Sigur Ros – “Heima”
Chris Watson & Jana Winderen have both contributed recordings to the new Sigur Ros movie, ‘Heima’. This movie is to be premiered at the Electric Proms in London on October 24th 2007. An extract from ‘Vatnajökull’, from the album ‘Weather Report’ as well as other unreleased Icelandic recordings he has made.
A trailer of the movie, with a clip of ‘Vatnajökull’, can be viewed here
Tone 27 | Chris Watson & BJNilsen – Storm
CD – 3 Tracks – 50:09
Chris Watson writes:
“During December 2000 several significant storm fronts developed across the North Sea and Scandinavia.
Benny remarked to me that he had recorded some of these on the Baltic coast and proposed a collaborative cd project based around our mutual interests in the rhythms and music created when the elements combine over land and out to sea.
We spent the next few years gathering recordings on our respective coastlines and islands during the very active weather windows during the autumnal equinox and winter solstice. This was focused around our following one particular cyclonic system, which veers over Snipe Point on Lindisfarne to the Isle of May in the Firth of Forth, and finally descends upon Öland and Gotland where Benny listened in with a favourite pair of Sennheiser omnidirectional microphones.”
Chris Watson
Newcastle upon Tyne August 2006
Tracklisting:
1. Chris Watson – No Man’s Land 15:51
Late October on the strands of Budle Bay where dense layers of transient alien voices are swamped by a full moon tide creeping across the island’s silver causeway.
Now lapping out of the gathering gloom an immersive sea wash is filling then draining away carrying slow currents from here to another place.
There are no reference points in this darkness.
Glimmer dawn in the gaping mouth of a sea cave below Tarbet Gulley where the siren songs of Cromarty, Forth & Tyne ebb and flow with the swell.
Draw in close but hear now a fresh voice from beyond the horizon.
Recorded during the months of October & November from 2000 to 2005 on the North East coast of England and Scotland. Microphones; Sennheiser 2 x MKH 110’s binaural pair, MKH 60/30 M&S rig, DPA 2 x 4060’s spaced omnis. Recorders; Nagra lV-S, Nagra Pll and Sound Devices 744T. Edited and Mixed in Boston July 2006
2. BJNilsen & Chris Watson – SIGWX 18:50
Viking, Forties; Cyclonic North East gale 8 backing North later 3 to 4.Thundery rain, moderate to good.
Mixed in Boston and Stockholm June & July 2006
3. BJNilsen – Austrvegr 15:28
A black ruthless sea. Heavy winds making it impossible to stand up straight, icy rain hitting your face like needles.
Recorded on the southeast coast of islands Gotland and Öland, Sweden, using a pair of Sennheiser 110 binaural mics straight to a Tascam DA P1 DAT during December 2003 and July 2004. Locations used included cottages, sheds, barns, fields and the coast. Edited and Mixed in Stockholm 2006
Review of Chris Watson & BJNilsen “Storm”
“I was just on the Farne Islands, off the northeast coast of England, near where I live, and at this time of the year they are covered with Atlantic gray seals that have come to birth their pups,” environmental sound recorder and musician Chris Watson explains, recounting his latest field trip over a shaky Skype connection. “There are whole communities of female seals that sing and have these beautiful haunting voices. It’s sort of this siren voice. You can imagine sailors being drawn to it from across the waves.”
Watson has made a peripatetic and enviable career for himself as a sound technician for radio and television (he earned a British Academy of Film and Television Arts award for his work on the BBC’s The Sound of Birds), pursuing and recording the natural world’s siren calls. From the Rolls-Royce-like purr of a lounging cheetah to the deep groans of an Icelandic glacier following its inexorable 10,000-year-old course to the Atlantic or the literally visceral snap of vultures cracking through the rib bones of a zebra carcass, the sounds one hears on Watson’s solo releases (all on the Touch label) are a far cry from the ubiquitous whale song CDs that clog Amoeba Music’s new age bins.
Stunning in their clarity, Watson’s recordings are often beautiful and at times frightening. But more often than not, despite their natural provenance, they are simply otherworldly.
