a rummage around in the recycling department [20:13] (2018)
processed studio and field recordings
randomiser/articulator created in max msp
two studies in things lying around (2017)
brno industrial 1 [11:14]
copper, steel, aluminium, tracing paper
brno industrial 2 [10:03]
copper, aluminium, steel, shells, gourd, tracing paper
What have I done recently? After a period of research and experimentation, bit of a troll around the block, I've re-confirmed my commitment to working on electroacoustic composition and trying out new performance strategies. Sometimes you need a break to find out what it is that you really want to pursue. I've been listening to a lot of new music and old, especially some early work by Michael Northam on Bandcamp - that's the stuff at the bottom of his release page (https://michaelnortham.bandcamp.com). I knew of Michael's work back when he released it so it's been great to catch up on some very fine examples of what I think good composition entails.
I also wanted to go back to the roots of musique concrète, to the techniques and methods developed on reel-to-reel recorders. This is less of a retro-fetish (though who can resist those angry cat's faces of the 10" reels?) than a genuine desire to fill in a large gap in my understanding of the music that interest me. As well as revisiting Pierre Schaeffer and his cohorts, along with Michel Chion whose work on film sound is particularly recommended, I took time to study the work of a later generation of mainly French artists, Jérôme Noetinger and Lionel Marchetti for example. Marchetti writes very well on musique concrète by the way, no easy feat. Having taken these machines for granted as a kid and having never got over my indecision to secure a knockdown price on a Studer machine about ten years ago I've now invested in a Revox B77 MkII. The seller is dealing with a couple of repairs but I look forward to owning a healthy machine and spending many hours in the studio learning a) how to play this beauty as an instrument in its own right and b) figuring out how to best use it to further articulate, modify and transform the four stereo channels of electroacoustic sound streams that my max/msp instrument generates.
I'm delighted to have received funding from The Chagrin Award, courtesy of Sound and Music, to record Matt Seattle, or rather his Border pipes, at my studio in Jedburgh. I want to coerce Matt into playing drones, high frequency speaks and blips and any other accidental sounds that he can coax out of his bags and chanter. Then I want to work with the material, edit, process and so on, maybe later add in some hurdy-gurdy (another recording session) and produce some new work. But I'd also like to bring together the players of these old instruments, plus the theremin playing of Nicoletta Stephanz (formerly of Gong and Legendary Pink Dots) and find a role for myself, mixing or processing or cutting loose with some electronics. All to come..
More improvisation with cigar boxes, metal tin, vibrating devices, scrap metal, found objects, pins, rivets, fabric.