Sounding Out Cathedral Cave – june 2023

a most welcome return to a spectacular location.

cathedral cave is a very unique and wonderful place both in terms of atmosphere and acoustics. this time, the weather gives a very different quality to the experience of the place. i have been walking in the area in blazing sunshine, swimming in the clear water of lakes surrounded by beautiful landscapes.

i arrive to the cave tired, warm and pretty blissed out from such stunning scenery. the cool space provides a nice shelter from the heat. and although it is still busy that late in the day, the imposing presence of this carved architecture sets a strong mood that is serene.

the name of cathedral cave is well deserved.

here, time stops.

and from the very fist notes, i enter that very special place fully.

both evenings, i play for a period of time, blending melodic passages, progressions, and overtones, taking advantage of this unique and powerful reverb. some sections play with the different effects the space offers – the interplay of tones in the sustain is fascinating… two notes linger and dance in the space and each interval a different pattern. each triad swirls a different spin.

although the space mostly inspires a gentle play of tones and melody, more angular shapes find their way in the improvisations. symmetrical structures bounce across the spectrum from one axis to the next. geometric shapes climb the raw surface of the rock. a little slack in the rope allows for smudges of movement. chromatic whirls send phases off-center. the space responds and blesses the ear with stunning sound effects.

 

 

 

the first line
alto saxophone, 13 june 2023
cathedral cave

 

blurred boundaries
alto saxophone, 13 june 2023
cathedral cave

 

the space in between
alto saxophone, 13 june 2023
cathedral cave

 

 

wind swept plains
alto saxophone, 14 june 2023
cathedral cave

 

slack bounce
alto saxophone, 14 june 2023
cathedral cave

 

a study of small shapes
alto saxophone, 14 june 2023
cathedral cave

 

nada – listening meditation

 

nada

the sound of silence

 

nada is an invitation to meditate with the sounds of the five elements, to heal body and mind with the songs from streams and rivers, from wind and trees, with harmonies that we intuitively relate to. this meditation practice highlights the relation between elements and emotions and our close connection to nature.

 

sculpted from the sounds of natural elements, these listening meditations are electroacoustic performances that draw from many years of practice as a composer and improviser, from qi gong, buddhist practice and meditation.

 

with the practice of mindfulness of listening, one is invited to reflect on perceptions, thoughts and reactions, on our connection to the elements internally and externally, as we delve deep into the observation of subtle sensations. all key aspects of buddhist meditation are integrated into this one practice, so there is no multiplicity of approaches.

the narratives that unfold, following the natural movements of the recordings, and the changes in mood during the performance keep the listener engaged while the live processing that playfully reshape known sounds may incite close attention conducive to meditative states of concentration.

 

another important aspect of the work is the use of resonant frequencies found in natural sounds, especially selecting and sculpting tonalities used in sound and vibrational therapy. it is like a gong bath, but using healing frequencies from nature: the harmonies are specific to a time and place, and the element recorded.

 

each performance is unique as i intuitively select the aesthetic, atmosphere and tonalities i use moment to moment. improvisation as approach and method allows me to adapt what sounds i use, what resonance to focus on, so the music flows and connects with the audience.

 

i offer these performances as livestreams on the bandcamp platform in a series called nada, so that people can meditate in the comfort of their home.

i am also available to travel to buddhist, meditation, yoga centres, etc. who are willing to accommodate such events for groups of experienced meditators.

 

 

technical details:

i use
1 performance laptop + usb audio interface
optional x2 microphones and mike stands [when using a collection of meditation bowls and bells, etc.]
1 streaming laptop + usb mixer
h5 zoom recorder
multiplug extension cable, misc connectivity

required from venue
power or extension cable to the performance area
low table and meditation seat
amplification – high quality stereo speakers, able to reproduce a high range of frequencies and wide stereo image [i can bring suitable speakers if needed, tbc]. possible multichannel diffusion via ADAT
additional – table or support for streaming laptop
stable wi-fi internet access for live stream

 

 

contact:

nexttimerv_at_hotmail_dot_com

 

 

 

reviews:

“I found this work intriguing and at times beguiling […] and I realised that by having more to pay attention to, my meditation sessions could be sustained for a longer time by Hervé’s listening meditations”

Benedict Jackson – dimensions-in-sound-and-space

*

It’s been a magical experience, following you in this sound journey, deeply
listening with open heart and ears.
Lukas M – audience member

*
Hervé’s live improvisations transport you onto a journey which is at once sensorially relaxing and awakening. Through his unique use of texture, rhythm and space he is able to keep the audience on their toes whilst grounding them into an uninterrupted state of flow from start to finish. A powerful sonic experience!
Lorenzo P – audience member

*

Thoroughly enjoyed falling back into the really clear three dimensional soundscape.
Dave P – audience member

