The Lozarithm Lens

By lozarithm

Old Tom (Sunday 26th June 2016)

This is Old Tom who might be 23 or even 24 years old, and this is the first time he hasn't had a brood of cygnets, although he does have a partner. His patch, shared with some mallards, begins at the bay you can see a little way behind the 'Private' sign - a good safe spot as it is far from any public access. He was there when I stood on Pewsey Road Bridge but came out and glided very slowly up towards me on the bridge, whether because of my presence or purely coincidentally I have no idea.

I had been to the Marlborough Waterfront at Kennet Place but there was no sign of watervole activity again and it is possible they have gone. The burrow that appeared on the bank may have enabled a rat or a stoat to invade the nest with drastic consequences, but Val wasn't there so I couldn't ask for an update.

I had a walk around Cooper's Meadow, adjacent to Kennet Place, where another branch of the River Kennet runs, and found a young pair of swans had claimed the territory, possibly because of Old Tom's retirement. One of them swam up to me and hissed, but I think he was just requesting some food.

The moorhen chicks at Kennet Place are fully grown now.

28.6.2016 (1259 hr)

Blip #1905 (#2125 including archived blips)
Consecutive Blip #010
Day #2285
LOTD #1110 (#1234 including archived blips)

Taken with Pentax K-1 and Pentax HD P-D FA 28-105mm f/3.5-5.6ED DC WR lens

A Visit To Marlborough, 26 June 2016 (Flickr album)

Marlborough series
Landscape series
Swan series
River series
River Kennet series

Lozarhythm Of The Day:
Kaitlyn Aurelia Smith - Rare Things Grow (2016)
Composer, performer, and producer Kaitlyn Aurelia Smith's new album EARS is an immersive listening experience in which dizzying swirls of organic and synthesized sounds work together to create a sense of three-dimensional space and propulsion. Dense and carefully crafted, each of the songs on EARS unfolds with a fluid elegance, while maintaining a spontaneous energy, and a sprightly sense of discovery. Listeners familiar with her previous album Euclid (an album that prompted Dazed to call her “…one of the most pioneering musicians in the world.”) will no doubt notice her heavier use of vocals on EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds.
Much of the album's warmth and energy stems from Smith's use of the versatile analog synthesizer, the Buchla Music Easel. According to Smith, “…nothing compares to the sound of a Buchla. In my mind a Buchla synthesizer has the most human sound in it. I wanted to show the Easel’s versatility and range of motion within a live set. I also wanted to spend as little time as possible in front of the computer during the creation.” After initially composing on the Buchla, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's
Boys Latin video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).
Though the pallet of sounds Smith employs on
EARS is darker than the ebullient tenor we heard on Euclid, she's careful to let in just enough light to covey a feeling of cosmic bliss and transcendence. Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces). Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä of the Valley of the Wind, which she cites as an inspiration.
EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album. As she explains, “I am very intentional about the months leading up to when I am going to compose something new. I really trust the subconscious and try and feed it only information I want it to feed back to me. I make playlists that I listen to nonstop, or have images I look at daily, or I go to places I want to be inspired by…I do all this prep work and then try and forget it when I am writing.” Listening to
EARS, it's clear that her approach paid off, and that the seeds she planted within have born a vibrant and hyper-natural world that's as joyful to experience as the flora and fauna that inspired it. - You Tube

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