Artist: Chris Watson, Georgia Rodgers
Album: Notes from the Forest Floor / Line of Parts
Genre: Electronic, Field Recording
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 39:35
Total Tracks: 2
Total Size: 428 MB

Tracklist:

01. Chris Watson & Georgia Rodgers – Notes From The Forest Floor (16:15)
02. Chris Watson & Georgia Rodgers – Line Of Parts (23:19)

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Eminent field recordist/alchemists Watson & Rodgers hear Giacinto Scelsi in the natural world on their respective longform works for Adrian Corker’s SN Variations label.Forming a partner work to Chris Watson’s piece on 2016’s ‘Scelsi’ EP, and a warm introduction to the sound world of London-based acoustician and composer Georgia Rodgers; the complimentary pair of works originated as multi-channel installations before being mixed to stereo for this release, which subtly demonstrates contrasting approaches to the art of field recording.

Written as response to Giacinto Scelsi’s microtonal works ’Notes From The Forest Floor’ stems from the same batch of recordings that Chris Watson made in Costa Rica when working with David Attenborough, and which he premiered in a different form at the ICA in 2015 before releasing as an edit with ‘Invertebrate Harmonics’ in 2016. This piece expands upon that work over 16 minutes of psychosensurreal composition where a rich harmonic canopy covers filigree microtones and a timbral haze of insects swarming around unseen beasties. Bless Adrian Corker for coaxing this one out of Watson’s hard drive after five years in the darkness.

Where Watson’s work is deeply impressionistic, Georgia Rodgers’ ‘Line of Parts’ also finds magic in hyperreal timbral details of recordings made in the Cairngorms and London. First premiered at HCMF 2019 as part of the Huddersfield Professional Development Programme for Female Composers of Electronic Music project, where it was played back on HISS (Huddersfield Immersive Sound System, a network of 48 channels/66 speakers). This release features a stereo-mixed version that unfolds in three parts of pointillist metallic rain, flocks of geese, and puristic sine waves on a trippy 23minute transition between opposing sound spheres that highlights Rodger’s uncanny attention to the micro- and macroscopic.