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1. Bae Trearddur, Ynys Gybi, Goggledd Cymru (53° 16' 47.4276'' N 4° 37' 25.1364'’ W)
2. Ulpha, Borough Of Copeland, Cumbria, England (54° 19' 40.5948'' N 3° 14' 21.2136'’ W)
3. Roker Seafront, Sunderland, Tyne And Wear, Northeast England (54° 55' 26.76'' N 1° 21' 58.284'’ W)
4. Eilat, Israel (29° 33' 1.296'' N 34° 57' 8.2008'’ E)
5. Lyme Regis Cobb, West Dorset, England (50° 43' 21.936'' N 2° 56' 24.288'’ W)
6. St Pauli Fischmarkt, Hamburg, Germany (53° 32' 44.412'' N 9° 57' 25.848'’ E)
7. Berlin, Germany (52° 31' 12.0288'' N 13° 24' 17.8344'’ E)
8. Bird Of Paradise Island (Little Tobago), Trinidad & Tobago, Caribbean (11° 18' 2.8944'' N 60° 30' 4.8492'’ W)
9. Budapest, Hungary (47° 29' 52.4868'' N 19° 2' 24.8496'’ E)
10. Pier 39, Fisherman’s Wharf, San Francisco, USA (37° 48' 34.812'' N 122° 24' 35.964'’ W)
11. Bucksnort, Tennessee, USA (35° 34' 22.62'' N 89° 42' 20.808'’ W)
12. Hotel Helvetie, Avenue des Alpes, Montreux, Switzerland (46° 26' 148'' N 6° 54' 34.848'’ E)
13. Opononi, Te Ika A Maui, Aotearoa (35° 30' 16.2'' S 173° 23' 31.2'’ E)
14. Narrow Neck Lookout, Katoomba, Megalong Valley, New South Wales, Australia (33° 42' 34.632'' S 150° 14' 3.768'’ E)
BONUS TRACK: Montmartre, Paris, France (48° 53' 3.732'' N 2° 20' 35.988'’ E)
credits
released June 1, 2021
Each of the ambient, instrumental pieces on 'Landmarks And Illusory Ley Lines' was inspired by a place, many of them visited decades ago, and arranged chronologically in the order in which I visited them. Some of these places – such as Budapest in Hungary – are well-known cities; others perhaps notable only because they made an impression of one kind or another on me. My intention in composing these pieces (although crafting would perhaps be a more accurate verb) was not to convey through field recordings, sound effects or ethnic instrumentation an objective sense of these places at a specific time but rather to try and evoke a subjective emotion experienced while I was visiting them or, in some cases, years later. Some are geographically specific, others cover more ground. I’ve retrospectively attached sensual responses to some that border on synaesthesia, where the look of a place was so vivid to me it became virtually audible. In other cases only a nebulous memory remains, if that.
At the very least I hope these recordings create a mood or inkling of something personal; if not of these places then of others that have made an impression on the listener.
Chris Bell, Auckland, New Zealand, April 2021
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