Jellici/Baldes' Soundfields

Invisible Door


Air; Bubbles, Free; Prologue Nature


Soundfields. Fields, not landscapes. This concept is important because it implies several things: controlled openness, tension and resistance, a play with mutual stimuli in a limited framework. So: Soundfields, not soundscapes. “I find the term ‘soundscapes’, for example, as something very fixed”, says Johanna Jellici. “You associate them with a specific form of sound generation and arrangement, also with artists who’ve been experimenting with them for a long time”. Soundfields are freer, paradoxically, even though at first glance they seem to present a tighter framework. Everything revolves, and the semantic centrifuge of terminology tosses those chunks to the edge that are too heavy with meaning. On the other hand, there are many associations with music here. There are electric fields, for example. Johanna Jellici has her artistic roots in electroacoustic music and contemporary sound arts. She is as at home in the world of consciously designed listening environments, audiovisual installations and the architecture of sonic spaces as she is in the world of musique concrète, the offshoots of experimental pop and the wide-ranging complex of sound healing.


Jochen Baldes


Johanna Jellici, Stimme, Soundscaping, Text; Jochen Baldes, Tenor- Sopransax, Bassklarinette, Komposition; Francesco Diomaiuta, Gitarre; André Buser, E-Bass; Tobias Hunziker, Schlagzeug.

CD order number

MGB Jazz 17

MP3 preview

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