Ten Meaningful Records: #2 Time Out Of Mind by Bob Dylan (released 1997/first heard 1997)

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Read the previous instalment covering Wilco’s Summerteeth here: link

Camira, Camira

It’s the middle of 1999: during that same bleak winter that I first encountered Wilco’s Summerteeth. I’m driving a rust riddled Holden Camira through the winding roads of Wattle Flat at night. There’s a thick fog that the Camira’s high beams are feebly attempting to seek a path through. I normally take care driving along this particular stretch of road, but on a night like this where visibility is significantly compromised I’m being extra attentive and maintaining a speed that will lessen the likelihood of catastrophe. I’m dropping a friend off at a party in Myponga and to compensate for the lack of conversation I’ve turned the car stereo up a fraction. The car is now making its way into the hills with a lethargic climb and tentative series of turns around several bends. Eventually we come to a slightly less bendy plateau and the fog is even worse up here. On one side of the road is a steep coverage of bracken; whilst on the other are the scrawny limbs of gum trees and a 100-odd metre drop into a valley.

The C-90 cassette in the stereo has been nothing but tape hiss for the past minute and has just auto flipped to the start of Bob Dylan’s Time Out Of Mind. As the opener “Love Sick” comes into relief my friend interjects:

“This music is perfect for this kind of driving.”

I nod approvingly and keep my eyes fixed to the road.

*        *        *

Cottage lyfe

When my parents separated in 1994, my mum, brother and I moved out of our house on Field Street in Normanville. We moved around the corner to another house and this is where I lived until I moved up to the city to study at university. The house we’d left behind was a small cottage that had various extensions tacked onto it over the years. My dad would eventually sell it in early 2001. Since my dad worked and stayed in the city during the week, the cottage was unattended for the most part. During the first couple of years of high school, when the systematic bullying became too much for me to bear, I would skip out on school, bypass my regular walking route and retreat to the cottage, spending most of my time watching tv or listening to records.

During this period of my life I felt like I had one-and-a-half homes: the one with my mum and brother, the other, an echo of the past that I could occasionally slip back into. Looking back now, I think that a large amount of my introspective personality and predilection for my own company galvanized itself during this time. If I wasn’t going on long walks by myself, I was retreating into the company of uninhabited domestic space, music and mid-90s daytime television. Given that this was on school time, I couldn’t make a regular habit of my long walks and hermitage, since the school would routinely alert my mum if my absences had become too frequent. When I was able to indulge these marabout tendencies, I became genuinely interested in music – flipping through a stack of vinyl records or rifling through various CDs and cassettes. Among the living room’s gaudy carpet and 80’s furniture were about half a dozen stringed instruments hanging from the walls. I couldn’t play guitar at the time, but their presence – in-situ with an extensive catalogue of music – gave this room a scrappy, piecemeal reverence. This was a special, private zone for discovering and listening to music.

Lend me your ears (and patience) 

When my dad came down on weekends he’d often drop by our place (his relationship with my mum was fairly platonic) or I would drop by the cottage to see if he’d brought any music down from the city that I might be interested in. A couple of years later once I’d started learning guitar I think he’d properly cottoned on to my interest in music, so sometimes I’d be summoned to the house for the sole intention of hearing something he’d picked up. As many friends and family will attest, one of the strongest personality traits that I’ve inherited from my dad (along with the social anxiety and penchant for solitude) is an obsessive tendency to effuse at length about music. Even when he was in the city, his enthusiasm to share a discovery would often come down a phone line. I can recall a time around this period when he’d phoned me from the city so that I could hear a guitar solo on a Buddy Miller album that he was ridiculously enthusiastic about.

It was late September in 1997 and Bob Dylan’s Time Out Of Mind had just come out. Dad was down for the weekend and the phone rang: I had to come around and hear this thing.

 * * *

Dead Man, Dead Man

Prior to Time Out Of Mind coming out, I’d been listening to Dylan for probably a bit over a year and already had copies of The Freewheelin’, Highway 61 and Desire copied to cassettes. Desire was a particular favourite of mine, with its scrappy bohemian vibe and lyrical allusions to the Egyptian goddess Isis, Mozambique, and a volcanic atoll exploding and sinking into the sea. In 1996 I went through a considerable chunk of his back catalogue when I was convalesced for a few weeks following a horrendous bicycle accident which left me unable to do much other than lie down, eat custard and listen to music.

Prior to dad’s phone call, I’d read a couple of things in the paper about how this new album by Dylan was apparently a big deal. According to various reports he’d narrowly evaded death following a weird infection near his heart, and in the aftermath had penned a stack of new material musing on mortality. The backstory – if taken in its entirety – was largely conflated and followed the telltale logic of Dylanophiles. If trainspotting has its anorak-clad sociopaths, and World of Warcraft its legion of basement dwelling virgins, then Dylanophilia comes in the form of the most irritating person(s) you can imagine occupying a record store. In essence it’s a more obnoxious version of Deadheads. Has there ever been a time (either as a fellow patron or customer at the behest of a staff member) when you became so enraged by their demented lust for obscure minutia (coupled with a passive-aggressive zeal) that you felt like bringing the roof down on them and taking yourself with it? If only, just to escape and bring an end to the most tedious conversation you’ve had in your life.

The Dylanophile will affix a mythos to practically anything Dylan has done, whether it was the apparent reason(s) why he deliberately played out of key, smoked a particular brand of smokes or was spotted picking his laundry up several blocks from where he lived at the time. Before you start feeling sorry for Dylan, bear in mind that the man himself has fuelled the entirety of his career on bullshitting and playing everyone for chumps, especially his maniacally loyal followers who are more than willing to pick through the crumbs of meaninglessness and concoct something meaningful out of them.

There was also a buzz surrounding the release of Time Out Of Mind since one of Dylan’s sons, Jakob Dylan was fronting an alternative rock band called The Wallflowers. On the cusp of the Internet ubiquity, the musical landscape of the 1990s was a subcultural milieu waiting to be capitalized on and exploited shamelessly by huge corporations. This was the last hurrah for big record companies before the Internet came along and fucked everything up for them. Mountains of cash were made on the back of grunge, British British-ness, 1970s Americana revisionism and the previously niche genres of house and techno. Wedged into this mix awkwardly was alternative rock, which bands like R.E.M., The Smiths and The Pixies had pioneered in the 80s. In the miserable space where grunge was snuffing itself out, middle class youngsters with good looks and expensive guitars took over. That’s pretty much you need to know about The Wallflowers. They weren’t that bad, but they weren’t that good either. Where contemporaries like Pavement or The Breeders were a bit too rough for the ears of the masses, the inoffensive charms and modest angst of Dylan Jr. were a welcome substitute; henceforth, 1996’s Bringing Down The Horse would join their CD collection with the latest albums by The Coors, The Dave Matthews Band and probably Jeff Buckley’s Grace.