“It never fails to astonish me, the connection between the wild sounds of animals and what we hear as music,” Watson says, reflecting on our impulse to immediately draw aural associations. “These sounds have the power to connect straight to the imagination in the same way that a piece of music may evoke certain images.” Watson’s first experiments with sourcing the “musical” from his surrounding environment were in early industrial groups such as Cabaret Voltaire and Clock DVA, whose gritty samples and martial rhythms held up an acoustic mirror to the grimness of life in Margaret Thatcher–era Britain.
Although urban Sheffield is worlds away from a cove in the Galápagos Islands or a Kenyan veldt, Watson’s MO has remained consistent even as his locations have become more exotic and the available technology has dramatically improved from the first tape recorder he received from his parents at age 11. “Even in Cabaret Voltaire, I was interested in taking sounds from the world and working with them, or not working with them — just letting them be,” the musician says. “Gradually, I became more and more interested in the sounds I was hearing outside than the sounds I was hearing in the studio.”
Watson’s latest full-length, last year’s Storm, is also perhaps his most musical — at least compositionally speaking. A carefully edited three-part suite of field recordings, Storm traces a series of particularly aggressive weather… systems that hit the northeast of England and Scandinavia in 2000. Watson recorded the storm’s early rumblings — with the lonesome bellow of seals as accompaniment. Meanwhile, longtime collaborator B.J. Nilsen — who has released his own subtly processed, environmentally sourced ambient recordings under the name Hazard — caught what Watson calls “its last breaths” as it descended into the Baltic Sea.
“We were really fortunate to have a sort of narrative already there for us to work with,” Watson says. “Of course, we couldn’t record the storm as it was crossing over to Europe, so the middle track is a sort of conjecture of what it sounded like, a combination of [Nilsen] and my recordings.” The two have been experimenting with translating the album into a live piece, a version of which will be presented, sans Nilson, as part of Watson’s performance at Recombinant Media Labs on Nov 30.
Reflecting on past performances of the piece, Watson remarks that he is continually surprised by how audiences react: “It literally has a powerful, moving effect on people. People have said to me that they put their coats back on because they were cold or found themselves shivering.” Certainly, many more of us have heard if not experienced a powerful storm than could identify a recording of or have witnessed firsthand, say, giant sea turtles mating.
I jokingly ask Watson if he has ever visited the Tonga Room, the famed Polynesian-themed bar in the basement of the Fairmont Hotel, in which a tropical storm lets loose at 20-minute intervals over an indoor grotto. He laughs at the idea of the place and says that, regrettably, he hasn’t been. “But wouldn’t that be an amazing venue in which to perform Storm?” he suggests excitedly. The Fairmont’s guests would never know what hit them.
Features & Press Coverage
The Guardian [UK]
There is a feature on Chris Watson in 31st January 2007 edition of G2 of The Guardian by Pascal Wyse. The full text can be read here
The Leonardo Music Journal [USA]
16th edition – Noises Off: Sound Beyond Music
This edition comes with a compact disc featuring Chris’s recording “Blue Grass Music and Ant-Steps”.
Crack Magazine [UK]
There is a feature in Crack here
Blow Up [IT]
There is a feature in Blow Up here
Line Up [UK]
There is a feature in Line Up here
Sound of Music [SE]
There is a feature in Sound of Music here
Pitchfork [USA]
There is a feature in Pitchfork in October 2011 here
Basatap [TU]
You can read a feature in Turkish here
TO:47 | Weather Report
CD – 3 Tracks – 54:02
The weather has created and shaped all our habitats. Clearly it also has a profound and dynamic effect upon our lives and that of other animals. The three locations featured here all have moods and characters which are made tangible by the elements, and these periodic events are represented within by a form of time compression.
This is Chris’s first foray into composition using his location recordings of wildlife and habitats – previously he has been concerned with describing and revealing the special atmosphere of a place by site specific, untreated location recordings. For the first time here he constructs collages of sounds, which evolve from a series of recordings made at the specific locations over varying periods of time.
Track list and notes:
1. Ol-Olool-O -18′ 00″
A fourteen hour drama in Kenya’s Masai Mara from 0500h – 1900h on Thursday 17th Oct. 2002
2. The Lapaich -18′ 00″
The music of a Scottish highland glen through autumn and into winter during the four months of September to December
3. Vatnajkull -18′ 00″
The 10,000 year climatic journey of ice formed deep within this Icelandic glacier and it’s lingering flow into the Norwegian Sea.
