Two presented compositions are taken from an album Klima (Climate) by
Staš Vrenko released in March 2018 under a Slovenian label for
improvised and experimental music “Zvočni prepihi”. Author holds a
degree in sculpture of the Academy of Fine Arts in Ljubljana but in his
interdisciplinary practise he is intensively dealing with field
recording and its performative aspects, as well as the technological and
media specifications of the sound itself.

Presented composition from side A – Osončeno (Sun-drenched) is the longest one out of three pieces that in Vrenko’s words…

“…summarize the past two years of the creative work and research.
The condensation of fragments and recordings is tracing the boundaries
of field recording, plunderphonics, engaging in and creating electronic
instruments and sound design. The complementing and intervening of
recordings opens up the possibility for diverse audio material, of
simultaneously being documentary and musical, even if it is usually not
perceived as such. The principles of re-amping and recording, add their
own acoustics to the material, such as sounds of various surfaces
recorded with contact microphones, vinyl record manipulation, DIY
modular synthesizer and others that usually don’t have it. Field
recordings are thus placed in the same order. They, as real acoustic
spaces, become subject to certain strategies of sound design and other
media manipulations. Such ‘equalization’, which deals with all the
recordings from a standpoint of the final reduction to the vibrations of
the speaker membrane, complicates the relationship between contingency,
that is usually ascribed to found sound and field recordings, and
desire and composition, which are usually associated with the creation
of electronic and composed music.” *

The 18 minutes long side B’s last composition Tehnike posvojitve
(Adoption Techniques) juxtapose with the wider art project that holds
the same name and was presented in Gallery P74, Ljubljana, Slovenija as a
sound installation in September 2017.

“In the Adoption Techniques, documents of highly processual and
site-specific research and creation, are regarded as the explications of
the acts of sound recording and playback. They, as specific forms of
performativity, enable the re-thinking of the position of the sound
creator and the musician. The selection from a vast heterogeneous mass
includes, among other things, examples of different occurrences of
mediated sound, replay and consequent changes in the source locations
and the time of the sound. The sounds are tied by the last stage – the
final “recording” and the flattening of each fragment into a
self-standing representation. Emphasis is placed on the recordist – the
listener who in the process of gathering recordings, recognizes events
in the sound environment as signs. This necessitates the determination
of the sound’s sources and echoes as well as the differentiation,
arrangement and separation of sounds and their relations to meaningful
and meaningless. Exactly tracing this unsustainable line, thinking about
the acousmatics, transparency of the media, and the non-selectivity of
the recording process of a recorder, which creates a complete
(meaningful) whole from an inconceivable time-and-sound stream, brings
on the reflection on what and how the audio documents can be ‘read’ by
the listener. Repeated capturing, playback, re-recording and dubbing,
results in an unfaithful tracing of the sound sources and in thinking
about what the potential of a recording act, that for its audibility
demands and creates a new, future playback site, is. The pursuit of
these simultaneities, due to the temporal nature of the sound, intensely
places itself on the point before and after sound, in the place of
constant anticipation and distance from the moment of capture.” *

* text by Staš Vrenko

photo by Maja Burja