The Paseo Recordings began with field recordings of Before (Taos) being played in an alley off the Taos, NM Historic Plaza during The Paseo Project. The Paseo Project is a street art festival in -- you guessed it -- Taos, NM. Before (Taos) is a two hour long sound installation that was a part of that festival. See the Past Work section of this page (below) for more on the installation. The Paseo Recordings is a comprehensive documentation of all of these pieces.
The Paseo Recordings picks up where Before (Taos) left off. Both projects seek to establish a strong sense of place, both utilize field recordings in and around Taos, NM. Where Before (Taos) focuses on recordings of natural sounds, The Paseo Recordings place human activity in the foreground. Where Before (Taos) focuses on simplicity, The Paseo Recordings are rich and complex.
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"It has been quite a while since I last heard of Ben Link Collins, Vital Weekly 828 if I am not mistaken and also from his publishing house, Silent Media Projects, I didn’t hear much. But here he returns with a CDR and an USB device that contains the same four pieces as on the CDR as well as an extra piece of music, two hours and twelve minutes long. All of this deals with field recordings Collins taped between 2009 and 2016, when he was living in Taos, New Mexico and not far away from the Sangre de Cristo Mountains and the Rio Grande. With those field recordings he created both the four pieces on the CDR as well as the two-hour piece, which was a sound installation part of the street festival in Taos. That work came first and deals more field recordings; lots of insects and bird sounds I would think, but also drone like processed versions thereof. I enjoyed the drones and field recordings quite a bit, and rather than think of this as ‘just another piece of music, the length of it, the two hours, makes this is more a private installation for the listener at home. Simply sit back and relax. I was reminded of the work of Artificial Memory Trace. Throughout the piece there is change and movement, also adding extra electronic elements, more disturbance of an unknown kind and it slowly progresses from something in which you recognize field recordings into a gentler abstract piece of ambient music. On The CDR the human activity is captured, even when it is not always clear what kind of action that is, or that it can combine natural and animals captured in the process. Clearly I have no idea what it is that people do in Taos, New Mexico, but maybe we could assume there is some sort of manual labour captured, pulling of ropes for instance in ‘Reaching In’ or various modes of transport, such as a train; maybe I am wrong altogether. Sometimes we hear people speak in a faraway distance. Of course these pieces are shorter but use a similar approach to using the pure field recordings as well as the processed version thereof, but now in a concise time frame, focusing more on the composition, rather than letting it develop in a natural way as on the long piece. Here too the balance between the natural and the processed version is very well made. Lovely package also."
(FdW) - Vital Weekly
"The Paseo Recordings is an extremely generous project, including nearly three hours of sound art and a set of 13 small photo cards. Years in the making, the project is a reflection on the history of Taos, New Mexico (latest population count 5,716). The town is currently an artist mecca, but is also home to a pueblo; the “place of red willows” has been a place of many tears.
We recommend listening to “Before (Taos)” first. The two-hour piece (found on a biodegradable USB stick) was first introduced as an art installation during a local street festival. The placidity of the piece hearkens back to Collins’ work on Of Silence; these are sounds one must listen to in order to hear. Imagining Taos before human intrusion, the composition is nevertheless subject to such intrusion; early on, a vehicle backs up and finds its way into the recording. Hearing the dogs bark, the bees buzz and the birds sing, one imagines a period of relative calm. All of this takes place over an extended low crackle, a continuous soft din like that of cicadas. A brief downpour in the first quarter hour provides a jolt of excitement; appearing later, the running water reminds one of the Rio Grande. Due to the tonal variety of the extended piece, one can utilize it as a sound installation within one’s home; while soothing, it’s also active enough to engage the listener over the course of its length. Every few minutes, there’s something new, whether quiet electronics early or loud drones late (1:51). But the natural sounds win out in the end, especially the interplay between water and surface that sounds remarkably like fire.
Now, enter humanity. The presence of people is apparent early; one hears the voices of children in “Reaching In”, followed by conversation and creaks. There’s little notice of the clash between indigenous and interloper; in this setting, all humanity serves the latter role. The contrast is sharp. A bird gets a few peeps, but that’s it. The drones advance past their former levels. Ten minutes in, the bees are drowned by foreground clacking; humans who don’t care to be quiet. Yet it’s hard to fault them, as the sound art is itself human; this is the aural equivalent of taking a photo only to find another photographer in the frame. If we prefer “Before (Taos)”, are we indicting ourselves?
