'Hello again!' + announcement: van Horen Zeggen met Sam Dunscombe.
18.03.25 | van Horen Zeggen met Sam Dunscombe.
Hello!
It feels great to write to you in this monospaced typeface again. It’s been a near winter-long silence. So: hello! again!
We feel tempted to fill this e-mail to the brim with upcoming events, album links and radio shows. But, it feels more adequate to take some time to distribute all that information to you. Since we last spoke, we’ve done some tinkering under the hood:
We operate under a (somewhat) new name due to some future-legal-administrative-criteria and multilingual accessibility.
There’s a new website. Have a glance at some of Sam’s photos!
A chunk of our program for 2025 has already taken shape and we’re still working on editions a bit further into the future. Stay informed on that via this newsletter and the above-mentioned website. We are overjoyed with the foresight of listening to all those sounds with you.
But! This e-mail, after all, is destined to invite you to our upcoming edition. So, without further ado, we would like to invite you to van Horen Zeggen met Sam Dunscombe.
van Horen Zeggen
met Sam Dunscombe
op dinsdag
18.03.25
20:00
in Salon de IJzerstaven,
Bickersgracht 10, Amsterdam
tickets
website
Sam Dunscombe is a performer, composer, sound artist, and audio engineer. She works with clarinets, computers, and microphones. Dunscombe’s interest lies in the different ways music lets us experience time and she has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy. For van Horen Zeggen, Dunscombe will present a live performance of the field-recording-sourced Two Forests / Oceanic in the former metal workplace, Salon de IJzerstaven.
Two Forests (2F) starts in a central Californian sequoia grove. It ends in the Amazon rainforest next to the city of Manaus, Brazil. The path between the two is forged out by field recordings of bird song and insect buzzing, treated with slices, delays, and recombination. In doing so, Dunscombe unpeels the field recordings of their linearity and documentary character. The recordings are reframed into “an enchanted web of traces and echoes.” Furthermore, using the pitches from the recordings, Dunscombe constructs a large just intonation pitch set. Tones start to arise. Slowly, but gradually growing “until the forest has been transformed into an unreal space of infinite proportions”. As Dunscombe describes herself: “a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes”. On Oceanic (O) one finds themselves on the beach. Or rather, on multiple. A dreamlike and disorienting scene, albeit a comforting one. The recordings of crashing waves are crowned with tones relating to the average rhythm of the shores. Dunscombe paints, washes over and re-paints. And for the attentive listener, the oscillations and swells leave behind a rich and ever-changing gradient.
thank you to Kantarion Sound for supplying the sound system for this event.
Warmly,
van Horen Zeggen
