This is a piece which has been developing for over 15 years now. It started as a pair of field recordings, documenting walks through the city of Melbourne. These recordings were played simultaneously into a third space, Bill Fontana style, as a sound element in my first visual art exhibition. In turn, these sounds were used as raw material to be digitally manipulated, according to a set of instructions obtained from a new interpretation of the maps that determined the route of the original walks. This digitally-transformed version was used in a later exhibition.
I’ve presented later re-interpretations of this material, with subsequent additions and subtractions, but it’s been a number of years since I last worked with field recordings or audio documentation. I’m looking forward to the trip to Belfast as a starting point for resuming this activity.
The theme for Sonorities this year is “beyond soundscape”, so it seems like an appropriate venue for my approach to soundscape work. Third City: Walking on Red and Blue presents two types of artificiality, or synthesis, in its soundscape. The first is through the conflation of two locations into one; the second is through the intermingling of digitally-processed and unaltered sounds. On first hearing, the listener can distinguish certain ‘landmarks’ as belonging to one realm or the other, while other details remain disorientating or misleading.
A bit more about the history of Third City: Walking on Red and Blue is on the main web site. The new remix will be in the Sonic Lab, Queen’s University, Belfast on Thursday 25 April, starting at noon.
I was going to say ‘disinterestedly’ but that’s too self-aggrandising. ‘Distractedly’ is probably more apt. Write a sentence, pace around the house. Look up a reference, end up rereading half of Vainglory. As I think I’ve mentioned before, figuring out all the details is OK, but the execution is where I start to lose interest. Once I see it’s going to do what I hoped for, I get sidetracked again and start working on something else.
After that, work progresses in infrequent dribs and drabs. Even trivial pieces can have a longer gestation period than Ulysses. There’s no sense of anticipation when a piece is nearing completion, either to hasten or delay the end. The work continues indifferently, in small increments until, quite unexpectedly, there’s no more to do. Like absent-mindedly munching on crisps until you dip your hand in one more time and realise you’ve finished the bag. You weren’t even all that hungry.
You’ve probably noticed that there have been no updates for a month. That’s not because of a lack of news; just because I’ve been kind of rootless the last few weeks. In fact, there’s an awful lot I need to post about here. I’ve seen two opposing extremes of what might be opera for the 21st century, and what with Karlheinz Stockhausen’s Mittwoch aus Licht and Robert Ashley’s Vidas Perfectas there’s a lot to digest.
I have also witnessed another manifestation of Robin Fox’s ingenuity, and a second, very different, performance by the Scratch Orchestra of John Cage’s Song Books. Sadly, I won’t get started on addressing this backlog, and my own work, until next weekend.
How’s this for short notice? I’m the last minute addition to Cafe Oto’s amazing Robin Fox gig tomorrow night. I’ll be playing a set of live analogue electronic feedback opening for Rob’s laser and synth rampage. Details here.
I’ve been really busy lately so not much time to update the blog. This is just to point out that me and/or my music will be featured on ABJECT BLOC radio onRESONANCE 104.4fm, Tuesday 6 March 2012 at 22.30 GMT. What’s that? Of course you can listen online!
If you haven’t checked Soundcloud or The Listening Room yet, this would be a perfect time to find out what it is I actually do. Please note that I haven’t figured out exactly what it is I’ll be doing yet, so it should be a nice surprise for both of us. There will be something not otherwise available online, even if it’s me yelling about the Greek bailout, drunkenly recalling teenage crushes etc.
Also, I’ve slightly redesigned everything on the website. The text column is now 12 pixels wider. It was agony. I hope you’re grateful.
Hello. How’s your new year shaping up? One thing’s for certain, I’m never drinking again.
A blog post or something will appear here shortly. In the meantime, please join me in entertaining these positive thoughts.
Off the top of my head, these are my cultural highlights of the year. Well, almost off the top, because the best moments were of getting my own music out in public again. In particular, seeing the Bionic Ear project finally come to fruition with the two concerts in Melbourne was the biggest moment – hearing everyone else’s pieces and seeing the effect their music and mine had on the audiences. There was also the opportunity to play live with analogue electronics for the first time in years, with gigs at Abject Bloc in Limehouse Town Hall and Unconscious Archives at the Apiary that everyone seemed to enjoy.
I’m thinking mostly about music gigs I went to this year, because they are physical experiences of time and place. Of course, this means that the one that stands out the most is SONNTAG aus LICHT – seeing at first hand a part of Stockhausen’s mad, overwhelming vision enter the world and attempt to make itself understood. The other three that made the biggest impressions: Boulez conducting Pli Selon Pli and packing a bigger punch than I ever thought possible, Eliane Radigue’s Naldjorlak trilogy banishing the outside world through the slenderest of means, and Ferneyhough’s La terre est un homme blowing a hole in the received history of recent music – a lost landmark hidden in plain sight.
So where’s the New new stuff on my list? I suppose that should be my new year resolution for 2012.
