by Ian Battenfield Headley

supported by
Weird Ear Records
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Weird Ear Records Beautiful dichotomies between organic recordings and processed (versions?) sounds that imitate each other seemingly... the varied densities throughout the piece also ride the tide to the shore, though all too soon, IMO. More of this, please!
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Burchfield 15:10


This work harkens to the spirit of the musique concrète composers, particularly that of Luc Ferrari, who utilized recorded sound as the musical material for a work, instead of as just a medium through which music can be distributed. In composing, I limiting my manipulation of the source material to what would have been available to the concrète composers, techniques such as: panning, splicing, layering to form textures, crossfading, and playback speed manipulation.
The triviality of these processes using digital editors enabled me to fluidly work with my source material. Form and motivic gestures evolved from the physics of the source material.
This direct interplay with the world of organic sound is what the concrete composers were after in their music, to shape the sound of the natural world into a kind of 'natural' artifact. In this way, a piece might grow directly from a natural sound source, and in its form seem as if the sound was 'expressing itself'.


released November 1, 2012

Composed from field recordings taken between May 12 - 14, Vinalhaven, Maine.

Thanks to Edward Young and Douglas Durant who helped me collect the source material: chucking rocks, vibrating knives, singing glasses, boiling lobsters, rusted-car graveyards, ocean surf, murmuring frogs, corporeal movements of the recorder, board game pieces, straw broom on firewood, drain pipes, wind through trees, and laughter with friends.

This work has been mastered in a style closer to a Classical music recording, as opposed to an Electronica work.
Adjust playback volume accordingly.


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Ian Battenfield Headley New York, New York

Ian Battenfield Headley is a NYC-based composer. His music has been described as, exploring the, ”Beautiful dichotomies between organic recordings and processed sounds,” (Weird Ear Records), and “...strikingly visceral, three-dimensional...” (New Music Box). ... more

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