Sound artist Kate Carr describes her work Fabulations as "a soundtrack for made up stories set in out of the way places" -- her excursions feel like someone delivering you an unsent postcard by hand, coming across as extremely personal excavations of particular places. A field recording artist who plays both with the richness of found sound and the chance music of people in landscapes, her music can be both descriptive and emotive -- this CD sees a repress via Soft.
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Field recordings are music. It sounds unlikely but it's true, and nobody does a better job of turning sound and song into one wholesome medley than Kate Carr. An artist who produces some of the richest found sonics out there, her recent tapes for Helen Scarsdale have impressed us for bridging alien soundscapes with noise that sounds like it’s coming straight from the earth’s core. ‘Fabulations’, here reissued by Soft, sees her matching unsettling natural drones with people talking, interacting and performing -- it suggests that a guitar chord can be working in collaboration with the invisible sounds of the room around it.
‘Fabulations’ is perhaps Carr’s most dramatic work, its drones often feeling like terrifying set pieces, its characters pronounced like members of a strange abstract play: on “Sound Art In Barcelona”, motorbikes roar by, emphasized by their dynamics, the sound they making travelling with them, like an accidental harmony of human movement. Combining a foggy soundscape with boisterous rounds of applause and strange stringwork, the piece sounds lived in to different levels, going to and from existence.
Pretentious nonsense is what I’m writing, but this record is really all-consuming: works of field recording feel especially special when every little detail, even a chance cough, can bring you into the record and make you a participant of it. Carr’s work is set in “out of way places”, but listening to it, I don’t feel that far.
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