"Ce rapport structure/matériaux est celui qui conditionne la réciprocité de gestes entre le compositeur et l'interprète ou entre le compositeur et la technologie de réalisation.
Mais, avant tout, ce doit être un acte réfléchi. On peut avoir l'illusion d'inventer dans l'immédiat, mais on ne peut inventer que dans la réflexion. Je ne veux pas parler des ces catégories d'immédiat et de réflexion comme des catégories définies par la durée ou par l'ecrit.
L'immédiat n'est pas forcément l'improvisation; l'immédiat peut être aussi bien l'oeuvre calquée directement sur un modèle, pour déduire les véritables conséquences du modèle. La réflexion n'est pas forcément un produit de l'écriture et du temps passé à la rédaction, la réflexion peut être instantanée et se trouver dans l'improvisation.
Mais il est certain que la réflexion nécessite, si je puis dire, une transe critique; alors que l'immédiat n'est que l'apparence d'une transe, et que la critique en est étrangement absente.
Le geste du compositeur est donc irremplacable, et toute dépossession n'aboutit qu'à la banalisation. Ce n'est pas l'Univers qu'on entend, mais, au contraire, l'étrange et désolante absence de toute Idée."
HARM is the 7th album from The Telescopes. Developed live,
between 3 separate line ups, over a course of 12 months. The
whole album was recorded entirely in one take, without any
overdubs. All instruments tuned to 444 Hz. With original
artwork and design from Bridget Hayden.
Plus the awesome subscription series on Glistening Examples Jason Lescalleet "This is what I do" Vol. 9,8,7
Documentary about the work of Max Eastley, made in 1986, featuring sequences of sound sculptures in natural settings, plus Eastley accompanying them in the studio. Also includes extracts from performances of 'Whirled Music' (with Steve Beresford and David Holmes), a sequence composed jointly with David Toop and Kazuko Hohki, and a duo with Evan Parker in a cave in Devon.
Plus five more recent talks by
"The Anthropocene Project: An Opening" (2014)
Beyond Capital: The Climate Crisis as a Challenge to Social Thought (2014)
The Human Condition In the Anthropocene (2015)
From Globalization to Global Warming: A Historiographical Transition (2015)
Between Globalization and Global Warming: The Long and the Short of Human History (2010)
‘The ruins of the Spanish House stand on the banks of the river Sava at the heart of the Savamala district of Belgrade. Originally a decadent customs house in the heart of a bustling port, this decaying structure bears the imprint of many generations. Now an empty echo chamber, its walls reverberate with the rumble of the passing freight trains like the sea inside a shell; songs and shouts return distorted from a trip around the flooded basement and exposed structural supports become an unholy set of chimes. All the sounds you hear on this album were recorded on site and nothing has been added that is not of the building itself. This echoic palimpsest is architectural portraiture in sound’.
Howlround - The Ghost of the Bush (2012)
‘The Ghosts Of Bush’ was created entirely using the natural acoustic sounds of Bush House, the iconic home for the past seven decades of the BBC World Service which closed its doors for the last time on July 12th 2012. All of the sounds were captured in the small hours of the morning in empty offices, corridors, stairwells and other hidden corners by a Studio Manager working overnight. These recordings were then dubbed onto quarter-inch tape in the basement studio deep in the bowels of the South-East wing using two of the surviving reel-to-reel machines.
Adjusting the playback speed of the spools and ‘bouncing’ the recordings between the two tape machines lead to the discovery of a number of interesting phrases and sound textures which were then looped, layered and fashioned into rough compositions. Over time the tape would start to degrade and alter the nature of the sounds, while occasional echo was created by recording and playing various loops simultaneously, feeding the sound back into itself. The entire album was produced using these simple methods, and no other effects or studio trickery have been used. Thanks to the sonorous quality of Bush House’s Portland stone walls and high ceilings, the natural resonance of the space was all that was needed.
These are the sounds the building makes when it thinks no-one is listening, the sounds of many sleepless nights spent isolated in a labyrinthine basement surrounding by a crepuscular soundtrack of creaks and crackles. It’s an attempted homage to the work of the BBC Radiophonic Workshop who crafted the most incredible of sound-worlds from the most basic of sources. But mostly it’s my way of saying goodbye to a building that I and so many people have loved.
When talking of historic structures, the old clichéd approach is to wonder what one might hear if the ‘walls could speak’. I like to think that with ‘The Ghosts Of Bush’ we come closer to hearing them sing: One last song about the passage of time and the impermanence of all things, with the ghosts of the machines joining in. The last hurrah of a bygone era, of obsolete equipment and of a studio that has since fallen silent forever.
Scott Tuma "Cracker Where am I?" Scott Tuma "Hard Again" (2001) re-issued in 2014 as a double LP on Scissor Tale Awesome sensitive guitar-weirdness coupled with ambient warmth and deepness with an evocation of Americana Sounds from Fahey to Basho and a lot more !