A telling segment occurs in “A Soiree” as a truck brakes to a halt, introducing a few seconds of circuitry static. Such sounds possess a different form of beauty. Many have grown so acclimated to technology that they prefer these sounds to those of nature. Is this Taos now? It’s hard to imagine such a change given the small population. It may be more accurate to say that the newer tracks reflect the mindset of an area whose history has been rewritten. When wind chimes ring in “Bringing Out”, a sense of peace is restored; the dogs may be agitated, but the humans are calmed. The wind blows against unshielded microphones; power tools are turned on. Only in the final minutes do the birds and crickets reemerge. Have they been there all along? And would we notice if they had gone?" (Richard Allen) A Closer Listen
I'm particularly excited about the Alabama Field series. It will be my endeavors to document the resonating qualities of Alabama and surrounding areas through field recording and photography of focused subjects. This project will be about as close to pure phonography as I currently have an interest in pursuing in a single collection. These recordings are used with all the imperfections, clips, bumps, and accidental flourishes left in tact. The means of recording and at times the recordist are as much at center stage as the recorded subject. The focus is more based in the experience of the subject audio and the recording event than a keepsake portrait. Even some of the minicassette recordings I was making over a decade ago have been dug out and digitally transferred for consideration.
The first release in the series will be a little more broad in focus than the later releases. So far it is the product of my excitement to be back home among the sounds, smells, and colors of Alabama -- where I spent the first 25 years of my life. The following releases in the series will be selections of concise subject matter such as water, room sounds, or insects. For now, here is an excerpt from "Porch and Pasture," which will be on Part 01.
The Lighthouse has recently taken its first steps with a 10 day trip to the Outer Banks in North Carolina. Its focus and purpose will likely evolve a few times before completion. Currently the focus is broad. It includes the documentation of lighthouses as an outdated architectural form, as a cliché, and a vessel for ideals. The documentation is through phonography, field recording based composition, photography, and fictional memoir. The final product is ambitious and will take time to develop and produce. It will also most likely take years to complete. It may never be complete, but I will occasionally release slivers of documentation here. For starters, this is a recording near the Bodie Light in Nag's Head, NC.
Of Silence was a joint production from Alrealon Musique, Blondena Music, and Silent Media. It is a limited edition of 500 handmade card stock cases and CDs.
The Paramaount goal of this project was to investigate the role of silence within the work of each artist: Pas Musique, Shaun Sandor, and myself. All three began with their own concepts of silence. Each artist composed an audio piece based on their concept and then passed the completed works on to the next artist in a predetermined rotation -- Pas to Ben, Ben to Shaun, and Shaun to Pas. The following composer then worked on the previous artist's composition with regard to their own concept of silence. This revolution took place twice, resulting in nine full compositions.
Before (Taos) is a two hour sound installation commissioned for the 2014 street art festival The Paseo in Taos New Mexico. The installation was composed of field recordings made in Northern New Mexico and Southern Colorado. The project began as an imagining of Taos before it was inhabited by people and how the natural conditions influenced the people and the architecture of the current culture. Recordings of the installation and the festival will be the sound sources for the upcoming release The Paseo Recordings (see the current work section of this site).
The Nuances of Wedlock is composed of audio studies conducted for "The Marriage Proposal." "The Marriage Proposal" is a poem by Joel Fry and a respective audio piece by me included as one fifth of another artefact called VISITATIONS.
The audio for The Nuances of Wedlock and "The Marriage Proposal" are bowed before, gestured toward, and delivered from recordings of Joel reciting, and Emily Troedson singing the poem.
The Nuances of Wedlock is a hand numbered, handmade edition of 50 card stock prints with hemp thread tied to a ringlet fastener, and a cdr.
Visitations, a collaboration with the poet Joel Fry, was the second release on Silent Media. The project is a study of ideas and how those ideas break down when distilled into words or sound. Each respective piece of Visitations began differently. For “The Marriage Proposal” the poetry came first and the music was composed based on the ideas represented in the poem. For “The Farm Before Dawn” that method was reversed. Though, in other cases, Joel and Ben’s creative processes were not that direct. Instead, there was an extensive back and forth between the artists to represent an idea in whole through both mediums. For “A Star on The Sea” Joel and Ben began with only a title, working independently at first, and then bringing their works in progress to each other for final touches. Both “Prayer” and “Old Age on Sanders Street” where created less methodically, but with equal focus on the other medium. Though the works on Visitations are the result of two artists working independently within their own means of expression, a broader consciousness was imposed on Ben and Joel’s processes in the sense that they were never alone, never permitted to create in a vacuum, never without a definable sense of an other in both human and creative forms.
ABOUT ALABAMA FIELD
ABOUT ALABAMA FIELD
MY NAME IS BEN LINK COLLINS AND ALABAMA FIELD IS THE HOME FOR MY WORK AND COLLABORATIONS. SO FAR THAT WORK HAS CONSISTED OF SOUND ART, PHOTOGRAPHY, GRAPHIC DESIGN, AND ARCHITECTURE. I GRAVITATE TOWARD ARTIFACT BASED INTERDISCIPLINARY PROJECTS. FROM 2012 TO 2015 I WAS THE DRIVING FORCE BEHIND SILENT MEDIA, AN INTERDISCIPLINARY, ARTIFACT BASED RECORD LABEL THAT IS NO LONGER ACTIVE. YOU CAN STILL FIND ALL OF THE SILENT MEDIA RELEASES ON THE SILENT MEDIA BANDCAMP PAGE.
benlinkcollins (at) silentmediaprojects (dot) com