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Mini Dylan: Jakob Dylan. Largely inoffensive, easy on the eyes and ears.

Inevitably, with a name like Dylan floating around and selling a shitload of records, the rock criticism clique started asking questions and wondered when Old Man Dylan might reemerge with something new.

If anyone had actually been paying attention, Old Man Dylan couldn’t have been accused of being idle. Following 1990’s Under The Red Sky he had released a couple of acoustic covers albums and been feted with a bizarre 30th Anniversary concert, all the while continuing the ‘alimony blues’ odyssey of The Never Ending Tour. So far, so busy. The problem was that the albums he made weren’t particularly good or appealing and worst still, his live performances from around this era were truly ghastly.

Search YouTube for ‘Bob Dylan live 1991/92’ and the atrocity is laid bare. A drunken wretch – vaguely resembling Bob Dylan – sloppily rocks back and forth from the microphone in an ill-fitting suit with a straw hat sitting uneasily atop unwashed clumps of greasy hair. He bleats incoherent lyrics like a wounded duck, whilst blasting spittle-inflected whines from a harmonica strapped around his neck. I had to squint a couple of times since I could have sworn he had been blowing into an Aztec Death Whistle. Not so. The guitar fares worst of all: not only is the semblance of conventional rhythm abandoned entirely, but it’s steadily going out of tune and thinning itself out as if it’s attempting to kill itself in the hands of its abusive owner.

 

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If you gotta go, go now: Dylan in 1991.

I wonder how the audience felt as they were witnessing the spectacle of Bob Dylan mauling his repertoire on stage, night after night. Separate the average punters from the band of token apologists (looking at you, Dylanophiles), and you’d be left with a crowd about fifty bucks lighter per head and wondering if this guy would be dead in a week’s time.

The Ghost of Electricity Pt.1

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Daniel Lanois.

Prior to the creation of Time Out of Mind, Dylan and its producer Daniel Lanois had a history. The last time they had worked together was back in 1989 when Lanois had recorded and produced Dylan’s apparent ‘return to form’, Oh Mercy. During the 1980s Lanois had made a name for himself as a record producer, whose knack for evoking mood and atmosphere – coupled with a preference for vintage gear and instruments – stood in stark opposition to the slick and synthetic sounds diffusing through the decade. Not since Phil Spector had a record producer utilized reverberation so liberally. In addition to this, a Spector-esque ‘Wall Of Sound’ principle largely applied, whereupon layers of instruments were built up until something sonically monolithic resulted. Big spacious sound. This approach had worked a treat for U2 on The Unforgettable Fire and The Joshua Tree. Elsewhere, Lanois and Brian Eno (with Brian’s brother, Roger) sonically propelled themselves into the depths of space on 1983’s gorgeous Apollo Soundtracks.

When Dylan arrived at Lanois’ studio in New Orleans in 1989 with a guitar and a dozen songs, they spent a few weeks trying to generate some chemistry with a handpicked crew of musicians and a room full of vintage equipment. The sessions themselves were frequently fractious – either Dylan was uninspired or Lanois was throwing tantrums in the control room and smashing guitars. In those rare moments when things clicked, excellent takes of the spooky “Man In The Long Black Coat” and elegiac “Ring Them Bells” resulted. Best of all was “Most Of The Time”. From a strictly lyrical point of view, anyone could have written this with his or her hands tied behind their back whilst being submerged underwater. Such are the banality of the lyrics:

Most of the time

She ain’t even in my mind

I wouldn’t know her if I saw her

She’s that far behind

Most of the time

I can’t even be sure

If she was ever with me

Or if I was ever with her

This is where Lanois’ expert direction comes into to play: to transform something otherwise mediocre into something truly special. On “Most Of The Time”, Dylan’s sounds like he’s just woken up, his voice is cracking and cloaked in echo as waves of feedbacking guitars swirl around loping, slippery basslines and clattering drums. It’s a truly amazing recording and a testament to what a decent producer with fresh ears could do for a floundering artist like Dylan.

Indeed, without Lanois at the helm, Oh Mercy could have been an entirely (in)different record. It’s quite telling that when Dylan did record again the following year with a different producer at the helm, the results (Under The Red Sky) left a lot to be desired, or at best, forgotten in their entirety. But in saying this – and with full sympathy to Under The Red Sky’s producer Don Was – I don’t really know how any producer could have worked with material like “Unbelievable”, “Cat’s In The Well”, “Handy Dandy” or “Wiggle Wiggle”:

Wiggle, wiggle, wiggle like a bowl of soup
Wiggle, wiggle, wiggle like a rolling hoop
Wiggle, wiggle, wiggle like a ton of lead
Wiggle, you can raise the dead

Wiggle till you’re high, wiggle till you’re higher
Wiggle till you vomit fire
Wiggle till it whispers, wiggle till it hums
Wiggle till it answers, wiggle till it comes

This was from the same guy who penned “Visions Of Johanna”, “The Ballad Of Hollis Brown” and “Changing Of The Guards”.

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Bob Dylan in 1990.

So, that was that. From this point on, history conveniently connects with the aforementioned live performances of 1991-92, and save for the odd redeeming performance, Dylan was just about washed up.

The Ghost of Electricity Pt.2 (or, “Make it sound like this.”) 

One of Dylan’s instructions to Lanois when they were making Time Out Of Mind was for it to sound a like a country blues record from the 1930s or 40s. Spontaneity, authenticity and atmosphere would be key. Everyone who was on a given track had to be in room at the same time, acoustic instruments were preferred and an emphasis on the recording space itself was crucial. That’s not to suggest that electric instruments and treatments were banished, they’re everywhere on Time Out Of Mind. But along with their actual presence on the record, they seem to embody the realm of electricity itself. One of the things that makes early blues records so spooky is the presence of electricity in the recordings. That is, the crackle and hiss of the electromechanical apparatus that initially transcribed the performance and subsequently reproduced it are forever embedded in the recording. Though the recording may be acoustic in nature, it is manifest and made real (for the listener) through the eeriness of electricity.

 

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1997.

This, I believe is why Time Out Of Mind is so spooky and atmospheric. There are no hisses and crackles, but the presence of electric instruments surrounding the acoustic instruments (along with predominantly blues-esque arrangements) gives the album an almost otherworldly feel – as if it had been made in the past, at some undefined period and was being projected into the present. Look at the cover of Time Out Mind: it’s a grainy black and white image of Dylan sitting with a guitar in (presumably) Lanois’ control room. It looks as though it had been shot underwater, or was a distant transmission from somewhere out of place. Out of time. Out of mind.