Chris has released two previous solo albums for Touch, Outside the Circle of Fire [1998] and Stepping into the Dark [1996], as well as contributions for samplers and compilations for Ash International. His work was also used as source material for the compilation Star Switch On [2002], with contributions from AER, Biosphere, Fennesz, Hazard, Philip Jeck & Mika Vainio, as well as two tracks from Chris himself.
Chris is possibly best known for his sound recordings for BBC TV, particularly the “Life of…” series written and hosted by Sir David Attenborough. But his preferred media are cds and the radio. He has presented several programmes; “A Small Slice of Tranquillity”, “NightTime is the Right Time”, “Sound Advice” and “Tyneside Dawn”, all broadcast on BBC Radio 4. His work has been described as “the freakiest all natural techno disc ever” by City Newspaper [USA].
Chris was previously a member of the popular beat trio Cabaret Voltaire.
As Sasha Frere-Jones wrote in Time Out, New York, in 1999: “Listen to your world. It may be more interesting than all the things you buy to escape from it.”
TO:37 | Outside the Circle of Fire
CD – 22 Tracks
The purr of a cheetah close up against a baobab tree, waiting. Whales surfacing, breathing in cold air. Coll starling imitate the noise of farm machinery from the hollow ring of a ruined bothy. The rattle of wood over a black stream… Chris Watson’s second CD is a dramatic contrast to the spacious atmospheres of “Stepping into the Dark” (Touch TO:27, 1996). Featuring 22 close-up recordings of animals, birds and insect life, “Outside the Circle of Fire” enlarges our awareness of the sound universe, intimate with voices from the past. There is an intensity here that television pictures cannot conjure.
Akin, IRDIAL:
“An exhilarating journey into nature’s most private sonic ceremonies. Dreamily voyeuristic. Mysterious, perplexing, shocking and beautiful all at once. The Jaguar will destroy you.
Tracklist:
1. WAITING
Close up against a baobab tree, a cheetah, waiting… resting by Beobab tree. Pamuzinda, Zimbabwe, June 1994. Sennheiser mkh 416 to Nagra 4s
2. BREATHING IN COLD AIR
Breathing in cold air, Southern Right Whale
3. HORSE OF THE WOODS
Capull coille, ‘horse of the Caledonian woods’
4. SONG
Red rumped tinkerbird song
5. AT DUSK
The Maasai say hippos spend the day on the river bed telling jokes. At dusk they surface, laughing. Hippopotami emerging from the River Mara at dusk Itong Plains, Kenya. Sept. 1994. Sennheiser mkh 0/30* via SQN4s to TCD-D3.
6. WINTER FLAGS
Winter Flags on a spring tide. 20 000 knot find a roost
7. MACHINE NOISE
In the hollow ring of a ruined bothy, a starling mimics the noise of farm machinery
8. CANOPY
Dry topical contact calls follow spider monkeys through the canopy
9. SONG
Lemon rumped tinkerbird song
10. ACROSS THE IRIS BEDS
An evening chorus of corncrakes across the iris beds
11.THREAT
A lioness threatens
12. CRACKING VISCERA
Vultures taste the dry, crackling viscera inside the rib cage of a zebra carcass. Nine birds feeding on a zebra carcass. Itong Plains, Kenya. Sept. 1994. Sony ECM 77’s x 2**, 250m cable via SNQ4s to Sony TCD-D3.
13. DEEP ROAR
The deep roar of a red deer stag
14. UNKNOWN FOREST
Unknown forest duet, singing hidden in tree canopy. Dry tropical rain forest, Nancite, Costa Rica. Feb. 1995. Telinga mic and reflector to Nagra SNN.
15. OUT OF OUR SIGHT
Out of our sight, motionless anticipation, along the dry sandy banks of the Zambesi a mozambique nightjar is sucking in all the remaining light, singing amongst sandy scrub on the banks of the river Zambezi, Zimbabwe.Oct. 1996. Sennheiser mkh 30/60* via SQN4s to PDR1000.
16. LEAF LITTER
Leaf litter insect detail. Rain forest, Cameroon. June 1997. Telinga ‘Science’ capsule at 50cm to PDR1000.
