Vesun by Fletina
'Vesun' is an album consisting of nine abstract sound collages that were created from archived field recordings of various mundane work environments.
In these collages, aural fragments of industrial machinery, churning mechanisms, overheard conversations, radio broadcasts, elemental noises, room tones and outdoor ambiences overlap and interweave to form surreal yet strangely familiar atmospheres...
Tracklist
| 1. | Vesun | 3:19 |
| 2. | Can It Wait? | 2:32 |
| 3. | Network of Pipes | 3:17 |
| 4. | Lost Tibet | 5:00 |
| 5. | The Copper Years | 5:56 |
| 6. | Eastern Walkway | 2:18 |
| 7. | Western Walkway | 3:22 |
| 8. | Tomorrow's Market | 3:33 |
| 9. | Recalibration | 5:02 |
Credits
released March 5, 2025
REVIEW :
''The “mundane work environments” featured in Vesun speak to a fascination with ordinary sound. From the quiet resonances of rooms to the hums of appliances and clashes of machinery, these sounds permeate our lives without drawing much attention, except when their presence becomes a nuisance. Fletina considers them beautiful. The title track seems to unfold in a cave, all drips and cavernous resonance, until the sound of rails enters the picture and one wonders if it was instead recorded in a mine. “Can It Wait?” is packed with static and hiss, backed by a rhythmic clunk. The volume rises ever so slowly, as if the field recordist is walking toward the source of a new sound. In the closing moments, one hears both birds and motor, a dual recognition.
“Network of Pipes” blurs the line yet again, this time the sonic distance between pipes and church bells. A further association, the unheard middle, is that most churches have organ pipes that might be played as a mallet instrument if the organists were to permit it. The album’s longest piece, “The Copper Years,” hints again at metallic resonance, now accompanied by background chatters, just beyond comprehensibility, with voice as texture rather than a means of communication. When an electronic alert rings, the effect is startling, as is a rush of water that sounds like applause or the other way around. One begins to understand the common denominators of disparate sounds.
Many people take comfort in the complimentary sounds of roaring rivers and bathtubs, campfires and heaters, passing traffic and glancing rain. By conflating the outdoor and indoor, the personal and impersonal, the cherished and the unnoticed, Fletina proposes a more attentive listening that focuses on the sonic properties of an experience. Far too many artists tout “soundtracks to movies that don’t exist.” Fletina amplifies the soundtrack to everyday life, causing the listener to hear it in a new way. The closing track, “Recalibration,” is an offer as well as a presentation; the abstraction of these sounds, counter-intuitively, promotes an appreciation of specificity.''
- Richard Allen, A Closer Listen
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Fletina is a Scottish sound artist & field recordist who creates raw abstract audio collages using found objects, room sounds, environmental noises, household items, mechanical devices and various electronic manipulation techniques.
All recordings by Fletina.
Contact : fletinamusic@yahoo.com
Artwork : Daniel Crokaert
REVIEW :
''The “mundane work environments” featured in Vesun speak to a fascination with ordinary sound. From the quiet resonances of rooms to the hums of appliances and clashes of machinery, these sounds permeate our lives without drawing much attention, except when their presence becomes a nuisance. Fletina considers them beautiful. The title track seems to unfold in a cave, all drips and cavernous resonance, until the sound of rails enters the picture and one wonders if it was instead recorded in a mine. “Can It Wait?” is packed with static and hiss, backed by a rhythmic clunk. The volume rises ever so slowly, as if the field recordist is walking toward the source of a new sound. In the closing moments, one hears both birds and motor, a dual recognition.
“Network of Pipes” blurs the line yet again, this time the sonic distance between pipes and church bells. A further association, the unheard middle, is that most churches have organ pipes that might be played as a mallet instrument if the organists were to permit it. The album’s longest piece, “The Copper Years,” hints again at metallic resonance, now accompanied by background chatters, just beyond comprehensibility, with voice as texture rather than a means of communication. When an electronic alert rings, the effect is startling, as is a rush of water that sounds like applause or the other way around. One begins to understand the common denominators of disparate sounds.
Many people take comfort in the complimentary sounds of roaring rivers and bathtubs, campfires and heaters, passing traffic and glancing rain. By conflating the outdoor and indoor, the personal and impersonal, the cherished and the unnoticed, Fletina proposes a more attentive listening that focuses on the sonic properties of an experience. Far too many artists tout “soundtracks to movies that don’t exist.” Fletina amplifies the soundtrack to everyday life, causing the listener to hear it in a new way. The closing track, “Recalibration,” is an offer as well as a presentation; the abstraction of these sounds, counter-intuitively, promotes an appreciation of specificity.''
- Richard Allen, A Closer Listen
---
Fletina is a Scottish sound artist & field recordist who creates raw abstract audio collages using found objects, room sounds, environmental noises, household items, mechanical devices and various electronic manipulation techniques.
All recordings by Fletina.
Contact : fletinamusic@yahoo.com
Artwork : Daniel Crokaert
