U66 | philip sulidae | Vandemonian Verplaatsing
1. Fifty Seven to Sixty Three Macquarie Street_excerpt
3. End of Old Farm Road_excerpt
format : CD ltd to 200 hand numbered copies/Digital
Regular edition of 170 copies packaged in clear vinyl sleeve with folded insert + an additional art card both on 350gr satin paper
Special edition of 30 copies packaged in black mass-tinted cardboard digisleeve with frame.
it holds a set of 2 double-sided art cards with a different artwork from the regular edition on 350gr satin paper.
+ a set of 3 square photos on Fujicolor Crystal Archive Paper Supreme.
and an extra inkjet mostly black and white printed image on old slightly yellowed stock paper (none the same)
Inner sleeve features a strip of paper
it’ll be inkjet printed with edition number + artist’s name and title.
release year : 2020
length : 37’32
tracks : 1. Fifty Seven to Sixty Three Macquarie Street
2. Fourteen Evans Street
3. End of Old Farm Road
4. Thirteen Elphinstone Road
5. Twenty Carriage Drive
status : still available !
>>> order via Paypal : chalkdc@unfathomless.net
Regular edition
(Belgium) : 13 € (inc.postage)
(Europe) : 14 € (inc.postage)
(World) : 15 € (inc.postage)
Special ultra ltd edition SOLD OUT !
(Belgium) : 16 € (inc.postage)
(Europe) : 17 € (inc.postage)
(World) : 18 € (inc.postage)
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: info :
These are field recordings collected from varying places, times and locations in Hobart. I’ve been working with sound for over ten years and in that time, I have become more intrigued by the actual notion of recording itself. Recording a temporal event, place, thing; recording time itself. Recordings, mediated through various microphones, speakers and so on, somehow still convey something of that event regardless of the displacement of time and location that has occurred.
Perhaps this is a simultaneity formed through the listener’s context. Times and locations that are simultaneously within reach, yet always once removed. These recordings exploit this tension between what we know of a place and what we imagine. Every time we listen, a displacement of time occurs again and again.
(Philip Sulidae, 21 December 2020)
: reviews :
Two new recordings from Unfathomless approach field recordings from different angles. One is location based, the other theme based. Together they form an intricate lattice of sound.
Vandemonian Verplaatsing (the latter word meaning displacement) collects recordings made in Hobart, Tasmania over a number of years. This is the third Unfathomless release for Philip Sulidae, who also runs the Hemisphäreの空虚 label. The artist raises questions about the perceived impact of displaced recordings, scattered across time and space.
Ask most people what they know of Tasmania, and they will likely mention the Tasmanian devil, dust whirls and perhaps that Hobart is the capital of the Australian island. They may not think of apple cider and art galleries, waterfalls and wine. In conversation and closing doors, Sulidae introduces human elements. Other segments address nature. Yet the primary timbres are neither nature nor commerce, but a liminal third.
Traffic passes; water laps; but what are these other sounds? Even Sulidae may no longer recall, as these recordings have been processed, layered, and displaced. A snippet of a rain shower nudges against a dragged pipe; a running road borders a rivulet; chalk is scrawled on a board. Each track bears an address, but the uses may have changed (one, recalling Joni Mitchell, is a parking lot) in the ensuing years. Lost in time, these sounds beg for context, and where none is provided, create their own impressions. The last and loudest piece contains beeping and burning (or it may not) ~ perhaps a commentary on societies found and dismantled, a metaphor for our modern age.
Richard Allen
A Closer Listen
Here we have more music from down under, to precise from Hobart, Tasmania. I didn’t know what Vandemonian meant, and I found that it is “a white inhabitant of Tasmania. Especially: one penally transported there before 1853” and as an adjective, 1: of or relating to a Vandemonian or 2: RUFFIANLY, VIOLENT. ‘Verplaatsing‘ is a Dutch word and means ‘displacement’. I am not sure how to interpret both words together here. Sulidae has been working with field recordings for some ten years now, and he became “more intrigued by the actual notion of recording itself. Recording a temporal event, place, thing; recording time itself” and that “times and locations are simultaneously within reach, yet always once removed. These recordings exploit this tension between what we know of a place and what we imagine”, from which I gather that the five pieces on this release were composed by putting various sound events together. Each of these five pieces is named after a specific street or road in Hobart, so it’s interesting to look at these places with Google Maps. It is, not for the first time, a bit unclear what Sulidae does with these recordings, other than stitching them together and creating fascinating listening experiences. I would like to believe he doesn’t add much by way of computer processing; no granular synthesis or time stretching. I would think that it’s all just a bit of equalization, emphasizing or suppressing some frequencies and beyond that, it is all a matter of finding the right sounds. Not that it is easily revealed what these sounds are. There is a fair of crackling and rustling, as if Sulidae walks through leafy areas, with the buzzing of insects, traffic or electricity. Maybe there were some acoustic objects in his way? Otherwise, I would think it is not a lot of ‘traditional’ field recording sounds, not many birds or drips of water. It is quite intense and poetic, a narrative without the words. A truly refined beauty!
Frans de Waard
Vital Weekly
