drøne - Mappa Mundi

***WE ARE NOW TAKING PRE-ORDERS***

Release date: 13th october 2017

CD - 5 tracks - 35:00 (one file)

Voice of the People
Horizontal Direction
Telegraphy Beacon
Echo of Hope
Shannon Volmet

drøne: Mark Van Hoen & Mike Harding

art & font by nico

This the first CD released by drøne, after two vinyl albums on Anna von Hausswolff's label, Pomperipossa. In a 5” jacket with artwork and font by nico, who also provided the hand-written text for the vinyl artwork for the 2015 and 2016 releases, “Mappa Mundi” traces and describes audio surrounding and occupying the planet earth.

Workers toil in smithies, call signs and chants-at-prayer reveal attempts to order the chaos, which always remains one step ahead. Post-lapsarian for sure, but smoke signals and drums have morphed into the ‘bing bong’ of the attention-grabbing, mind-polluting PA system. The coded simplicity of the whistle (“Start!”) has evolved into a more deliberate attempt to control rather than inform by explicit, structured language. Announcements have become commands; signs bark orders. Thus ‘no’ becomes a powerful rejection, rather than merely a preference; and no-ers are more easily to spot… “You’re going the wrong way”! (To which the only sensitive and mature response is: “Good!”)

Call signs, IDs, audio sigils and signatures all combine to describe a polluted, confusing atmosphere which threatens to leave us powerless and bewildered. "Decipher the sounds and you win the game! First prize is, guess what? You get to take the audio poison! Congratulations! You’ve lost!”.

The first album, 'reversing into the future' drew this response from Lend Me Your Ears: "This thrilling piece – surely the most kinetic non-dancefloor record in an age". Anna herself wrote of the follow up record, 'a perfect blind': "I love everything about this release. Such a great presentation and exciting project! And most important: the music is sublime."

The Quietus wrote: "Last year's distinctive debut from drøne was likened to a hurtling journey. It's combination of field recordings, shortwave radio and modular synths possessed an excited, driving energy whose route was hitherto unexplored and destination unknowable. But with an expanded sound pool boasting instruments across the ages - from guitar, through pipe organ and strings to dulcimer and psaltery – its follow-up takes a sideways step into more cognizant, reflective pastures.”

Reviews:

VITAL (Netherlands):

Mark van Hoen and Mike Harding are back. And now on the silver disc. Mappa Mundi follows two LP releases on Pomperipossa. The duo – once again – takes the listener on a journey; rustling, bustling and hurtling through a world of modular synth, field recordings and shortwave radio fragments. Mappa Mundi excavates lines and traces, marks made upon the world – the drawn map of aural energies and destinations, seas and clouds of myriads of sounds from exploration in sheer wonder. This sonic act is as much descriptive as it is affirmative, in: by the very fact of it’s recording, this mapping of the aural landscape comes into being in the first (but most definitely not the last) place.

Van Hoen and Harding therewith inform by pointing out details and idiosyncrasies and, at the same time, codify and enhance, deepen and structure the experience of soundscaping as map making. One could follow their cues and traces, lines and trajectories to plot travels through sound. That is to say: drøne opens the aural appreciation of the world surrounding us all towards a vista upon noise beyond chaos, beyond dichotomies, beyond simplicities by celebrating inherent chaos, embracing wholeheartedly experimental trial and error and juxtaposing of sign, signifier and signified and changing respective relations.

Although we're presented with 'a map', there is no static 'as is'. The temporal status of the drawn line as a status for the time being is signed off on by the per se time based nature of music as art. The perception of time as a major factor in the mental and physical appreciation of aural environments is underlined and emboldened by drøne, time and time again, layer upon layer, fragment following fragment. Mappa Mundi affirms as much of aural knowledge as it points to what's not known; the here-be-monsters part – the convergence and divergence therewith of and between the known and the uncertain, while the clock ticks on and on or does it? [SSK]

Carnage (Italy):

Qualcuno sosteneva che caratteristica dell’uomo è quella di essere animale biografico che, nello specifico e nel contempo in generale, pratica il passaggio in questo mondo lasciando tracce (in poche parole non c’è molta differenza tra le pitture rupestri e un trattato di astronomia o un romanzo), secondo la grande “via lunga” dell’ermeneutica.