*  *  *

We’re back in the Camira on the way to Myponga: “Love Sick” begins with what sounds like a room full of instruments shuffling in their respective seats before they become comfortable. Successive jabs of organ establish the beat before the rest of the band kicks in. Dylan’s croaking voice appears, sounding as if it had been recorded through a tin can (maybe it was). My friend interjects saying how ideal this music is for our drive. I agree. The song ambles along with a dark energy as its lyrics allude to ‘streets that are dead’ and ‘silhouettes in the window’ before the 2-chord chorus arrives with its declamation:

I’m sick of love

That I’m in the thick of it

This kind of love

I’m so sick of it

“Dirt Road Blues” follows. We’re a bit closer to Myponga. A rambunctious blues shuffle, with any hint of actual rambunctiousness offset by the beleaguered state of the character whose setting off on a lonely trek down a dirt road until his eyes start to bleed or he’s buried alive under the rain and hail. He’s out looking for the sunny side of love, and unlike Blood On The Tracks’ “Shelter From The Storm”, there’s no signs of salvation or sanctuary. He’s just going to have to keep rambling on. Charley Patton represent.

The situation is somewhat the same (or even worse) by the time “Standing In The Door” comes along. Was it better to be walking that endless dirt road or beset by the worst kind of lonliness imaginable as you reach civilization and pass through bars and dancehalls where everyone’s having a hoot and getting laid. Church bells are ringing for someone and there’s no way out of this fix you’ve found yourself in. You’ve got the blues bad, man.

As the Camira and its occupants would attest, nighttime is the right time and some real nocturnal blues kick in next with “Million Miles”. Whatever sympathy we might have had for the character (assuming this is the same character) has since evaporated now he seems to give zero fucks that the romance fell apart and he’s doing his best to get as far away from it that he can. Ah, the several stages of grief, etc.

One last digression: Myponga.

Now if my memory serves, by the time “Million Miles” fades out I’ve bid my friend a good night, performed a u-turn in the Camira and I’m heading back from Myponga to Normanville.

Almost a year later, a family member would be driving this same car on the outskirts of Myponga before the engine made a horrible sound and the cabin filled with blue smoke. That was the end of the Camira – one of the worst cars ever manufactured. I had bought my Camira from a creepy guy who lived in a rotting clapboard bungalow in Carrickalinga. I was particularly nervous when he asked to accompany me on the test drive around the block. In the time I owned it over two years the CV joint snapped in half, the radiator blew (scolding my arm in the process), both side mirrors fell off (whilst driving) and eventually it died violently with two pistons fused inside the engine. Barring the theatrical episode of a snapped CV joint on Normanville’s main street, all the other things happened either in or on the outskirts of Myponga.

To an outsider, Myponga might seem to be an innocuously charming country town girth by pastoral land and huge reservoir. All well and good, but Myponga is in actual fact a weird place and in spite of the intervening years and a far less dramatic turn of mind, it still gives me the creeps. For me, Myponga is a place with genuine Twin Peak-sy vibes, with its dark undercurrents and unsolved mysteries. Are these all in my head? Probably. But permit me to posit one thing: why on Earth did they build a large-scale cheese factory in a town with a population of just under a hundred at the time? Who worked there? Was it actually a cheese factory? It was once home to a salvage yard, which my mum ran. Then they moved across the road into the former bank. I was once told that nobody could venture into the cheese factory’s basement level since the gas down there could kill you. I still – on rare occasions – think about the basement in the cheese factory.

Maybe we should get back on track.

Although I have a vivid memory of the drive to Myponga in 1999, I have absolutely no recollection of driving home that night. I don’t even know if I listened to the rest of Time Out Of Mind. But let’s imagine that I did, so by the time that I’m leaving the town limits “Tryin’ To Get To Heaven” has started.

Highlands

“Tryin’ To Get To Heaven” contains the first of several near-transcendent instances on Time Out Of Mind. As with Oh Mercy’s “Most Of Time”, “Tryin’ To Get To Heaven” is another one of those Lanois Fairy Dust moments where everything seems to be in the right place and the right time. Much like the rest of the album, the performances are full of little serendipitous gestures that bring such character and dimension to the songs. Half the time they’re mistakes and fluffed notes, sometime they’re supremely executed with thoughtfulness and economy, and other times they’re just dead simple. In the case of the latter, take for example Dylan’s ‘harmonica solos’ which features during the instrumental passages of “Tryin’ To Get To Heaven”. I’ve purposefully put that reference to the harmonica in inverted commas since I don’t know if you could call it a harmonica solo, in the same way that Mark Hollis’ performance “After The Flood” (from Talk Talk’s Laughing Stock) could possibly be called a clarinet solo. But much like Hollis’ stammering clarinet, Dylan’s clumps of distorted harmonica seem to work beautifully as it bellows over the gliding accompaniment of pedal steel guitar, bass and organ.

Skipping past the otherwise excellent stomping blues of “Til’ I Fell In Love With You”, another highlight is to be found in the doom ballad, “Not Dark Yet”. Whilst my heart and soul will always regard Dylan’s “Simple Twist Of Fate” (from Blood On The Tracks) as my favourite song of his, “Not Dark Yet” is right up there by virtue of its delivery and production. Nowhere else on Time Out Of Mind will you find a better example of this record’s otherworldly (yet eerily worldly) feel and underlying themes of long dark blues. The protagonist is completely broken down here. One of the reasons why I hold “Simple Twist Of Fate” in such high esteem is because it’s sung so well. Dylan cops a lot of flak for not being a terribly good singer – sometimes for very good reason – but when he can actually be bothered and he feels the stuff he’s singing, for my money he’s one of the best singers out there. I’ve long held the belief that in order to be a good singer, you don’t even have to sing in a conventionally acceptable way. As long as it’s coming through and its embodying whatever you’re singing about, that’s what counts. This is why I love singers like Neil Young, Leonard Cohen, Marianne Faithful, Kurt Wagner, Emmy Lou Harris, Mark Linkous, Jason Molina; they wouldn’t stand a chance in talent competitions, but by crikey – they can sing.

Remember, we’re in the Camira on the way back to Normanville, so by this point we’re probably descending into Wattle Flat and “Cold Irons Bound” is cranking up. There might have still been fog by this point of the night, but if “Cold Irons Bound” had been playing, there couldn’t have been a better accompaniment as I drove the Camira – that rickety piece-of-shit – through the night. If only the roads had been flooded out. That would have been perfect, but also very, very dangerous.

“Cold Irons Bound” is full of danger. Our protagonist is on the run from the fuzz! The hillside’s made of mud, he looks up and sees nothing but clouds of blood. He’s fucked up bad and he’s going down. Electric guitars are howling everywhere and the drums are being thumped into the ninth layer of Hell. It would be only appropriate if the Camira had burst into flames by this point.

