Wildness was originally slated for release on Sensory Projects in 2012 as a 10″ EP, but since the label has been on imposed hiatus this album has remained in limbo. It is now available as a high quality or mp3 download and stream at Bandcamp.
I’m delighted that this record has finally seen the light of day. It’s an enormous honour to appear on an album with Richard Adams; whose work with Hood and The Declining Winter I admire immensely.
Underground car parks are richly detailed sonic environments. These large reverberant spaces magnify, diminish and transform the various sounds existing with the space: rumbling of car engines, clattering shopping trollies, footsteps, electronic doors, ventilation systems, etc. Over a given duration too, this environment can be perceived as having a natural order about it – with unique voices, rhythms and sequences; much like that of a natural environment.
To the non-Antipodian visitors of this blog, an explanation: the Hills Hoist is an iconic feature of the Australian backyard, a rotary clothes line which is height adjustable. It has been manufactured in Adelaide, South Australia since 1945. It’s a striking presence in any backyard, and aside from being an invaluable drying apparatus it also can be used for entertaining purposes; such as the infamous Goon of Fortune, or more benignly as a shade screen or rain cover during the Australian summer and winter months (see images below.)
Over the past weekend I decided to explore the internal sonics of the Hills Hoist. My curiosity has been provoked some time ago when living in another house with a Hills Hoist in the backyard. When washing was hung from the line and the wind entered the backyard, the wind would occasionally catch something on the line (usually a bed sheet) and cause the Hills Hoist to turn. Depending on the position of the Hills Hoist, the turning motion would cause the internal shaft to rub against the outer shaft: resulting in a gentle, low metallic tone. It was – to my ears – a wonderful thing to hear occur as part of a kinetic interplay between the wind and the Hills Hoist.
I recorded the Hills Hoist in our current backyard by attaching a couple of JrF hydrophones (functioning as contact mics) with velcro straps: one to the inner shaft and outer shaft of the Hills Hoist respectively. The recordings below are the result of me ‘playing’ the Hills Hoist, since there was no wind present at the time of recording.
Now here’s something really special I thought I’d share courtesy of BBC4 and The Wired Lab. Sound recordist Chris Watson and composer Alan Lamb discuss and interrogate the Wires. This brief programme presents an ideal introduction to this totally unique instrument which is located in regional New South Wales at The Wired Lab; facilitated by artists, Sarah Last and David Burraston.
My new album, The Door Into Summer is coming along with the track selection now finalised. * The track which I featured the other day (“Lungfull”) didn’t make the final cut but may be included as a bonus track with the release. The selection of tracks has been an arduous process since material for this album started to be produced in late 2012, following the release of Hypericum. Since then, a huge amount of material has been amassed and keeping track of various threads and shaping some continuity between the tracks has been challenging. I’m very pleased with the result and have spent most of this afternoon listening to the early mixes and album sequence on my iPod; far away from the studio, walking at a gentle pace through quiet neighbourhood streets and parks.
So from this point onwards I’ll be spending the week with the early mixes and making minor revisions during the remainder of the month. Then the task of mastering awaits.
Whilst all of this is going on, plans are being made for the album artwork and accompanying material. My partner and visual artist, Lauren Playfair will be assisting me with the artwork and design of the album.