![\"Berlin](\"http:\/\/www.cronicaelectronica.org\/img\/cat\/036-2008-b.jpg\")
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Swiss sound artist Gilles Aubry<\/a> is no stranger to Cr\u00c3\u00b3nica, having collaborated in two of the label’s compilations, \u00e2\u20ac\u0153Essays on Radio<\/a>\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Mus*****c<\/a>\u00e2\u20ac\u009d. We are now very pleased to present his first CD in Cr\u00c3\u00b3nica, the exquisite \u00e2\u20ac\u0153Berlin Backyards<\/a>\u00e2\u20ac\u009d. These almost organic functions of the city \u00e2\u20ac\u201d breathing, digestion and excretion \u00e2\u20ac\u201d the near invisibility of the inhabitants, the cycles and variations in lighting, sound, smell and mood over the day and the presence of wild life in the middle of the city, started modifying his perception of space and architecture. The houses were becoming bodies or machines, almost beings, each with its own presence and voice.<\/p>\n Berlin Backyards<\/strong> reconstructs these environmental recordings in eight movements of a musique concr\u00c3\u00a8te piece that presents a subjective view of these voices \u00e2\u20ac\u201d der Gesang der Geb\u00c3\u00a4ude<\/em> \u00e2\u20ac\u201d and of Aubry\u00e2\u20ac\u2122s experience in a composition that is much more than a mere acoustic representation of the spaces themselves.<\/p>\n All recordings made during the winter of 2006 in Berlin.<\/p>\n Cover photos by Gilles Aubry. Design by Gilles Aubry, Rapha\u00c3\u00abl Cuomo and MCarvalhais. Mastered by MCarvalhais.<\/p>\n Read the Press-release<\/a>. Order the CD from Cr\u00c3\u00b3nica or the download from Boomkat through the release’s page<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" Swiss sound artist Gilles Aubry is no stranger to Cr\u00c3\u00b3nica, having collaborated in two of the label’s compilations, \u00e2\u20ac\u0153Essays on Radio\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Mus*****c\u00e2\u20ac\u009d. We are now very pleased to present his first CD in Cr\u00c3\u00b3nica, the exquisite \u00e2\u20ac\u0153Berlin Backyards\u00e2\u20ac\u009d.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[19],"class_list":["post-147","post","type-post","status-publish","format-standard","hentry","category-releases","tag-gilles-aubry","entry"],"_links":{"self":[{"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/posts\/147","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=147"}],"version-history":[{"count":7,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/posts\/147\/revisions"}],"predecessor-version":[{"id":275,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=\/wp\/v2\/posts\/147\/revisions\/275"}],"wp:attachment":[{"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=147"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=147"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blog.cronicaelectronica.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=147"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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\nLiving in Berlin since 2002, Gilles Aubry spent the winter of 2006 recording backyards of the city, originally intending to explore the resonant frequencies of these spaces wich coloured the different sound sources as natural effects processors. He later became more aware of their function as spaces that stayed in between the public and the private sphere, spaces of neighbouring interaction and social control, a sort of negative architecture that hosted vital technical equipments to the buildings and the city itself \u00e2\u20ac\u201d ventilation, trash and recycling containers, electric power stations, etc.<\/p>\n