But then again, maybe “To Make You Feel My Love” might have made the Camira immolate itself. Not because “To Make You Feel My Love” is an amazing song, it’s not an amazing song; it’s arguably one of the worst things Dylan has ever written and recorded. If it had been so inclined, the Camira might have become so repulsed by the sheer banality and sickly platitude of “To Make You Feel My Love” that it might have thought that fire was too energy intensive and cut its losses by skidding off the road and wrapping itself around a gum tree. It’s not even a blues song. It’s just a lazy piano and vocal ballad that does nothing. Enough years have passed that I can zone out whenever this song comes around so that it doesn’t blight my otherwise favourable impression of the album. Such is “To Make You Feel My Love” emptiness; its ersatz, flimsy emptiness that it’s no surprise that Billy Joel recorded a version of it.

Two songs round out the rest of Time Out Of Mind – “Can’t Wait” and “Highlands”. “Can’t Wait” is what I like to call ‘Lanois Blues’, since it’s got a swampy swagger to it which evokes carousing around on Beale Street or other similar New Orleans haunts. It’s also a bit sexy, which is one of the things that Dylan wasn’t particularly happy about when he was making the record with Lanois. According to Dylan in a rare interview, one of the reasons he hasn’t worked with Lanois since Time Out Of Time is because Lanois was pressing Dylan to make things sound more sexy. Banging his ear incessantly: sexy, sexy, sexy.

Anyone who’s ever seen footage of Lanois performing will understand where this drive for sexiness comes from. Strap a guitar on Lanois and watch him go: he grooves like 50 year-olds dancing to “Nutbush City Limits” whilst he jacks off the guitar with such a horny zeal that it would make Prince blush. I can understand why this approach might have grated with Dylan. Obviously the man isn’t very sexy and the few times he’s gone out of his way to be somehow sexy in a typically roundabout Dylan way – like his appearance in the awful 1987 film Hearts Of Fire – are best forgotten. Quickly. And this is one of the reasons why – in spite of great instrumental work across the track – vocally, “Can’t Wait” deviates from the overall feel of Time Out Of Mind. Dylan is trying to sound seductive and cooing in your ears. Whilst this is not anywhere as offensive as “To Make You Feel My Love”, “Can’t Wait” is still a bit iffy.

Thankfully, the closer “Highlands” redeems everything. Did I mention this goes for eighteen minutes? If I had been in the Camira by this point, I would have had already pulled into the drive by the third verse and made a cup of tea by verse nine and taken myself to bed as it began to fade out.

What is this song about? I have, and no-one else has the faintest idea. Again, much like the previous two songs, “Highlands” is a deviation from the majority of Time Out Of Mind. Whilst it’s much closer in feel to everything through to “Cold Iron’s Bound”, it still feels remote and detached. It’s as if the protagonist – who somehow miraculously evaded capture from the authorities in “Cold Irons Bound” – took a trans-dimensional path to somewhere entirely different, and by the time he lands in the ‘highlands’ he’s Bob Dylan and he’s simply doing what Bob Dylan does on a given day.

But – wait a second – now I’m sounding like a Dylanophile: the very thing I loathe. Maybe that’s what “Highlands” is by design – an exercise in piss-taking where mundane things are peppered along the way for the diehards to mull and obsess over. But is there really that much to pick apart in “Highlands”? After all, the character in the song is simply wandering about and not lending too much interpretation to his observations and interactions. He walks along a street, sees a mangy dog, goes into a café, wants some hard boiled eggs, has a conversation with a waitress…oh, and at one point he’s listening to Neil Young.

It’s as if Dylan is suggesting in this song: ‘Do ya really think I’m so special? Well, this is what I do on a day off.” The protagonist might be Dylan, it might not be; but in my mind it’s an entirely appropriate way to bring Time Out Of Mind to a close. Whatever mystique and allusion the previous songs had has now fallen away, leaving a guy going about his life. Just living. No pretense, no bullshit.

The way I’ve written about Time Out Of Mind – for the most part – makes it sound like a concept album in a way. But I don’t think it’s that at all. It’s a mood record and – in spite of its odd diversions – it fits situations and environments so well. I’m still working through that particular idea, but as I was writing this, the word ‘ambient’ kept cropping up.

About a year ago, when I was holding down a miserable finance role that made me feel miserable, each morning before leaving for work I would put on a side of Time Out Of Mind as I ate my breakfast before leaving for work. By this point, I’d acquired a limited edition double-LP version of the record. It works remarkably well in this format, especially if you’re feeling low down and need something to accompany your bleak mood as you’re eating your breakfast. There’s no time for it’s 70-plus minute duration, so one side will have to satisfy.

I needed something like that at that particular point in time and it didn’t necessarily make my situation any better, but I doubt it made it any worse. It was just the perfect accompaniment for that particular time and place.

And in that respect, some eighteen years prior it fit that scenario of driving the Camira on an empty road at night, cloaked in fog. Neither my friend or I were feeling particularly down and out, but something about having Time Out Of Mind on the stereo clicked. If we only listened to this kind of music when we felt like shit we would have wiped ourselves a long time ago.

Music isn’t so simplistic in that respect. A lasting record covers all manner of situations and environments.

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1982 Holden Camira.
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Ten Meaningful Records: #1 Summerteeth by Wilco (released 1999/first heard 1999)

My room in a sharehouse, mid-1999: This album had sickened me. I felt my stomach lurching slightly, whilst my head felt heavy and was swimming in a choppy expanse of confusion. A sense of irritation eventually overcame me and I hit to stop button, ejected the CD and tossed it petulantly across the room.

Happy? Wilco in 1999. From left: Jeff Tweedy, Ken Coomer, Jay Bennett, John Stirratt

By the time I encountered Wilco’s third album in 1999 I knew their work reasonably well, but it would be fair to say I was still growing comfortable with them. Whilst they hadn’t yet completely overhauled their ‘alt. country’ tag they were still a restless unit, prone to bursts of raucousness and curious diversions. Where my listening tastes were concerned at the time, they certainly held a lower prestige compared to the likes of my enduring obsession with The Complete Works of Elvis Costello, which at the time was chewing up most of my meager spending money. Where Wilco was concerned, I still had my battered cassette copy of Being There and a CD of their collaboration with Billy Bragg (Mermaid Avenue); both of which I really liked.

How to fight loneliness / just smile all the time / shine your teeth ’till meaningless / and sharpen them with lies.

I had picked up Summerteeth in mid-1999 at the tail end of a miserable, depressed winter. Wilco’s frontman Jeff Tweedy sounded especially miserable and depressed across Summerteeth’s 50-odd minutes. The album as a whole broke away from the previous albums’ country leanings and roof-raising rawk, instead opting for what sounded like a fucked-up version of The Zombies’ Odessey and Oracle spliced with The Band’s second album. It’s an album that is at once sunny, yet persistently uneasy – it blooms and glides; then lurches and collapses. In a paisley nutshell, it’s sunny psychedelia tainted by paranoia and loneliness, howling out from the bowels of a K-Hole. Darkness courses through the entirety of this record and for every upbeat respite, there are gut and kidney punches landed everywhere else.

