\/strong>settles the argument for once and for all: this definitely is \u2018music\u2019. Music for Phantasmic Landscapes.<\/p>\n A Field Guide To Phantasmic Birds<\/em><\/strong> is released on Room40<\/em> and mastered by Lawrence English<\/em>, who is no stranger to challenging field recordings himself.<\/p>\n
If \u2018music is organized sound\u2019 (R. Murray Schaefer),<\/em> the answer is clear. But for some, even the unaltered, unorganized sound of nature is the most beautiful music in their ears. Kate Carr<\/a> <\/em><\/strong>further challenges this discussion with her new album: field recordings of non-existent birds. <\/p>\n
One might argue that only the birds in the first track are phantasmic because the others really do exist somewhere on the planet. But not in this setting, \u2018re-imagined. Stretched and stuttering, glitching and morphing, swirling and sputtering. Artifact and performance, digital bits all.\u2019<\/em><\/p>\n