Il duo composto da Mark Van Hoen e Mike Harding, che ha trovato nel moniker drøne il loro modo per apparire in superficie, è al secondo disco Mappa Mundi che lavora di soundscapes, morphing di registrazioni che potrebbero trovare il loro corrispettivo visivo nelle opere di Reggio o di Ron Fricke, un immenso racconto di capitoli tra loro allacciati in una sorta di continuità, nel solco dei paesaggi sonori. La mastodontica traccia di più di 45 minuti raccoglie infatti diversi momenti di questa “cosmogonia” (1 Voice of the People; 2 Horizontal direction; 3 Telegraphy Beacon; 4 Echo of Hope; 5 Shannon Volmet).

I diversi racconti di questa grande storia hanno un suono ognuno differente. La lontananza della prima parte sono rumori di fondi, colpi che battono su una superficie metallica, in lontananza, e verrebbe voglia perfino di dare una luce, a quell’apertura, immersa nel buio di una cava. Le percussioni si strutturano sempre di più, lasciando entrare un ronzio sempre più penetrante che si trasforma in un interferenza che poi diventa il suono di reattori, che poi diventa field recording di rumore marittimo, che poi si trasforma in turmoil sinfonico, che si ritrasforma in coro nazionale, ecc. Una narrazione senza fine come quel mondo che è vita in tumulto continuo.

Molto difficile poter entrare nel dettaglio di quest’opus, parlarne come si parla di generi definiti, ma quello che si potrebbe dire, affidandoci al mondo dell’immagine, è una carrellata, un piano sequenza di due registi acustici che hanno deciso di ritrarre un mondo, il loro mondo, un mondo che si illumina e si rabbuia, che nasconde e palesa il senso della sua narrazione, del transito delle sue forme di vita, di una cronaca che funge da macchina del tempo, come quando si nascondono le scatole di latta con dentro qualche ricordo (una cartolina, una macchinina, un portachiavi, una lettera, una cassetta, ecc.) e poi dopo anni vengono ritrovate. Si sa che quella scatola comunica un senso, che rimarrà sempre nascosto, ma la testimonianza rimane ed è questa la più grossa contraddizione (una testimonianza, per essere tale, deve essere non vissuta da chi la ascolta/vede) e che qui viene forse superata. Il mondo che i drøne raccontano, è il loro mondo, che hanno generato e raccontato e ci appare in tutta la sua luminosa oscurità che ci permette di viverlo per un tempo relativamente breve. [Riccardo Gorone]

(google translate:

Someone claimed that the characteristic of man is to be a biographical animal that, in specific and at the same time in general, practices the passage in this world leaving traces (in short there is not much difference between rock paintings and an astronomy treatise or a novel), according to the great "long way" of hermeneutics.

The duo made up of Mark Van Hoen and Mike Harding, who found in the moniker drøne their way to appear on the surface, is on the second Mundi folder that works on soundscapes, morphing of recordings that might find their visual equivalent in the works of Reggio or Ron Fricke, an immense story of chapters lined up in a sort of continuity in the lap of the sound landscapes. The mastodontic trace of more than 45 minutes gathers various moments of this "cosmogony" (1 Voice of the People, 2 Horizontal Direction, 3 Telegraphy Beacon, 4 Echo of Hope, 5 Shannon Volmet).

The different stories of this great story have a different sound each. The distances of the first part are noises of funds, strikes that strike on a metallic surface in the distance, and would even want to give a light, at that opening, immersed in the darkness of a quarry. Percussion is more and more structured, allowing an increasingly penetrating humming to become an interference that then becomes the sound of reactors, which then becomes a field recording of sea noise, which then turns into a symphonic turmoil, which turns into national choir, etc. Endless narrative as that world that is life in continuous tumult.

It is very difficult to get into the details of this opus, to talk about how it is about defined genres, but what we could say, entrusting us with the image world, is a tune-up, a sequential plan of two acoustic directors who have decided to portray a world, their world, a world that lights up and rejects, which hides and shines the meaning of its narration, the transit of its life forms, a chronicle that acts as a time machine, as when the boxes of tin with some memo (a postcard, a car, a keyring, a letter, a cassette, etc.) and then after years are found again. It is known that that box communicates a meaning that will always remain hidden, but the testimony remains and this is the greatest contradiction (a testimony, to be such, must not be lived by those who listen to it / see) and that here is perhaps overcome . The world that the drone tells us is their world that they have generated and told and it appears in all its bright darkness that allows us to live it for a relatively short time. [Riccardo Gorone]



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drøne - Mappa Mundi


MP3 sample

Track 1:  mappamundi (extract)



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