So with that in mind, let’s return to my room in a sharehouse a bit over eighteen years ago.

On a quiet night I loaded the CD into my boombox for the first time. The opener, “I Can’t Stand It” erupted from its tinny speakers with the chime of an electric 12-string guitar (immediately reminiscent of The Byrds) giving way to a swell of Mellotron, thumping drums and weary, nicotine-grizzled vocals.

No love’s as random as God’s love / I can’t stand it…I can’t stand it

As Tweedy’s refrain collapses into a hoarse scream, before I knew it I was immersed in one of the saddest songs I’d ever heard: “She’s A Jar”.

She’s a jar / with a heavy lid

My pop-quiz kid / a sleepy kisser / a pretty war

You know, she begs me not to miss her

Tweedy sounds even more resigned and forlorn on this song. Whereas on “I Can’t Stand It” he at least sounded like he was being propelled and pushed ahead by the momentum of the song, here he sounds like he’s been buried alive by it, half-speaking allusions of a lover as a jar (or is it ‘ajar’?), quiet front yards, water skies and bruised roads.

But what a gorgeously sad song! Lyrics aside, on musical terms alone this song is utterly sumptuous. A rickety sounding acoustic guitar floats uneasily atop a bed of entwined organ, Mellotron, loping bass and bleats from The Most Lonesome Harmonica In The World. It’s like the tangled undergrowth of the mind at its most charged, poetic and forlorn. A soundtrack for losing your mind whilst surrounded by beauty. Then there’s the rhythm that Ken Coomer lays down: a dour pulse alternating between snares and rim shots, yet totally immediate and forceful – urging the momentum of the song along. A trap kit scything through the cluttered web of the instrumentation and Tweedy’s surreal  lyrics. That’s ‘surreal’ in the Bunuel-lian sense; i.e. whereby the imaginings of the unconsciousness ruptere and manifest themselves into reality by turns discrete, poetic, bewitching and disturbing.

“She’s A Jar” contains probably what is (to this day) my favourite set of lyrics – a staggeringly beautiful and confounding string of imagery; a stream of wild mercury that in my mind is matched only by the terror and beauty of Dylan’s mid-60’s streams on consciousness:

Are there really ones like these?

The ones I dream

Float like leaves

And freeze to spread skeleton wings

I passed through before I knew you

An unconscious reverie committed to song. It’s so gorgeously vivid and unsettling.

But before we become too lulled by the twisted beauty of everything in this song, the lights shut out suddenly in the final seconds of the track. It consists of a reprise of the song’s opening lines and a tweaked revision the final line. Where Tweedy had previously sung, “you know, she begs me not to miss her”, he swaps it with this:

She’s a jar / with a heavy lid

My pop-quiz kid / a sleepy kisser / a pretty war

You know, she begs me not to hit her 

Tenderness replaced by a brutal and confronting confession.

It’s not an exaggeration to admit that I felt physically ill when that fucked up line landed. It ruined everything. Slightly distressed, I hit pause on my boombox, dug the lyrics sheet out from the CD’s jewel case and corroborated what I thought I’d just heard.

Reluctantly, I restarted the CD. The gurgling synths opening “A Shot In The Arm” made me queasy, not to mention the chorus’ refrain where Tweedy longs for “something in my blood, bloodier than blood”.

What on Earth had happened to Jeff Tweedy since Being There? How had the rest of the band not quit in disgust? (fact: they almost did) How was he still alive? Was he still alive?

Whilst I didn’t skip through the rest of the tracks, I was too rattled and sickened to acknowledge the rest of the album as it lurched along. Barring a couple of sunnier, hopeful moments, once “Via Chicago” rolled around it was all over for me:

I dreamed about killing you again last night

And it felt all right to me

Your cold hot blood ran away from me to the sea

 As the zombied closer, “In A Future Age” petered out the CD was (r)ejected and put back in its case. A couple of weeks later I sold it back to the record store and bought another Elvis Costello reissue. A couple of years would go by before I heard the album again.

* * *

When I was eighteen I didn’t understand depression. I was living with it, but I had neither the ability to comprehend it, let alone articulate it. I would instead regard my perpetual melancholy and social anxiousness as just something that happened when you were at this part of your life. It was my belief that this permitted you to cry for no reason and be perpetually angry at or feel hard done by the world. I never really regarded it as depression because that term scared me and had all-too-dramatic connotations with padded cells, electric shock therapy, slashing wrists and throwing yourself off buildings. I couldn’t decouple these things from what actually happened in real life and I figured things had to get really bad before I ended up in one of those scenarios. ‘Depression’ was a tag that I didn’t want dangling from me and on show to the rest of the world. At this stage I hadn’t been diagnosed with depression or prescribed any medication, so in lieu of professional intervention I wallowed in undiagnosed and romanticised misery.

From this unfortunate position I should have been able to relate to where Jeff Tweedy was coming from across the emotional massacre of Summerteeth. This guy feels like shit; I feel like shit. It should have clicked. In previous years, my high school friends had been into all sorts of tormented and transgressive music that sounded and read on paper ten times worse than anything Tweedy could dream up. And it’s not like I wasn’t partial to such indulgences – Nick Cave and The Bad Seeds’ Murder Ballads looms large.

So what was the issue? As a songwriter, Jeff Tweedy’s always had a knack for earnestness and sincerity in his writing, regardless of whether it’s literal, a collision of surreal imagery or a deft combination of the two. Dylan and Neil Young have a similar impact – regardless of a given song’s clarity or impenetrability (“Visions Of Johanna” and “After The Goldrush” come to mind) they are delivered with such potency (and sonic pixie dust) that some kind of emotional wallop is inevitable regardless whether you understand exactly what the fuck they are on about.

Back in 1999, that emotional wallop was also inescapable when I listened to Summerteeth for the first time. I couldn’t however get past the effect it had on on my stomach before it could get anywhere near ruining my heart. The blood, guts and bruises alluded to in Summerteeth felt so much more grave, horrifying and real than Nick Cave’s trail of dead on Murder Ballads simply because Tweedy’s experiences felt genuinely real, whereas Cave’s come across as B-grade schlock cribbed from folk tales. Chalk and cheese; Tarkovsky and Tarantino.

I’m fairly certain that Tweedy has never murdered anyone (“Via Chicago”) or committed acts of domestic violence (“She’s A Jar”). Tweedy has however suffered from depression and substance abuse and this was channeled through Summerteeth when things were especially in the ditch for him. To Nick Cave’s credit, he too has produced fine work when life was at its most shit and it should come as no surprise that in the same year that Summerteeth blindsided me I encountered his 1997 album, The Boatman’s Call.