Other standouts that I didn’t blog about: a superbly performed but unimaginatively conceived version of John Cage’s Song Books by Exaudi at King’s Place, Anna Zaradny’s and John Wall’s sets at Sotto Voce for showing me that there’s still potential for laptop gigs, and hearing Apartment House play my old bête noir, Phill Niblock’s Five More String Quartets in person. This last piece was the inspiration, years ago, for my String Quartet No. 2 (Canon in Beta), which received a new outing in printed form at Monash University this year.
Yes it’s short notice but I just found out myself. Dear Reader, you are always the first to know about these things, because I care about you.
Still full of myself after the gig at ABJECT BLOC in July, I’ve agreed to play as part of no.w.here and Other Film’s Unconscious archives #2. If you missed the Limehouse gig, this is another chance to hear the Mock Tudor live analogue electronic feedback loops, made from small amplifiers, mixers and modulators. Connected into circuits these gadgets start to oscillate and interact with each other in unpredictable ways.
I’ll be supporting Korean filmmaker and performer Hangjun Lee, with local musician, poet, performer, filmmaker and legend Hugh Metcalfe. Tuesday 13th September, Apiary Studios, 458 Hackney Rd, London, E2 9EG. It’s a £4 donation and you can – nay, must – bring your own booze. Don’t worry, there are plenty of offies in the steret. 8pm onwards.
Today I wrote up a thoughtful piece about the gig I played Saturday night, and the differences between analogue electronics and computer software. I thought I’d mailed it to myself to post tonight, but it’s nowhere in my email. I either forgot to hit send, hit print by mistake, or deleted it without sending. The blog post may appear tomorrow, but in the meantime please enjoy this photograph of a pretty swan made from an old car tyre.
Preparations for this Saturday’s gig are going well. The above sound clip is pretty rough but (a) I just recorded it now to test the equipment and feedback system, (b) at least it’s making sounds and (c) it’s more or less behaving itself after sounding about as together as it looks (see below).
Yes, this will be the first live performance I’ve done with analogue feedback oscillators in, oh, six years?
Not much blogging lately, because I’ve been preparing for two shows coming up in the next few weeks: a live music gig and an art exhibition.
Live gig! ABJECT BLOC. My first analogue electronic gig in… six years? With John Wall, “ ”[sic]™, Anthony Iles, Allon, Lee Gamble (DJs).
Saturday 23 July 2011. 8pm start. £5 donation. Limehouse Town Hall, 646 Commercial Road, London E14 7HA.
Sorry about the short notice but the date had to be juggled a bit. I’m dusting off the old analogue gear to get some live feedback oscillation happening again, with sets from the very fine John Wall, “ ”[sic]™, Lee Gamble and others.
Art show! Collected Collaborations. An exhibition initiated by the Artists’ Book Research Group, featuring propositional projects from the Redrawing Collective (Ben Harper, Fiona Macdonald, Alex Martinis Roe, Thérèse Mastroiacovo and Spiros Panigirakis) and OSW (Terri Bird, Bianca Hester and Scott Mitchell). Guest Curator: Brad Haylock.
Monash University Museum of Art, Caulfield Campus, Melbourne. 4 August – 1 October 2011.
This is the exhibition of art books, including brand new contributions the Redrawing Collective. This project is a further extension of the project that included my sound installation Redrawing: String Quartet No.2 (Canon in Beta). We have created a two-part book that is both a performative object and a platform for critical engagement.
For the past couple of weeks I have been writing music and seeing some very cool gigs, however right now I’m just trying to upload something to Soundcloud. Should be ready any day now.
Soundcloud, if you’re going to keep dicking around like this you’d better come up with some sort of cute Failwhale character to offset the rage.
I had a few too many drinks last night and added a link to my Facebook profile. I think it works. Please observe the rules of admission, below.
The Music For Bionic Ears project now has a confirmed concert date and venue:
Interior Design: Music for the Bionic Ear
George Fairfax Theatre, The Arts Centre, Melbourne
13 February 2011, 5.30pm or 8pm (the concert is repeated)
Tickets: $25 (Concession $15).
There will also be a 7pm lecture for ticket holders.
The premiere of six new musical works written specifically for reception through the cochlear implant:
Six of Australia’s foremost experimental music composers have been commissioned to research and test new sounds and musical forms both in the lab and with cochlear implant users themselves.
These tests have resulted in unique new approaches to the composition and diffusion of musical ideas and sensations. The concert is designed to be enjoyed by both cochlear implant users and audiences with normal hearing.
There are over 1000 Bionic Ear users in Victoria today. For these people the Bionic Ear brings sound into a previously silent world, and for the most part allows them to converse with friends and family. However, listening to live music can be a difficult, or even annoying experience!
INTERIOR DESIGN: Music for the Bionic Ear aims to start addressing that problem. Prepare to be challenged by what you hear and be careful not to make assumptions about what others might experience!