17. SOULS OF DEAD CHILDREN
The souls of dead children are said to pass into kittiwakes
18. FOREST RIDE
Wood pigeon wings across a forest ride
19. SLEEPING IN WARM AIR
Elephants, sleeping in warm air, family group asleep in rough grassland. Maasai Mara, Kenya. Feb. 1996. Sennheiser mkh 30/60* via SQN4s to PDR1000.
20. RATTLE OF WOOD
Deathwatch beetles, the rattle of wood over a black stream
21. MOONLIT FOG
Tawny owls sing in moonlit fog
22. CONTACTS
Hyena contacts, contact whoops, Billashaka Luger, Maasai Mara, Kenya. Feb. 1996. Sennheiser mkh 30/60* via SQN4s to PDR1000.
TO:27 | Stepping into the Dark
Chris’s first album for Touch. The tracks are the atmospheres of “special places”, recorded with the use of camouflaged microphones.
CD – 12 Tracks – 59:43
PDF Booklet + text file inc. liner notes and images
The tracks are the atmospheres of “special places”, recorded with the use of camouflaged microphones.
“In recent years I have noticed that some of the locations I visited as a sound recordist displayed remarkable and particular characteristics. These may be sparkling acoustics, a special timbre, sometimes rhythmic, percussive or transient animal sounds. Without a doubt, playing a recording made at one of these sites can recreate a detailed memory of the original event. Also, as others have described, there is an intangible sense of being in a special place — somewhere that has a spirit — a place that has an ‘atmosphere’. These recordings avoid background noise, human disturbance and editing. They are made using sensitive microphones camouflaged and fixed in position usually well in advance of any recording or animal behaviour. The mics. are then cabled back on very long leads to a hide or concealed recording point, the aim being to capture the actual sound within each particular location without external influence. Sites are discovered by researching local natural or social history, by interpreting features on a map or through anecdote and conversation with people about their feelings for or against particular places. The author and researcher Tom Lethbridge identified the sources of several spirits within the topography of the area. I suspect that this also includes flora and fauna, local time of day, the weather and the season. The following recordings are the atmospheres of special places.” (Chris Watson)
Tracklist and notes:
1. Low Pressure
0810h 6th October 1994
Wind wherever the sound recordist operates is an obvious nuisance. Just as it is with turbulent seas and fast-running water, it is relatively simple to make a recording that captures the generalised bashing and cashing of the elements, but this results in white noise that describes nothing of the detailed ebb and flow as witnessed. The remarkable thing here, in Glen Cannich, was that i could walk through the foci of these wind sounds within a few paces, as if being part of some great instrument. The blast here was so strong that it took some time to fix the microphones securely – I felt surrounded by the full force of the elements being channelled through this site, and wanted the recording to reflect the bent-double posture and sheer physicality I was experiencing. I cabled back 50 or 60m to a sheltered position and managed to run the tape for almost ten minutes before the microphones were blown over.
2. Embleton Rookery
0600h 7th May 1983
The churchyard looks out to the sea and across to the castle at Dunstanburgh Head, the vertigo cliff face forming a curve to create what was once a remote deep water harbour, used by Tudor monarchs. Maybe shipwrecked sailors have returned, reincarnated as the rooks that have chosen upon the old stone church in Embleton, whose name itself gives off a particular hum. Is it that the rooks are only rooks, and they sound dark to us because the Black Birdhas so many associations with malevolence and ill-omen? Lethbridge might have said that the birds come here, largely due to this always pagan site having obvious associations with the strong atmosphere of its ley lime and ritual past. Today, cars file past on their way to a family picnic on the promontory.
Go there at dawn, or last thing at night, out of traffic hours, and another sound takes over. The acoustic of the place spins the parliament of the rooks through the cold air, its stillness, and into the timeless chaos, as always, driven on by the ringing of the bells.
3. The Crossroads
0620h 27th March 1994
This morning the conditions were just right. This crossroads at Smalesmouth in the Kielder Forest, I am told, connects two of the ‘old straight tracks’ upon which Scottish drovers would herd their livestock south across the open hill. Today, the forest clearing is home to a host of bird, both resident and migrant. Here, however, end of March, the birdsong comes from local voices at the peak of their activity. So at our usual site on the junction of the forest tracks, recording began just after the light came up. The cold, dry air was full of detail, this isolated spot quickly reanimated by the ringing song and calls of chaffinch, robin, wren, songthrush, siskin and crossbill…
4. River Mara At Dawn
0615h 16th September 1994
A looping curve up river is edged with lush riverene forest. The location is spectacular, but its splendour has to co-exist with an oft-repeated stress on being vigilant; one does not wander alone on foot about the Maasai Mara.