When you’re depressed, horrible things come into your head and if you’re creatively minded you have to splatter and frame them somewhere. If you’re a good songwriter (as Tweedy is) you might be able to transcend clichés and plumb the depths of the poetic. Rather than simply dismissing Tweedy as a murderous misogynist on the basis of those two songs, when Summerteeth eventually clicked for me a couple of years later I read these songs as painful, yet articulate expressions of alienation, misanthropy, loneliness, regret and shame. It’s an album suffused with this stuff – the rough contours of existence.

Emotional maturity and intelligence is critical when dealing with this kind of work. This is primarily the reason why Leonard Cohen’s still mistaken for a wrist-slashing sad sack, when in actual fact the melancholy and torment isn’t always a literal reading of the artist’s state, especially when it’s accompanied by daubs (or smears) of humour, self deprecation and – in some notable instances – outright piss-taking.

When I first heard Summerteeth I simply wasn’t ready for it. I wasn’t old enough for it and the weight of the world, which was crushing me made it too difficult to bear and appreciate fully. That said, it’s still an album that’s been with me since I first heard it. It left an impression on me, so shocking and profound that my body literally rejected it (I think throwing the CD across the room counts here). But when it did eventually creep its way back into my life, it seemed miraculously compatible with everything going on with me at the time. Sure, I was still depressed but thank goodness I was a little smarter!

 

What’s Happening #8: Therapy Part III, or How I Learned To Love The Fact I’m Not Very Good At Certain Things And Stop Worrying

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Is this the final instalment of my 2017 trilogy of exestential despair? I’d like to hope so. It’s not so much a case of the energy and time required to write stuff like this that concerns me, but rather the scale of anguish and torment that feeds the material. The last 12 months have by far been one of the more stressful and ridiculous passages of my life and with the financial year clocking over into the second half of the year, I’m set on making the rest of this weird year more enjoyable for myself and those around me. I feel okay right now.

However.

Three weeks ago I was hunched over the toilet bowl in my office bathroom throwing up my lunch as discretely as possible. Following this, I splashed water on my face, walked back to my desk, slumped in my chair and stared vacantly at a spreadsheet. It was stuffy and too warm in the open plan and the weak afternoon sun angled itself unwelcomely across my desk making the situation even more intolerable. There was nobody (and rarely is anyone) in the open plan aside from a box containing a plastic Christmas tree, stacks of folders and vacant desks covered with a light film of dust and grime. Unfortunately, inanimate objects aren’t going to casually read your body language and make suggestions. So, I got up from my chair, gathered up some spare change, left the office and bought a bag of nuts from a vending machine a short walk away. I got back to my desk, felt panic arise again and desperately tried call my gut’s bluff. The inanimate objects remained unmoved. This was a thoroughly miserable time.

Prior to my body needing to hurl out of irrational panic, for the past month I’d been knotted up with all manner of anxiety, frustration, stress and depression. Along with the other things going on my life (buying a house, playing gigs, etc.) since last September I’d been holding down a finance role at work – a reasonably daunting  prospect given that I’d only had cursory experience dealing with financial things in my previous, more project-related role. Initially I’d gone into the role with gusto and motivation to get across the tasks, responsibilities and processes as efficiently as possible and do the best job I could within a 12-month term. Fairly quickly things started going awry and I struggled to keep things on a level footing. There were a few reasons for this – firstly I had to relocate to the city; not a biggie, but the pressures associated with a new environment and building rapport with a bunch of new people took awhile to adjust to. Secondly, I had to get acquainted with a new team, who were geographically scattered across the country and compounded what began as a discrete feeling of isolation eventually sliding into deep lulls of lonliness and an inability (and occassionally reluctance) to communicate or ask for help.

It’s important to note that when I started the role I was holed up in a private office in one of the more dismal areas of the building. Intially I was excited about the prospect of having my own space and relished to opportunity to scribble stuff on whiteboards and spread paperwork out everywhere, not to mention the luxury of cranking some tunes with the door closed. But of course the benefits associated with a private space aren’t going to amount to much when there’s a distinct lack of natural light, a non-ergonomic desk layout, horrid peppermint-coloured decor and a crowd of voices in your head chanting: what the fuck are you doing here? Thank goodness the end-of-year break was approaching with three weeks to get my head together and recalibrate things! Things would better in 2017 I whispered repeatedly to myself.

If only the three weeks off had been a little more relaxing. Don’t get me wrong, two weeks in Thailand with family was mostly lovely, but if you’re like me eventually you end up loathing the seemingly constant doing-things-by-committee approach with a group of people and spending most of the last four days of the vacation glowering in your room drinking beer, writing sad songs and listening to Morrisey. The husk of your former self who declared on the first couple of days, “this is the greatest time of my life” is now seated on a lurching ferry filled with horrible tourists and you’re desperately longing to find a quiet pocket of the universe to be left the fuck alone. The final week of my break was spent at home and was relatively quiet and relaxed, but I wished I’d spent less time drinking and becoming obsessed with Myer-Briggs personality tests (often dangerously at the same time) – its results uniformly pointing out that the worst possible career options were aligned with a) finance; and/or b) selling cars. Supplanting the notion into my head that one of these vocations was a horrible fit a few days shy of returning to work struck me as both timely and a bit foolish.

Whilst the intervening six months haven’t amounted to complete disaster and there have been rays of sunshine here and there, I’ve arrived at this point where I could swear there are about a dozen dead versions of myself dumped somewhere that had fizzled out at given points only to be replaced by a slightly more broken and inferior version of myself. A bit like successive models of smartphones with cheaper components, incompatible cables and a propensity to freeze or shut down at inconvenient moments. I’m certain several of my work colleagues are now convinced I’m on track for a monumental mid-life crisis and will spend the rest of my days shacked up in a monastary. As Howlin’ Wolf once put it, “I’m goin’ down slowwwwwww”. If Hubert Sumlin was there in the corner of my office playing searing lead guitar whilst the Wolfman wailed away, that would have been the perfect sonic accompaniment to the spectacle of me at my desk on a given day: nervously jumping at the sound of the office phone ringing, clutching my head in my hands, moaning quietly, and – yes – throwing up in the toilet. The blues come in many contextual shades.

The other day I had a conversation with my manager reflecting on the past nine months in the role. Like an incompatible couple self-mediating we both arrived at the consensus that finance probably wasn’t the best fit for me and resolved that I’d be going back to my old role in a month or so. I’d arrived at this conversation more relaxed than  expected since I’d already been tipped off by a former colleague about a week prior that I was expected to return to my old role. I have no idea if there had been talk about me behind closed doors (frankly I couldn’t care less) but upon learning this news something miraculous occurred – all of the culminative tension I’d built up in my body began to unwind and my head felt as if it had been immersed in a cool body of water after spending half a year in the sun. So by the time I was talking with my manager I was totally prepared for a conversation that went along the lines of: “you’re not really that good at this are you?”; and “I think it would be best (for everyone) if I got out of here”.

