Room recording of a performance at Spektrum in Berlin, 1st September 2016.
This release is the result of an intense period of study, experimentation and creativity (2009-2010). All works were produced while studying a Masters Degree in Music Technology at the Digital Media and Arts Research Centre at the University of Limerick, Ireland.
These pieces reflect my interest in having a meaningful interaction with technology in performance. Source material for the most part is field recordings that fall into 2 categories; urban and rural. These opposite sound worlds are probed and manipulated to explore a possible dialog or meeting point, and to also subvert their context. Similar to the discussion about “what is noise”, the beauty of this output is open to opinion and this material is part of that discussion.
I wish to thank Dr. Robert Sazdov, Dr. Kerry Hagen, and Jurgen Simpson for their time, expertise, and encouragement, the experience was transformational.
Excited to have a track selected for this compilation which is released today. SYNTHESIS VOL. 2 is an International compilation of intelligent works produced by professional sound artists and musicians from South Korea, Uruguay, Ireland, Venezuela, Greece, Belgium, Brazil, Sweden, France, Poland, Mexico, Denmark, Israel, the UK, Colombia, Italy and the US. A big thanks to Vero Mota & Urban Arts Berlin for the time and effort taken to organise and release this. Listen, enjoy, buy and share. Cover image by Daniel Palacios
This a piece I created for the Hack the Bells remix competition for carillon. Instruments and sounds emanating for instruments such as Carillons and Bells were once keynote sounds in the pre-industrial soundscape. They would resonant far into the surrounding land, as far as the ear could travel, unobstructed by the din that now dominates the acoustic landscape. As time passed and the “sacred noise” of industry rose up, these sonorous outbursts have been strangled into submission. This piece harks/hacks back to that time when the subtlety of such timbral detail could be appreciated, a side-effect being that other sounds could also live and breath in harmony. I have included occasional sonic clues of what was to come, but for the most part I have focused on an unimpaired look to the audible horizon, traveling on the undulating wind with the carillon.
Audio material used in the piece in generated from the sample library (CC BY-SA 4.0) of the carillon in the Sather Tower at the University of California, Berkeley, San Francisco, America. Additional field recording is from a forest location in Limerick, Ireland.
Noise Challenge #4: The Soundtrack
Choose one song on your mp3 player and choose one day this week (or multiple days if you wish) to play this song on repeat. On these days, you are only allowed to listen to this one song. Listen to it when travelling to work or school. Listen to it on your lunch break. Take a long walk and listen to it again, and again, over and over. Let the song infiltrate your everyday experience. You have 1-week to create some kind of response to this multi-sensory experience. Continue reading “Noise Intercepted Challenge #4 – Corpus Callosum”
Noise Challenge #3: The Empty
This week spend some time exploring an “empty” space (or place), manufactured or natural. Consider the creative potential of this space… its acoustics, its untold story, its emotional content. You have 1 week to find an “empty” space and change it, transform it, or influence it, through your physical interactions. Continue reading “Noise Intercepted 3rd challenge – Empty vessels make the sweetest sound”
Challenge #2 – The Little Things
This week spend some time paying attention to the little things… the sounds that you tend to ignore and the seemingly insignificant noises that you take for granted. You have 1 week to listen, identify and select one “insignificant” sound and transform it into something “significant.” Continue reading “Noise Intercepted 2nd Challenge – Aeolian Construction”
My current creative output and practice have 2 important points of origin. The first came about from a technical concern the second as an aesthetic development, derived over many years. For a number of years I have been exploring methods of live performance of electronically generated music. This was not specific to any genre; I was more interested in creating a situation where I could create an engaging experience for both performer and listener. It should be satisfying in both terms of sonic output but also in the level of interaction and control offered by the technology in directing this output. I was not just interested in representing recorded material, I wanted to be able to create, transform, direct, and be directed by the sound. In this way there is a communal enjoyment for both performer and listener, with a shared sonic experience neither have heard in exactly the same format as before. As this technical development continued it took the form of a custom instrument designed in software and a method of controlling this using perceptual mapping and a hardware interface. In developing this work I have come to anthropomorphise the technology, viewing it as an extension of my thoughts and engaging in a dialogue with me in attempting to achieve our goals. Developing the software and hardware instruments became part of the composition with the aesthetics intertwined within them. Therefore all areas overlap; there is not a concrete division between idea, process, and output. Continue reading “Introducing New Release – Shards”