![]() ![]() Now I just looked at her, wondered if she had been expecting me to take a peck at her, then made my way foreword and down to the passenger accommodation. Ten years ago I'd have been back in that saloon pretty rapidly, arms round her and telling her that all her troubles were over. I peered through the plate-glass window and she was sitting as I'd left her, only now she had her elbows on her knees and her face in her hands, shaking her head slowly from side to side. ![]() Once outside I remained still for twenty seconds or so, ignoring the vagrant flurries of snow that even here, on the lee side, seemed bent on getting down my collar and up the trouser cuffs, then walked quickly foreword. Why don't you get to bed? If you keep it up like this, you won't be able to get up tomorrow." Lonnie, unsurprisingly, was still at his station in the lounge when I reached there. I closed the door behind me, carefully wedging a spent book match between the foot of the door and the sill: that door would have to open only a crack and the match would drop clear. I then locked my medical bag-it was considerably larger and heavier than the average medical bag but then it held a considerably greater amount of equipment -and put it out in the passage. In spite of the trawler's wildly erratic behaviour those coins would remain where they were, held in place by the pressure of the clothes inside but as soon as the lid was opened, the pressure released, and the lid then lifted even partway towards the vertical, the Coins would slide down to the feel? of the pockets. ![]() Both my cases had elasticised linen pockets in the lids and in each pocket in each lid, holding the lids as nearly horizontal as possible, I placed a small Goin just at the entrance to the pocket. As far as I could recall everything was as I had left it and nothing had been disturbed but, then, a practised searcher rarely left any trace of his passing. If anybody had been in my cabin and gone through my belongings, he'd done it in a very circumspect way. He broke off as I went round the back of the bar, replaced the bottles, locked the doors, placed the keys in his dressing-gown pocket and took his arm. This Hippocratic spirit-" He broke off only to resume almost at once. Hot-foot to the succour of suffering mankind? A new and dreadful epidemic, is it? Your old Uncle Lonnie is proud of you, boy, proud of you. She nodded, her eyes following me until I closed the door behind me. She looked at me gravely and said nothing. I picked up the rug, did my customary two-step across the heaving deck and draped the rug over her. Limited pressing of 200 with special artwork and hand-stamped jackets.įield recordings from Hanoi, Ninh Bình, Phong Nha-Kẻ Bàng and Pù Luông Nature Reserve, Vietnam.Nothing brings out the worst in me more quickly than sweetly smiling suffering. ![]() More than a sonic postcard, Tracings in Honey is an album that tries to reconcile the idea of a place with lived experience, our personal ways of listening/seeing, and the marks and mirages of travel. The resulting works sound akin to Cybe's imaginary travelogues, but share cartographic qualities with Laurie Spiegel, Hiroshi Yoshimura, J.D. When he returned home he completed the tracks, mixing memory and fantasy of place into a document of the headspace he was in at the time: happy, grateful, excited, and in awe of everything he was seeing. On his journey, he gathered field recordings in Hanoi and Hoi An (motorcycles, bustling marketplaces, children, and stray dogs), and the countryside of Pu Loung, Nihn Bin, Phong Na (birds, insects, cave explorations, running water, footsteps). Gillespie created demos that would act as sonic vessels for the experiences and encounters he would discover. In anticipation of a trip to Northern Vietnam in 2019 with his partner, C.R. Gillespie, inspired equally by imagination, immersion, and the emotional terrain of both inner and outer landscapes. Tracings in Honey is an electronic travelogue by C.R. ![]()
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