"Meteorology is not superfluous to the story. Don’t have an aversion to noticing the weather."
(W.B.Sebald)

Weather and, specifically, meteorology is about variation, range (scale) and amplitude. So we invite here toward listening to different approaches to soundscapes taking weather as leitmotif in an extensive or rather personal and impressionist sonic vocabulary.

Not exactly a field recordings compilation, these brief tracks bring forward what is our common deep connection and awareness of landscape as intricately dependent on weather patterns phenomena.

About the tracks:

Tiago Sousa proposes in this piano piece one of his "organic compositions", exploring a fluid state which forms nebulae of sounds with indeterminate contours. And these, he states, come to life through the same process that shapes mountains, rivers, grains in wood, or the markings in Jade.

Carlos Santos uses the wind as the center of a composition study as augmented reality and subtly intertwines field recordings with electronic devices. Exploring the complex and dynamic world of wind, Carlos invites us to reflect on beauty and intrinsic connection to the natural world.

Alessandro Fogar's "Cold Drizzle" invokes the gentle feeling of a Sunday morning walk in a light rain, a sense of peace, using field recordings of rain and ocean waves processed to build a long drone along with guitar contributed by Anna Garano.

C. Claire Dullac takes a ride in the Czech forest with Virgílio Oliveira and Paulo Raposo, before traveling to Lisbon. Sitting down near a frozen lake and white trees, they imagine the uncorrelated connection of snow and the Portuguese guitar of Carlos Paredes. Soon, they would be under the gracious winter sun facing the Tagus river and Claire broke her arm.

Emmanuel Mieville says, "For me, the weather is linked to the aquatic element, more than the air or atmosphere. When I was a child I spent a lot of time with my family on small sailing boats, so I was acquainted very young with the elements at sea, the fierce movements of waves, and liquid primordial presence... This piece conveys the ambiguous weather occurring when I made the recording – quiet but with dark clouds. The location is the bay at Santa Cruz, on Madeira island, near the airport. The sudden blast of plane engines in the sky makes the landscape appear more vivid, sound-wise. We perceive a drastic warp in the space, but as we can't see the landscape we are driven by our ears, and it gives a dramatic sense to the anthropocene state of that watery portrait. The drone sound at the end is the shō, a Japanese mouth organ."

Steve Peters' "Window Seat" was made in 2004 as an installation in an open closet in the office of the Santa Fé Art Institute – just large enough for one person to sit in, with a floor-to-ceiling window looking out on the building's main entrance. Four friends (David Dunn, Jackie M, Ann Racuya-Robbins, Gene Youngblood) were recorded describing what they saw out the window. Visitors then sat in the same place, listening on headphones to the recorded voices, and pre-recorded + live ambient sounds heard outside the window, a mix of past and present. This is an edited version; the original is about 45 minutes long.

Finally, famously known for his work "Weather Report," Janek Schaefer's small composition from his archive, "Eyrie of the Phoenix", woven together from found sound textures and spatial sonorities, celebrated the arrival of his then-newborn son Phoenix, and is dedicated to him.