Although I felt a bit numbed after the meeting, I still knew I was making the right decision. And if it means I’ll no longer be coming to work knotted with anxiety and gifting my meals to the alter of the toilet bowl on a regular basis, I’ll take it. This old role is a good fit for right now – a bit of familiarity with a few things that have changed here and there. I think it will be a very welcome stop gap in the short to medium term. Better still, I won’t be bringing my work home with me like a pair of stale underpants that constantly evade the washing machine. That reminds me, I need to do some washing.

The moral of this tale? Don’t do things you’re not good at if it makes you continually miserable.

So – and I say this with a degree of trepidation – I think I could be out of the knotty woods.

What’s Happening #7: Ode to geography, SID and 64 kilobytes

 

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c. 1987 with my brother, Sean.

So far these semi-regular instalments have featured commentary and rumination on activities, projects and my general state of mind. Whilst all of the posts so far have been grounded in the present day, I’ve been surprised how retrospective they have become in some instances – drifting back as much as ten years or so. This isn’t necessarily how I planned it, but it’s been an interesting process to go through and oddly therapeutic at times. It’s also interesting given that I haven’t written on such a regular basis about a bunch of different things ever. At times it feels like I’m writing disparate sections of a future memoir. A common theme that I’ve identified across the six posts – which all deal with my creative practice – is seeking a contentment with what I’ve done so far whilst looking for some kind of pathway to lead me out of this protracted period of creative uncertainty and doubt. Therefore, in this instalment I’m not going to dwell on something I’ve done in the last ten years and instead interrogate a couple of things that interested me as a child. Increasingly I find I’m tracing lineage back to the early periods of my life and reflecting on just how critically things like geography, silence and space, technology and music informed many of my interests over the years.

This time around we’re going to pull anchor, catch the wind and slip back into the mists of the 20th Century. 1987 to be exact.

Cottage lyfe

I was six years old at the time. We were living in my hometown of Normanville in a cottage at one end of Field Street. Our living room was made up of a pot belly stove and furnished with a couple of huge patterned velour armchairs. A similarly vintage lampshade hung from the ceiling, covered with a brown tapestry with long string tassels hanging down. Guitars hung on the walls. The carpet that covered the room is etched into my memory – an uneasy rhythm of lurid red, blue and green splodges floating on a black background. Our television was a small colour screen encased in a off-white plastic shell with various dials and knobs. I recall watching news footage of the Chernobyl nuclear disaster around this time, as well as episodes of The Goodies, Dangermouse and Doctor Who. To further reinforce this nostalgic onslaught, a Commodore 64 personal computer took pride of place next to the television.

Computer Age

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Touted as being the ‘best selling computer in history’ the Commodore 64 was ever present in my childhood. Back in these days you could route such a computer into your television, so often I’d be seated a few inches from the screen steering clumps of pixels across the screen with a joystick. This could be my memory playing up, but I distinctly recall a couple of episodes of  light sunburn from prolonged exposure to the screen.

When I wasn’t scorching my retina or getting flustered by a game designer’s tendency to not thoroughly debug a program (causing regular crashes), I was really into Cyclopedias, flags and maps. My parents had been purchasing a set of small volumes which came out every week; they were hard-bound with silver covers and a big circular image featuring anything from a camel, a test tube or a guy working on an oil rig. My favourite part of the volumes was the entries on countries, particularly European countries which I was fascinated by. Each of the entries in these volumes would feature a written description of the country, its flag and a map detailing cities, roads, rivers and symbols representing prominent industries (oil, manufacturing, agriculture, etc.) Think of this as the 1987 equivalent of Wikipedia. I also had a large world map with flags framing the border. I took pride of place on a desk in the front room of our house where I would often draw pictures of the Eiffel Tower and the Leaning Tower of Pisa.

LOAD “*”, 8, 1

Around this time, my mum bought me a new game on cassette which – in spite of the reservations she had with me spending so much time at the C64 – she thought would be vaguely educational. The artwork on the cassette case featured a cartoon of a mole leaping into a bi-plane whilst being chased by a couple of police officers.

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By 1987, the Commodore 64 was still a leader in the low-end market, though the limitations of its 64 KB of RAM and 16-colour graphics palette restricted what was possible in a steadily expanding computer and videogames market, with the newly released Commodore Amiga already beginning to exceed the capability of the C64. In many respects, 1987-88 represents the bell curve of popularity and innovation for the C64, with many of the games from this period (The Last NinjaCalifornia Games, The Giana Sisters) pushing the limitations of the C64 as far they would go in terms of handling content, gameplay, memory, graphics and sound. It’s remarkable just how well something like The Last Ninja (1987) holds up in this respect – a beautifully crafted game.

By virtue of attempting to keep up with the innovations led by Amiga, Nintendo and Sega, the bottom steadily fell out for the C64 as the limitations of the computer could not match the sophisticated gameplay and graphics of its peers and the computer gradually drifted towards niche-dom before being withdrawn completely in the early 1990’s.

Released in 1987, Auf Weirdersehen Monty consisted of a flick-screen platform-style gameplay with its visual design carried across from the hugely successful Monty On The Run (1985) and Jet Set Willy (1984). Each of the screenshots would represent a section of European country, sometimes incorporating landmarks unique to the country into the screen’s architecture. The visuals were also really trippy too. I’m fairly sure that blinking eyeball in the screenshot below is a nod to the Spanish filmmaker, Luis Buñuel.

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Ah, Spain! Don’t take that bottle of wine – it’s dodgy stuff.

Nowadays we take story arcs for granted in videogames, but in 1987 I guess this was fairly unique. The action in Auf Weirdersehen Monty picks up from where Monty On The Run left off. Monty’s story began back in 1984 with Wanted: Monty Mole where following his intervention in the British Miner’s Strike (yes, really) he’s hunted by authorities and by the time of the following year’s Monty On The Run we’re guiding him through buildings and sewers, eventually culminating in a dangerous high-speed car ride to reach a boat in time. At the opening of Auf Weirdersehen Monty he’s beached himself at the Rock Of Gibraltar and we’ve got to help him cash up across Europe and avoid death so that he can buy a Greek island and live the rest of his life in sunny exile. Not bad for Thatcher-hating communist mole. The political overtones don’t end there. This was 1987 after all, so Germany is split down the middle – the glitzy West on one side and the otherside resembling the backend of a toilet. Very subtle. The game is memorable in so many other ways – by taking a bottle you become drunk and walk the wrong way, Monty breakdances in Luxembourg, there’s a chairlift to catch in Switzerland, you can repeatedly murder your evil doppelganger in a biplane and there’s a parade of surreal shit that makes no sense whatsoever from Italy to Greece (via Czechoslovakia). As was par for the course with a majority of sophisticated C64 games, Auf Weirdersehen Monty is ridiculously difficult. In certain parts of the game (especially in Italy and Greece) a lazy twitch of the joystick will lead to repeated death and it’s GAME OVER, BRO. Then you have to start all over again. Adding to this is the precarious requirement of taking various items back and forth across the continent in exchange for money – again and again. Saving progress is not an option. I have vivid memories of hurling the joystick across the room in frustration, breaking down into a pool of tears and being consoled by mum because I couldn’t deliver a football to Sweden.

