Four Unbindings, by COLE PETERS

Four Unbindings

by COLE PETERS

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mikehoolboom Slowly developing field recordings. The standout is vasculature, with its close breathy drone and stereo foley touches, sorting through the leaves, before a throbbing bass drone brings us home. Favorite track: Vasculature.

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1.	Diaphragmatic 04:44	buy track
2.	Vegas Room 05:30	buy track
3.	Vasculature 06:22	buy track
4.	Powerline Road 10:12	buy track

about

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LINE welcomes Canadian sound artist / field recordist Cole Peters. Four Unbindings, his first release for LINE is recommended for listeners who enjoy the works of Chris Watson, Jana Winderen, Manja Ristić, Norman W. Long, Tomoko Hojo + Rahel Kraft, or Simon Whetham.

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Over the course of recent years, I have come to consider much of my work in sound as an act of delineation.

The positioning of microphones and the timing of their listening defines both a physical and temporal boundary, cleaving one space from all others, one duration from all others. A subtler delineation is also made in the act of recording: one between acoustic events and their phenomena of origin. In this way, carrying out my work becomes a function of reduction — of space, duration, and acoustics. This is, to be certain, an extremely formal ideation; yet in considering my work in this way, I have found a deep reservoir of curiosity and fascination.

The compositions comprising Four Unbindings have emerged principally in consideration of this conceptual framework. These pieces are intended to function first and foremost as formal investigations removed from external context. Or, simpler: these pieces are strictly about what they sound like. (In many ways, I consider this work to be an auditory analogue of explorations I have previously made through the medium of photography — particularly the series Heir, 2018.)

And yet, being themselves formed strictly from field recordings (processed minimally for dynamics and frequency spectra), one cannot help but listen to these pieces with an ear towards origin and identification. In this tension lies a particular fascination for me: the opportunity to observe the listening mind’s response when encountering sonic material that offers little beyond a brutalist formal content.

It should perhaps be noted that throughout the early history of field recording, reductivist strategies (however poorly considered) were not infrequently wielded in the carrying out of ecological and cultural violence. It therefore follows that the lens through which one renders a formalist contemplation of field recording should be exacting. My priority in these works has been the veneration of unattended acoustic phenomena deriving from interactions between the built and natural world. Many of the anthropic conditions from which these phenomena originate, however, deserve a close and ongoing scrutiny.
—Cole Peters, 2023

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Cole Peters (b.1985) is a multidisciplinary artist fascinated by matter, energy, space and time, and the ways in which these forces shape our universe, our environment, and our perception. With a focus on physicality and temporality, his work emerges in compositions that emphasize material properties and processes.

Cole’s work in sound builds on the methodologies of musique concrète, field recording and reductive synthesis. His recorded works and performances examine texture, pressure and phenomenology as scaffolds in an evolving thematic framework drawing on the natural sciences and sensory experience.

His recordings have been published by LINE (US), Park70 (US), Room40 (Australia), Makade Star (Canada), Grisaille (Germany), and Presque Tout (France). He has performed alongside local and international artists in Canada and the UK.

Cole’s work in the visual arts, encompassing photography, paint, mixed media and video has explored themes of formalism, information paucity, entropy and geography, both as extensions of his work in sound and as independent works.

He is currently based in Winnipeg, Treaty 1 territory, Canada.

colepeters.com

credits

released September 8, 2023

Sounds for tracks 1–3 recorded 2022 in Treaty 1 territory, Central Canada. Sounds for track 4 recorded 2023 in the ancestral lands of the O’Odham and Piipaash peoples, Southwest US.

The title ‘Vegas Room’ is derived from the book ‘There Is No Antimemetics Division’ by qntm.

Recording, assemblage, mix and photography by Cole Peters.
Mastered by Lawrence English at Negative Space.

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LINE Los Angeles, California

Richard Chartier's LINE publishes editions documenting compositional & installation works by international sound artists & composers exploring the aesthetics of minimalism.

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