Label: Sublime Retreat

1964年ポルトガル出身、1998年から現代アートの独立集団である22aのメンバーとして活動、当店では過去にサウンドアート及びサウンドポエトリー的アプローチの音源を紹介しているベテランAlfredo Costa Monteiro。実験映画のファウンドフッテージ技法に触発された、2024年発表の49分1トラックのシネマティック長編[Transient Spaces As Impermanent Lines]。実在しない映画のサウンドトラックの様にも聞こえる不思議なテクスチャーで編成、無骨な物体音、教会の鐘や気配音のフィールドレコーディングを中心にボヤーッとした幽玄な情景を紡いでいます。美しいスリーヴデザインはRutger Zuydervelt (Machinefabriek)が担当。



• Glass-mastered CD
• Mini-LP sleeve
• Printed outer and inner sleeves with matt finish
• Designed by Rutger Zuydervelt

Transient spaces as impermanent lines was composed as a sonic drift with no other purpose than a mindful wander. This lack of direction, expressed through a hypothetical narrative, shapes an itinerary through different sound atmospheres carried by the materiality of sound and thus creating variable emotional states close to disorientation; exactly as in a psychogeographical drift, which implies a certain renunciation of what to expect, depending on each space where this underlying narrative evolves.

It is a piece for found sounds, inspired by the found footage technique in experimental cinema, where images, often from anonymous sources are shown as if they were edited in a narrative by those who literally found them.

Like a soundtrack for a non-existent movie, it could be compared to a piece of cinéma pour l'oreille (cinema for the ear), literally applying the French expression donner à voir (something like "allow to see"), but with sound as its means.

All the sounds were compiled during the first three months of the process; the source of most of these sounds has been intentionally forgotten in order to empty them both of their psychological and contextual content.