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The crinklephone is yet another versatile instrument from the home orchestra. This one offers many articulations from digital manipulations to friction activities both on and off the microphone.
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I won't say too much for now but these two instruments form part of a new collaborative composition project based upon an orchestra of acoustic instruments old, new, unorthodox and, frankly, bizarre. I'll leave you to work out what they are, how they're played and what they sound like.
siftophone
crumplephone
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- Published on
not quite the sound I'm after [7:49] (2019)
electric guitar, electronics, driftwood percussion
spring steel rods, glass jars
small motors, baoding balls
Bandcamp
not quite the sound I'm after is a change from my usual long form compositions. Perhaps it could be longer, but I want to compose an album of five or six shorter works to find out what can and can't be done with pieces of less than ten minutes or so. Not that this directs all my choices but I wonder how many people take the time these days to listen to long-form compositions. During a short self-directed residency in 2017 I learned a lot about generating interesting sonic structures and shapes by patiently activating and energising dozens of objects, devices, materials, found and made instruments inside a large space with generous acoustics. The plan is to go through those processes that worked best, to record, edit and transform the recordings and finally create new compositions. So not too much of a change from the electroacoustic method, just shorter outcomes.
electric guitar, electronics, driftwood percussion
spring steel rods, glass jars
small motors, baoding balls
Bandcamp
not quite the sound I'm after is a change from my usual long form compositions. Perhaps it could be longer, but I want to compose an album of five or six shorter works to find out what can and can't be done with pieces of less than ten minutes or so. Not that this directs all my choices but I wonder how many people take the time these days to listen to long-form compositions. During a short self-directed residency in 2017 I learned a lot about generating interesting sonic structures and shapes by patiently activating and energising dozens of objects, devices, materials, found and made instruments inside a large space with generous acoustics. The plan is to go through those processes that worked best, to record, edit and transform the recordings and finally create new compositions. So not too much of a change from the electroacoustic method, just shorter outcomes.
