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A 2 track leftfield/idm single (27m 25s) — released January 16th 2012 on Touch

About the artist:

Jana Winderen is an artist educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993 she has worked as an artist, curator and producer. She currently lives and works in Oslo. Jana Winderen researches the hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording. Her most recent sound works include "Energy Field Installation" and "Scuttling around in the Shallows" for Galerie B-312 in Montréal, Canada, 2011 and The Issue Project Room, New York, 2011, "Between Dry Land", commissioned for the installation "The Morning Line" by Matthew Ritchie for the Thyssen-Bornemisza Art Contemporary which opened in Istanbul May 2010. The commission "Spawning Ground - from Coquet Head to the North Sea" for the AV festival in Newcastle (2010), "Evaporation" (2009) at TodaysArt festival in The Hague, Netherlands; "Sub Pelagic Voices" (2009) for ISCM World New Music Days, Sweden, "Colonizers of the undergrowth" (2009) at Botanic Sounds in Göteborg and "North Atlantic Drift" (2009) for JunKroom in Kyoto, Japan. Recent releases include the album "Energy Field" (2010) on Touch, "Heated: Live in Japan" (2009), on the same label, the audio cassette "The Noisiest Guys on the Planet" (2009) on Ash International (UK), the USB stick, "Ants", the digital download "Submerged" (2009) on Touch and the 7 inch vinyl "Surface Runoff" (2008) on Autofact (USA). She is currently working on a commission for a permanent sound installation at the Knut Hamsun Centre in Hamarøy, Norway. Jana Winderen is published by Touch Music [MCPS]

Artist statement:

"I like the immateriality of a sound work and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes, about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human sences. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
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