Having set the mics, I cabled back some distance to the Land Rover and started to record. Eventually, building with the heat, were the convergent sounds of swirling water, black kites, wind through the surrounding vegetation and a blanket covering if flies.
5. River Mara At Night
2130h 16th September 1994
The same evening, Francis asked one of the other Maasai guards to take me back up river. Nightfall brings more danger. The hippos, who spend the day in the river, come out and graze on the vegetation, and can be very threatening animals… more people are killed by hippos than they are by lions.
The ‘atmosphere’ had changed. Listening for the wooden chimes of tree frogs, we were met by heavy rhythm, a wall of nocturnal sound. Moths and night flying beetles are being hunted – you can hear the deep octaval roar as they come close to the microphone. The metallic sounds, I suspect, are the acoustic calls of bats.
6. A Passing View
2350h 3rd April 1992
Today, Fai – a local fisherman, took us into the huge mangrove forests at Los Olovitos by canoe. We had spoken about some of the special places in the mangroves and in the early afternoon we stopped at a resting place bordering the lake. It was hot, humid and very quiet. I cabled some mics out into the water’s edge with the idea of returning before dawn the following day. Curiosity forced my return that night when I heard and recorded these mechanical sounds of fishing bats in the darkness. Afterwards, in torchlight, I could watch these beautiful, long-legged russet coloured animals trawling for small fish feeding on the surface of the water.
7. Bosque Seco
0540h 6th April 1995
I left the camp at 0500h this morning and followed the winding path east towards my marker. Within the forest it was still very dark and quiet, with rising warm dry air. Just as the light was breaking through the canopy, I found my site at a fork in the path. I rigged up the tape recorder. The temperature began to climb like a jet off a runway. The acoustics changed, the orchestra awoke and the forest found its rhythm.
8. Sunsets
2230h 16th May 1994
During the late afternoon I cabled the equipment out into the marsh from a track. At 2000h I went back to listen out for the evening chorus of snipe. On the ground, they are cryptic birds and will choose their spot, usually reedy and damp, close to their very well camouflaged nestling places in tussocks and long grass.
The evening was quiet until the point at which the light dramatically changes and colour vision vanishes. At this hour, the snipe will perform. In an amazing ritual and localised aerial display, they dive vertically like guided missiles towards the water, the sound of their tail feathers buzzing through the air.
9. The Blue Men Of The Minch
1400h 30th July 1994
I was fortunate enough to borrow a hydrophone from the research station at Cromarty. Five metres beneath the surface of the Moray Firth and directly over a particular deep water channel, common seals roar during their diving displays. Within a 1km radius of the hydrophone, bottle-nosed dolphins navigate and hunt using echo locating clicks. Occasionally they communicate with their unique signature whistles.
10. High Pressure
0550h 25th February 1994
On the hilltop, there was no shelter this morning from the intense biting cold – or a feeling of growing anticipation. The hard dry air gripped the trees and margins of the pool – now frozen, with only one small area of water by the mics.
Daybreak revealed a small constricted community of coot, mallard, widen and teal.
11. Gahlitzerstrom
1740h 5th October 1993
Observing from a hide over the previous two days, the cranes have followed a similar path towards their roost out on the waters of Udarser Wiek. In particular, they seem to favour a narrow channel to navigate east to west – flying in low over the end of a thin spit of brown reedy marshland where earlier this afternoon I concealed the mics.
In Greek mythology, Hermes is said to have envisioned the Greek alphabet by watching the beating wings of cranes as they passed by his line of sight. Their calls and signs remain across the centuries…
12. The Forest Path
0625h 7th October 1994
It was raining hard – there was cover under the edge of a large dark section of mature plantation. Gradually, out from the background, came the crook of distant stags. A rich, velvet acoustic rolling down through the trees and suspended in a low clinging mist.
Many of the tracks will be used for the forthcoming iOS app, Nimbus, was launched on September 10th 2014 in Brighton.
