John Levack Drever | Phonographies: Glasgow, Frankfurt, Exeter

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New Age: Environmental Avant Garde: Sound Collage Moods: Type: Sound Effects
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Phonographies: Glasgow, Frankfurt, Exeter

by John Levack Drever

John Levack Drever composes from field work and field recordings, gleaning material from urban and rural soundscapes to create a sort of place-oriented electroacoustic composition.
Genre: New Age: Environmental
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  Song Share Time Download
1. Antiphon (2001)
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0:45 $0.40
2. Phonographies of Glasgow: Walk (1999)
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7:14 $0.99
3. Phonographies of Glasgow: Erskine Ferry (1962-1999)
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1:11 $0.99
4. Phonographies of Glasgow: Underground (1999)
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6:23 $0.99
5. Sound-Marked: Frankfurt (2001-2)
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20:02 $0.99
6. Crabfish (1997)
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0:52 $0.40
7. Phonographies of Exeter (2000-2)
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24:00 $0.99
Available as MP3, MP3 320, and FLAC files.


Album Notes
Anitphon; recorded at St Peter's, Exeter Cathedral , Devon, Winter 2001.

Phonographies of Glasgow; composed for drift: a festival of sound and art & acoustic ecology, Glasgow, November 1999. Erskine Ferry recorded by Ian Drever, 1962.

Sound-Marked: Frankfurt; A soundscape composition taking the public spaces of the centre of the city of Frankfurt as its subject. The sounds were collected during a residency in October and December 2001 at Mousonturm, Frankfurt with Blind Ditch performance. The sounds were originally recorded with binaural micorphones, the work can best be appreciated via headphones.

Crabfish; recorded Dartmouth, Devon, Summer 1997

Phonographies of Exeter; A soundscape composition taking the public spaces and events of the city of Exeter as its subject (2000-2). Commissioned by Exeter Phoenix, funded by South West Arts New Commissions Fund.

"these works have a profound life beyond the novelty of a live experience. The music on this recording is some of the most innovative, imaginative, and impressive electroacoustic music being created today... Drever guides the listener through a sonic interpretation of three cities: Glasgow, Frankfurt, and Exeter. Mr. Drever has composed each of these soundscape pieces in a way that tells a non-linear narrative of their respective cities of origin. Instead of leading the listener on a tour and showing the features of a city consecutively, he uses the power of recording and editing to split the trip into brief impressions that all contribute to a holistic experience of a city’s sounds and character that could not have been achieved with a linear narrative. "
Mark Wagy, Computer Music Journal , Volume 30, Number 2, Summer 2006


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