*

These are absolutely magic journeys for drifting off… Thanks for the calming moments.
Phil I – audience member

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audio examples

 

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Sounding Out Stoney Middleton St Martin’s 2022

i spent two days across moorland chasing after deer sounds, fawning across the fern and forests for close encounters. finally had a long and silent eye contact with the big dude. not a single sound. on the last evening, nearly out of earshot of constant distant traffic, i find antlers clashing and guttural calls… proved to be worth the wait.

for a change of scenery and ticks removed, i head down the valley to a small church in the village of stoney middleton, tucked away in the rocks. the space is open and bright, the sound welcoming. it is a quiet morning and the light filters through and gently lifts the faded colours of this interesting interior.

skylines
alto saxophone, 14 oct 2022
st martins, stoney middleton

   

harvest
alto saxophone, 14 oct 2022
st martins, stoney middleton

   

rolling free
alto saxophone, 14 oct 2022
st martins, stoney middleton

   

the bell calls
alto saxophone, 14 oct 2022
st martins, stoney middleton

   

   

Sounding Out Smoo Cave 2021

Travelling north, a short stop in the middle of Scotland, amidst splendid scenery, mountains bathed in magic light, and broody skies, i found a wee church that was open and welcoming. Surprised by the gentle inspiration, i played in unexpected style for a while. Amulree church.

 

wind hill
alto saxophone, 10 june 2021
amulree church

 

 

weaving history
alto saxophone, 10 june 2021
amulree church

 

 

the round mount song
alto saxophone, 10 june 2021
amulree church

 
 
 

I have paid many visits to this majestic cave, and every time enjoyed its amazing resonance, deep vibe and rich inspiration. This year, for the first time, the water levels are so low that there is no waterfall in the adjacent chamber, and so the main space is a lot quieter, giving maximum resonance to the cave, which is now inhabited by a range of birds. Their cries punctuate the improvisations which go late into the evening. As usual, there are visitors that come in and out, some stay and listen, but mostly, i have stretches uninterrupted to record. And because of this unique opportunity, and the very special occasion of finding the cave so quiet, i decided to spend more time.

I returned twice on my first visit, and again, two nights in a row after exploring the area and spending a few days in solitary, tucked away in the mountains. This period of meditation has been amazing, and the energy of the mountain is deeply moving (or stilling…). Close to the elements, exposed and yet under the protection of imposing hills, the benefits of this period of retreat is indescribable.

Each day of this series of recordings in Smoo Cave was very different. The inspiration yielded music of different character and the vibe was strickingly different. Here is a selection from each session.

 

shine
alto saxophone, 12 june 2021
smoo cave

 

 

constellation no1
alto saxophone, 12 june 2021
smoo cave

 

 

mantra for the dakinis
alto saxophone, 12 june 2021
smoo cave

 
 

 

circular shapes
alto saxophone, 13 june 2021
smoo cave

 

 

constellation no3
alto saxophone, 13 june 2021
smoo cave

 

 

fermion eleven
alto saxophone, 13 june 2021
smoo cave

 

 

when all return
alto saxophone, 13 june 2021
smoo cave

 

 

nebulous
alto saxophone, 13 june 2021
smoo cave

 

 

gentle power
alto saxophone, 13 june 2021
smoo cave

 

 

mila’s rag
alto saxophone, 13 june 2021
smoo cave

 

 

solitary hill
alto saxophone, 13 june 2021
smoo cave

 
 

 

the unspoken cartwheel
alto saxophone, 17 june 2021
smoo cave

 

 

after the wind
alto saxophone, 17 june 2021
smoo cave

 

 

three steps
alto saxophone, 17 june 2021
smoo cave

 
 

 

touch the earth
alto saxophone, 18 june 2021
smoo cave

 

 

cath’s wheels ride
alto saxophone, 18 june 2021
smoo cave

 

 

the other side
alto saxophone, 18 june 2021
smoo cave

 

   

Sounding Out North Yorkshire 2021

While travelling through North Yorkshire earlier this year, i came across two churches that were open. A rare treat these days… so i could not resist a little sonic exploration.

 

travelling
alto saxophone, 20 may 2021
east witton church

 

 

flow patterns
alto saxophone, 20 may 2021
east witton church

 

 

 

blues for swirling leaves
alto saxophone, 21 may 2021
st oswalds church, hauxwell

Résonance #10 [nt028]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

One year on, a new listening meditation performed at the Sheffield Buddhist Centre to experienced meditators. The practice based on nada, the sound of silence, invites the audience to use the continuously evolving soundscape as support for meditation. Bringing the awareness to details and texture or to the entire balance of sounds and its evolving narrative bears similarities with mindfulness of breathing. One aims to become immersed in the sonic world presented, in all its details, and also observe the interaction between parts and the unfolding narrative.

