Strelnikoff Vladimir · 31-Окт-24 16:18(5 месяцев 18 дней назад)
Félicia Atkinson • Space as an Instrument . Felicia Ludwika Atkinson [birth name]: France (Paris, Île-de-France) Жанры: Ambient, Electroacoustic, Spoken Word Издатель: Shelter Press (France) Номер по каталогу: SP 155 Дата релиза: 25.10.2024 Аудиокодек: FLAC (*flac) Тип рипа: tracks Носитель: WEB Источник: Deezer . Треклист.[00:38:08] 01.The Healing.(04:04)
02.This Was Her Reply.(01:11)
03.Thinking Iceberg.(12:50)
04.La pluie.(04:47)
05.Sorry.(03:10)
06.Shall I Return to You.(06:46)
07.Pensées magiques.(05:20)
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auCDtect Task Manager
Cue Corrector v. 10.2.3 / b. 2109 (Feb. 07, 2024) ———————————————————————————————————————————————————————————————————————— --- / Space as an Instrument Folder: Felicia Atkinson - 2024 - Space as an Instrument (web) Audio files: 01. The Healing.flac [04:04.000; FLAC • 578 kbps • 16 bit \ 44100 Hz • stereo; 16.83 MB (17 643 338 B)] 02. This Was Her Reply.flac [01:11.000; FLAC • 573 kbps • 16 bit \ 44100 Hz • stereo; 4.86 MB (5 091 364 B)] 03. Thinking Iceberg.flac [12:50.000; FLAC • 403 kbps • 16 bit \ 44100 Hz • stereo; 37.06 MB (38 862 435 B)] 04. La pluie.flac [04:47.000; FLAC • 799 kbps • 16 bit \ 44100 Hz • stereo; 27.34 MB (28 671 670 B)] 05. Sorry.flac [03:10.000; FLAC • 569 kbps • 16 bit \ 44100 Hz • stereo; 12.90 MB (13 528 720 B)] 06. Shall I Return to You.flac [06:46.000; FLAC • 548 kbps • 16 bit \ 44100 Hz • stereo; 26.55 MB (27 838 238 B)] 07. Pensées magiques.flac [05:20.000; FLAC • 574 kbps • 16 bit \ 44100 Hz • stereo; 21.90 MB (22 968 296 B)] Accuracy: -m0 File 01. The Healing - 92% CDDA [04:04:00] File 02. This Was Her Reply - 100% CDDA [01:11:00] File 03. Thinking Iceberg - 100% MPEG [12:50:00] File 04. La pluie - 100% CDDA [04:47:00] File 05. Sorry - 100% CDDA [03:10:00] File 06. Shall I Return to You - 89% MPEG [06:46:00] File 07. Pensées magiques - 62% CDDA [05:20:00] ————— Summary: ————— Could not qualify the source of these tracks. ———————————————————————————————————————————————————————————————————————— ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved. Time elapsed: 1 m 05 s Log created at October 30, 2024 21:36:57 === 27C2303029A31C2BAB42E47E7BED853816170DAD5FFB99699DA6CAE02F2EF147 ===
official DR value
Cue Corrector v. 10.2.3 / b. 2109 (Feb. 07, 2024) log date: 2024-10-30 21:35:48 -------------------------------------------------------------------------------- Album : Space as an Instrument Year : 2024 -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR12 -2.03 dB -21.15 dB 4:04 01 - The Healing / Félicia Atkinson DR9 -3.48 dB -15.85 dB 1:11 02 - This Was Her Reply / Félicia Atkinson DR13 -0.23 dB -17.51 dB 12:50 03 - Thinking Iceberg / Félicia Atkinson DR11 -1.48 dB -15.41 dB 4:47 04 - La pluie / Félicia Atkinson DR9 -0.33 dB -14.50 dB 3:10 05 - Sorry / Félicia Atkinson DR9 -2.28 dB -14.90 dB 6:46 06 - Shall I Return to You / Félicia Atkinson DR13 -4.63 dB -22.84 dB 5:20 07 - Pensées magiques / Félicia Atkinson -------------------------------------------------------------------------------- Number of tracks : 7 Official DR Value: DR11 Samplerate : 44100 Hz Channels : 2 Bits per sample : 16 Average bitrate : 540 kbps Codec : FLAC ================================================================================
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One of the universal experiences of life on Earth is staring, neck craned, at the cosmos. The vastness of one's internal life meets the vastness of space, and in that moment those perspectives fuse in a state of wonder and curiosity. "Space as an instrument", the new album by French artist and musician Félicia Atkinson, invites listeners to explore the phantasmic landscapes created in such transformative encounters, when the mind is open and receptive to its environment. Like being absorbed by the immensity of the night sky, this music dilates