• Digital


Wet On Wet

  • Cat No: WW024
  • Release: 2022-10-28

Format

digital 1200 JPY

Track List

16bit/48khz [wav/flac/aiff/alac/mp3]

The latest release by Australian, Berlin-based artist Felicity Mangan collects a series of works created during 2020 and 2021 and reveals the artist’s fascination with all things water and other related phenomena. Featuring a wide scope of works – a recording of a performance utilising biorhythms and timbres collected from river banks sits next to a monophonic installation piece inspired by both amphibians and amphitheaters or recordings of a human-frog conversation – ‘Wet On Wet’ is fascinating both in concept and sonics, continuing to expand on Mangan’s previous interest in biophonic patterns, quasi-bioacoustics and aural illusions. The release follows Felicity Mangan's solo releases on One Instrument, Longform Editions and Mappa Editions and her band's (Native Instrument) releases on Shelter Press and Entr'acte.
“Digging The Pedospheric Vibes” – a major part of the album presented in three parts – is a new electronic music composition by Mangan focusing on farmscape ecology and the important role soil plays in climate change. Assembling sounds created by the flora and fauna of a soil’s ecosystem and utilising a variety of bio-acoustic techniques and microphones to capture seismic vibration from substrate as well as hydro- and airborne sounds, provided the composer with a range of frequencies, timbres and biorhythms to be used as instrumentation for composing electronic music. It’s a disorienting, rhythmically complex piece which seems to point to new frontiers in the relationship between ecological practice and sound art. Felicity Mangan’s artist notes indicate a deep interest in sustainable farming and regenerative agriculture and suggest that this will continue to be a topic of her sound practice going forward.
In other places on the album, the artist toys with our perceptions and expectations. “Dolphin Tricks” is just that – playful, bouncing – but it retains a seriousness through its seeming use of dolphin sounds to create complex, almost urgent polyrhythms. “When Do Frogs Go Out” is the closest to a raw field recording, but the conversation audio is warped, sped up, so how can we trust that the sounds are real? “River Toce” is a piece responding to a waterside location, but Mangan’s sound manipulation causes the sounds to stutter, flow in unnatural patterns and appear in strange order to disorienting effect.

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