What happens when experimental musicians share their studio with an aviary of canaries? The answer lies in Live With The Birds, one of the most unexpected and joyful documents in the Maciunas Ensemble's discography. Released by Het Apollohuis in 1997, this recording captures a remarkable interspecies collaboration where Paul Panhuysen and his ensemble discover their most enthusiastic improvisers have wings.

The setup was deceptively simple: aluminum strips suspended from rubber bands, allowing for pitch shifting through tension adjustment. Using bows, mallets, and hands, the ensemble coaxed an extraordinary range of textures from these resonant metals: shimmering harmonics, deep thrums, crystalline attacks. Piezo transducers captured every nuance, creating a unified timbral field from these unconventional instruments. But the true magic occurred when the studio's resident canaries, housed in the same recording space, heard the aluminum singing. Inspired by these metallic voices, the birds immediately joined as full participants, their songs weaving through and responding to the instrumental textures in real time. For over an hour, this unlikely ensemble of humans, aluminum, and birds created music that defies categorization: part sound art, part natural phenomenon, part joyous accident.

The recording challenges our assumptions about authorship, intention, and musical dialogue. The canaries aren't mere decoration or field recording but active collaborators, their contributions as vital as any human performer. Sometimes competitive, sometimes complementary, always surprising, the birds transform what could have been another experimental music document into something genuinely unprecedented: a conversation between species conducted in pure sound.

Released with detailed documentation of the instruments and recording process, Live With The Birds remains a singular achievement, proof that the most radical music often emerges when we stop trying to control every variable and let the unexpected sing.