the imagination and helps us to sit comfortably in the mystery of the ineffable. We are guided through Space as an instrument by the piano, its alinear story told through restrained, iterative melodies that become entwined with the sounds at the music's margins - a wisp of electronics, a pinprick of an enunciated consonant. They were recorded on Atkinson's phone, which was placed next to the keys, or behind her, with the sound of the room bleeding through to give a sense of the place and time of the encounter. She describes these sessions as meetings where she and the piano commune to co-create these spiraling phrases and vaporous dissonances moment by moment. Complicating this dynamic is the presence of digital pianos, which exist in the surreal space of diodes and LED displays. They act as avatars of their three-dimensional counterparts: nowhere and everywhere simultaneously. Still, the inhabited world of people, water, and wind can be heard throughout Space as an instrument. Often these recordings are integrated into the backdrop of electronics, or reduced to the sound of movements whose physical forms are obscured: the microphone straining against a forceful gust on 'Sorry', arhythmic footsteps traversing an invisible terrain on 'Pensées magiques'. These field recordings take us to the brink of synesthetic experience, allowing us to glimpse with our ear the topography of the imagination. But Atkinson's music resists any kind of singular perspective on the scene, or any distinct conclusion. "It doesn't explain anything", she says, "but it translates the way I perceive it, somehow". Atkinson is a polymath by nature, engrossed in a variety of daily artistic practices that nourish one another. In her garden, she performs the slow work of cross-species relationship building, cultivating an ideal space for introspection and further creation; many of the album's vocal and electronic elements were recorded there. Poetry, which she prizes for its capacity to render the everyday tools of meaning-making more enigmatic, becomes folded into the music as well. She paints as often as time allows. One personal limitation Atkinson finds in painting, the rendering of perspective, has become one of her music's defining characteristics. The vantage point of the listener is slippery and undefined, with sounds at once appearing gigantic and miniscule, distant and immediate. This phenomena is central to 'Thinking Iceberg', a 13-minute piece that was whittled down from an hour and a half performance, who remain only a ghostly presence on the album’s recording. Atkinson wrote the piece in response to Olivier Remaud's book "Thinking Like an Iceberg", in which the philosopher assigns agency to these massive, endangered objects and imagines how they might perceive their millenia-long relationship to humans. Stoic synthesizer tones percolate while water flows just out of the immediate frame with a disarming clarity and presence. As the piece crests, Atkinson's whispered voice emerges softly, placed right against the listener's left ear, contrasting with the billowing mass of sound that otherwise dominates. We emerge with a glimmer of awareness of how immensity and delicacy can coexist as time and humanity extract their toll. Atkinson says her music exists "on the verge of understanding and not understanding", which often precludes such literal interpretations. But in that nebulous space there is humility and openness, and perhaps enough empathy to understand the consciousness of a massive, frozen chunk of water. With the listener's perspective diffused into many different vantage points, how might that, too, become a vehicle for the development of compassion? As we listen, we encounter the wisdom that there is meaning not just in the experience of the sublime, that radical juxtaposition of limitlessness and intimacy, but also in the continuum of countless individuals that have taken the same journey.
