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edu comelles

Línia Pedra Paisatge Solc (Whitelab Recs)


Composition, vinyl, laser cut plywood, EVA rubber and letter-pressed carton.
30 x 30 cm / Edition of 4

Composition, download link, letter-pressed carton, clips and Japanese paper.
30 x 10,5 cm / Edition of 150.



Línia / pedra / paisatge / Solc (Line, stone, landscape and groove in Catalan) is a sound composition in two parts, based on the skyline that can be seen from the top of the ruins of the castle of Culla a small village inland into the Castelló province (Eastern Spain). The first piece (línia / pedra) is composed based on the skyline between northeast and southwest . the second piece (paisatge / solc) has been composed using the skyline between southwest and northeast.

The line is the voice that describes the landscape. The stone is the central element, source of history, legacy and shelter of those who live in that hard land. the Landscape is all around us, it extends inclemently into the stratified and muffled horizon. The groove is the drawing of man in this land, a cut on the ground, and the groove where the sound travels in this album.

Both sonic pieces were recorded and composed at the old school at Pla del Sabater nearby Culla, during October of 2018. All sound sources used on the production of this work were captured during a period of a week living in residence on that isolated place. Sound sources include field recordings and voice, nothing else.

Weeks after the residency period at Culla, double bass was overdubbed in Valencia by Rafa Ramos. Mastering for the vinyl version was done by Pedro Pina in Barcelona. Four unique vinyl discs enclosed each on handcrafted wooden boxes have been left in Culla as artistic object to be preserved and listened there in its definitive format. The project is a commission of the Culla City Hall as part of a contemporary art program held on this small village.


Music by Edu Comelles
Double bass by Rafa Ramos Sania.
Mastering for vinyl by Pedro Pina.
Laser cut at Rotor Studio.
Letter-pressed at Obsolete Letterpress.

Commissioned by:

Ajuntament de Culla / Coll Blanc Espai D'Art

Línia / pedra / paisatge / solc és una obra sonora en dues parts basada en el paisatge que s'albira des del capdamunt de les ruïnes del castell de culla. L'obra utilitza la línia de l'horitzó de nord-est a sud-oest per a compondre la Cara A (Línia, Pedra) i l'horitzó de sud-oest a Nord-est per a compondre'n la Cara B (Paisatge, Solc).

Les dues peces sonores aquí representades van ser registrades i compostes a l'antiga escola del Pla del Sabater l'octubre de 2018 utilitzant únicament sons capturats al terme municipal de culla durant un període d'una setmana.

La línia és la veu que descriu el paisatge. La pedra és l'element central, font d'història, llegat i abric d'aquells que aquí hi viuen. El paisatge està per tot, s'estén inclement en un horitzó estratificat i borrós. El solc és el dibuix de l'home en aquesta terra, el tall en el territori i el solc per on transita el so en aquest vinil.

Setmanes després de la gravació de les peces a culla, s'hi afegí el contrabaix interpretat per rafa Ramos, gravat a valència. La masterització final del disc per a format vinil la va fer Pedro Pina a Barcelona.

La peça resta en quatre discs de vinil únics que han sigut depositats en els fons municipals de l'Ajuntament de Culla com a objecte artístics. S'han repartit 150 còpies de les partitures visuals que contenen un enllaç per a descarregar la música. 


Música per Edu Comelles.
Contrabaix per Rafa Ramos Sania.
Masterització per a vinil de Pedro Pina.
Tall làser fet a Rotor Studio.
Letter-press realitzat per Obsolete Letterpress

Finançat per:

Ajuntament de Culla / Coll Blanc Espai D'Art


Re-Edition on WhiteLab Records:

This special limited edition release is in a run of 100 copies, modelled around the classic gatefold vinyl LP. It includes printed front, rear and inner sleeves featuring photography by the artist, along with a card sleeve which houses a printed vinyl-effect CDr.

Includes unlimited streaming of Línia Pedra Paisatge Solc via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Purchase / Listen / Download at:


More images (vinyl version):



Last but not least, Whitelabrecs recently released a new Edu Comelles solo album featuring two pieces, each around 16 minutes long.

Línia, Pedra, Paisatge and Solc are Catalan words for line, stone, landscape and groove – the two compositions are based on the skyline “that can be seen from the top of the ruins of the castle of Culla, a small village inland of the Castelló province (Eastern Spain)”.

The first part, Línia / Pedra describes the skyline between the northeast and southwest. Paisatge / Solc focuses on the skyline between the southwest and northeast. Comelles only used his voice and sound sources that were recorded on this location, the only exception being the double bass that was overdubbed later.

It would be interesting to see how exactly the music follows the skyline (and back), but unless you know the location you’ll have to use your imagination and just follow the music. Which is not very hard, because it is easy to just ‘go with the flow’ here.