This performance is a good example of the use of electroacoustic material; a more minimal approach than in experimental contexts. The focus is on the resonant frequencies of the five elements, beat frequencies, entrainment, and deep listening to field recordings of natural sounds.

Résonance #9 [nt027]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

Starting a new phase in the development of electroacoustic material, those two performances come after a break from solo sets. Meanwhile, i have been generating material and adapting my electroacoustic range of sounds for the group Inclusion Principle. My approach to sound sculpture has gradually been focusing on minimal detail. The harmonic contents are simpler, to fit with other instruments, but also to hone in on particular frequencies and highlighting details of interaction, phase relations and interference patterns – beats.

By creating space, the focus shifts towards relations and the notion of distance and perspective. The texture, tonality and gestural quality of natural sounds is very much present, but we are delving deeper into the essential quality of sound, into the vibrational universe.

This spaciousness, and the invitation to practice deep listening naturally leads to the pratice of meditation and mindfulness through listening. So it felt right to present this work as nada, the sound of silence, and invite the audience to meditate using soundscapes as support of concentration; using the traditional meditation practice (also used by composer Pauline Oliveiros) that alternates and merges the close listening to detail with the awareness of the overal shape of our entire aural experience.

In a sense, i feel that this work, from the beginning, has been pointing in this direction, with the sculpting of field recordings aiming to bring attention to the very core, the vibrational quality, the very architectural characteristic of the reality we experience as sound. Similarly, the use of five elements, borrowed from spiritual practice and TCM also points to the internal working of natural balance. Sound as a metaphor for the nature of reality. Everything is sound.

 

 

 

 

 

 

 

 

 

 

 

Résonance #8 [nt026]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

This is a rather nice recording of two sets, both performed in the Showroom café bar, as a series of solo gigs i did in support of a jazz/experimental night i was running in the cinema bar.

A direct recording from the desk, this recording has a really detailed, intimate quality. Electronic beats meet cut up field recordings in a surreal crash between sound worlds. Nothing is prepared in advance. The sets are woven together and improvised moment to moment. You can hear as i call up samples, loop a selection on the fly, apply effects or processing and match the beats. I like that DIY quality of experimental dance music done à-la-improv with EA flavouring and field-rec gallore. These sets are the best of both worlds, improvised to an audience of passing cinema viewers who had no idea what hit them. Great times. And of course, the omnipresent drones are sculpted for your ears (and guts), vibrating the hell out of your chakras, with five elements delicious resonant frequencies. What’s not to like.

Résonance #7 [nt025]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

And for something different, here are two sets performed on the same night, in the Showroom café bar.
I was running a night of jazz, improvisation and experimental music, and during that time, provided support for the groups by doing solo laptop sets. It was an opportunity for me to continue developing my sound, and try out my approach to electroacoustic improvisation in different contexts. The café is a busy and noisy place, so I adapted my sound and abstract narratives adding electronic elements and beats.

Field recordings and electronics slyly seep in the dense noise and chatter, and gradually take over as the set intensifies. Deep bass rumbles and beats. Accidental noises and voices become part of the soundscape. Things escalate. Beats overlap. A glimmer of light. Well, you’ll just have to listen. It’s a trip.

 

 

 

 

 

 

 

 

 

 

 

 

Résonance #6 [nt024]

Résonance documents a series of live improvisations on laptop. The performances feature field recordings and electronic elements, beats, and digital processing.

Location recordings include resonant spaces that add their own colour to the existing soundscape, sounds of the five elements (TCM, qi gong), natural and environmental sounds, found sounds etc.
The sound design focuses on sculpting the natural resonant frequencies of recorded sounds, as well as textural and gestural qualities.

The work is grounded in electroacoustic tradition and draws from experimental electronic music, with a strong focus on deep listening. Every performance is entirely improvised.

**

These three live recordings from 2011 are good examples of how the work has evolved, gradually moving towards a minimal and meditative approach to electroacoustic performances.
We take the time to delve into the mood and narrative sequences offered by field recordings. Atmos tracks and resonant spaces frame environments where the five elements unfold and balance. Aspects of the previous series are carried over with sine tones that blend and interact with the resonant frequencies of natural sounds.

The recording process is also different, and works as a meditation in itself. And so the material recorded becomes more subtle, focusing on details that will blend into multiple layers in performance. Increasingly, it becomes obvious that the accidental convergence of sounds from different recordings occurs in a natural way – the music makes itself. This highlights the importance of using sounds that no agency other than nature itself created.
The world is sound, and all is music. I just let my meditations direct the microphones, in true art of the dérive, and let the moment inspire the sounds that are dealt in performance. How the layers communicate is magic.