For an impression of the landscape this photo on Flickr may help somewhat – although I do not know if this is the same northeast/southwest skyline Comelles describes with his music.

Seeing these hills around Culls does explain why the music slowly rises and then lowers again. It starts with a long intro of vocal drones, that gradually merge with other found sounds, increasing the intensity (somewhat) when needed and receding slowly into voices again on the way back.

Peter Van Cooten. AmbientBlog


16-minute soundscapes drawn from environmental field recordings are not my usual center of gravity musically, but Edu Comelles’ two-track release Línia / Pedra / Paisatge / Solc managed to grab my attention. “Línia / Pedra” means “line” and “stone” in Catalan, while “Paisatge / Solc” means “landscape” and “groove.” The pieces — each 16 minutes long — are inspired by the skyline looking out from the ruins of a castle in the village of Culla in northeastern Spain.

According to Comelles, aside from an overdubbed double bass, sound sources for the recording include only found sounds and voices — an impressive feat, given that much of the recording sounds like it’s been generated by keyboard. Of course, the found sounds have been processed electronically — but even so, the musicality of the sounds is remarkable given their non-instrumental origins.

“Línia / Pedra” is absolutely beautiful — a meditative, drone-like piece with an underlying pulse that’s punctuated by subtle crackles. For much of its 16 minutes, “Línia / Pedra” is propelled by variations on a single pitch, with drone-like, ghostly vocals providing an atmosphere of mystery, but — quite deliberately — not a melody. Beginning with vocals, the piece eventually adds haunting, fractured strings, as well found sounds, including what could be a rolling marble and tossed rocks.

“Paisatge / Solc” veers less toward drone and more toward ambient. There are a few clearly recognizable sounds — the buzz of an insect, the sound of wind, a processed voice — but for the most part, you’re left to just listen and take in the mystery.

What draws me into Comelles’ sound world is its richness, its movement and its indecipherable origins. The music flutters, drifts, crackles and floats. By the time the clear melody of a double bass enters at the 10:27 mark of “Paisatge / Solc,” Comelles has established such a full sound world — without instruments — that the entrance of a clear melodic line is almost superfluous. And sure enough, after the bass melody drifts along for a short while with the river of ambience that surrounds it, it recedes. “Paisatge / Solc” is amorphous in shape, and in no hurry to arrive at a destination, but it delivers a rich experience along the way.

The Spot on the Hill blog is about discovery and exploration — discovering new music and exploring the origins and key elements of music I already love. In Now Listening, I explore music that has captured my imagination, both past and present.


Sometimes you have a certain idea of what something may sound like purely as a result of the artist’s background or for example a press release.  Take this particular press release, you would possibly be thinking of a piece of music that exists more within an experimental sphere, where the theory of the piece transcends the actual music. If you were to take such an approach with “Línia / Pedra / Paisatge / Solc” then you could miss out on the subtle beauty of the drones.

Divided into two sixteen minute pieces   the album opens with “Línia / Pedra” aka “Line/Stone”  which is a piece that is all about tension and drones. There are a mixture of what sounds like metallic strings droning and throbbing which are counter acted by a choral sound and sounds which have a light and fragile feel. With both pieces based on field recordings and voices alone, you are taken into a highly constructed soundscape, one which does not remind you of the those two sonic components.

With “Paisatge / Solc” aka “Landscape/Groove” opens with sounds that you can easily relate to as being field recordings,  but just like the previous track you quickly cast aside pre-conceived opinions and realise you are in the presence of a sound alchemist. I hazard a guess that unless you lived in the area of inspiration you would not detect the origins of the sounds. Like the previous tracks you will be taken into a sound world that in this case is melodic, wind soaked, loop orientated and somewhat glitchy. As much as the sound is linear, you will have those that have a rippling effect.

What both tracks reveal is a vibrant selection of sounds which Comelles is then able to weave into a sonic fabric, one which is removed from its source as it is entrancing providing an engaging listen that reconfigures field recordings on a way that alters their sound and appearance.


This is a feast of textures and moods. Incredible sweeping slabs of sound, but it takes a little patience to get there. At times it's light, floating just beyond your vision, shapes in the fog, disappearing with any attempt to grasp them. In other moments, it's heavy, deep cavernous strings and sub-bass stir the earth below, making any attempt at landing on solid ground a mystery. Reminds me of BenoÎt Pioulard or Rafael Anton Irisarri's music at times, but Edu has a unique quality all his own.

Lost Tribe Sound.

I listened to the second piece while walking around the village in Google Maps, taking in the atmosphere - it really was a beautiful moment for me. Especially since the last weeks have been very grey here, some southern warmth in the form of music feels great.

Luis Miehlich