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All of the screenshots in Auf Weirdersehen Monty making up *most* of mainland Europe. A shame Portugal and Finland missed out.

I have no idea how many hours I spent playing this game. I could never finish it and in spite of engaging the help of friends to develop various strategies and carefully sketching out the screenshots to form a big guide map, it never came to much and more often than not we repeatedly checked out on our way to Greece with a trail of bloated dead moles in our wake.

SID Love

It wasn’t just the futile and brutally Kafka-esque gameplay combined with a love of geography that kept me so engaged with this game. The soundtrack composed by the legendary Rob Hubbard (not the Scientologist) who, utilising all three-channels of the SID soundcard produced an absolute belter of a soundtrack that perfectly accompanied all the highs and lows of Monty’s traipses across Europe. Electronic drums clomped along beneath woozy synth textures with wailing bursts of (emulated) shred guitar.  I’ve already mentioned just how innovative some of the C64 programming was around this period and this carefully composed soundtrack is just extraordinary in terms of its structure and sophistication.

Thirty years on

Out of the mists and back into the present. Nostalgia can be a foolishly naive enterprise sometimes; I’ve lost count of the recent things I’ve revisited lately (mostly films) only to walk away disappointed and – in some instances – appalled. Some things just shouldn’t be revisited later in life and should instead be left to dwell within the little universe they were first encountered and experienced. Memory tints, exaggerates and smoothens the edges and everything from here looks idyllic and appealing. Our past viewed through a vaseline smeared lens. Leave it there.

Rarely though, there are exceptions to this rule and Auf Weirdersehen Monty is a case in point. This is a game in recent years that I’ve revisited (via a C64 emulator) and become lost within all over again, whilst recalling my early fascination with geography, Europe and electronic music. Despite faithful attempts I couldn’t finish the game and instead applied a cheat mode (Jesus Mode!) to evade death, cash up, successfully deliver the football and land Monty on his island thirty years on from my first attempts. Sometimes you’ve just got to give a guy a break.

 

 

 

 

 

 

What’s Happening #6: Fleurieu Drift

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Handheld mic, hat and beer at Normanville Surf Life Saving Club – April 2017

Over the past couple of weekends L and I have made our way down the coast to check out a few events happening as part of the annual Festival Fleurieu program. On the first weekend we checked out longtime family friend, Ruth Eisner’s open studio at her wonderful property, Mulberry Farm; then this weekend we checked out a couple of exhibitions and attended a concert by Margie Russell at the Yankallila Agricultural Hall supper rooms. Both trips have been enjoyable and revitalising since it’s been great to get down my hometown digs and catch up with some folks I haven’t seen in a while. This weekend also provided a good opportunity to make some more field recordings for my Fleurieu Sound Map project which is now in its seventh year.

Fleurieu Sound Map beginnings

From 2011-2012 the Fleurieu Sound Map gathered momentum with a flurry of activity as I darted all over the region with a handheld recorder in tow. This was an exciting time as I found myself revisiting familiar places and redicovering them with a fresh aesthetic appreciation. At the time I had an Edirol HR handheld recorder for my captures, and whilst it was up to task most of the time, its flimsy windshield and noisy preamp prevented me from capturing certain environments faithfully – where winds sheared over the microphone’s diaphragm, or conversely where environments were so quiet that the noise floor of the device would be the most prominent feature in the recording.

Beyond the recorder itself, I started building my own hydrophones as a way of capturing sonic activity in bodies of water. I went through a number of hydrophone variations incorporating piezo transducers enclosed within pill boxes, film canisters, shoe polish cans and on one occasion, a condom. What I realised – each time I heard the DIY hydrophone fill with water – was that I probably wasn’t up to the task of making hydrophones that are reliably water tight and that I should get around to buying some, which I did later on. Still, a couple of my inventions worked for a while and captured some nice sonic activity in water and beneath sandy substrates.

“Nancy” the hydrophone in 2012.

One of the reasons why 2011-12 was such a fertile period for skipping all over the region and making hundreds of records was because I was engaged in an art project with the WIRED Lab and Country Arts SA which would culminate in the latter half of 2012 with the National Regional Arts Festival, Kumawuki in Goolwa. Our work, Southern Encounter was a group multimedia work and my headphone installation, Echocline featured field recordings from around the region.

With this project behind me by the end of 2012, in the following years I managed to keep exploring the region and expanding the sound map, largely thanks to routinely visiting the sculpture I constructed south of Lady Bay and compiling an album of Fleurieu-centric field recordings for my 3Leaves edition, The Path Described (2013).

Five Year Itch.

Prior to heading back down south for the Festival events this month, I realised it had been over a year since I’d last updated the sound map. The last update in February 2016 included a dearth of material from a weekend in Carickalinga the previous year and a single recording made in Yankalilla during January 2016. In spite of finding time to get down to the region I was finding it to be a struggle to find new locations to capture, let alone finding reason or motivation to capture particular locations.

It didn’t help that some of the locations I found (when I had a recording device with me) just weren’t very interesting at all:

Why bother recording this location? Why am I here? Nothing’s happening at all! OK, I haven’t documented this particular location, but let’s be honest there’s nothing going on here and I believe that nothing is going to happen. I’m wasting my time here.

This was happening a lot. I’d arrive at a location with the best intentions and nothing would happen at all, or – to an equally frustrating extent – a potentially good recording where a chosen element unique to the location was clearly emphasised would be compromised by a human (I presume) cranking up a chainsaw, angle-grinder or techno album somewhere nearby. I was caught between two extremes on an axis of a) nothing or b) too-much-information – the former is a waste of everyone’s time, the latter is a blemished document.  I was becoming fed up with the whole process and the limitations of what I could achieve with my equipment on hand. I was still restricted to a handheld recorder since I didn’t have the motivation to invest in more high scale equipment due to my growing discontent with my sound practice at the time (see What’s Happening #1: Therapy for more on this.)

So I purposefully took a break from updating the sound map. When L and I went down to visit the Nude sculpture in August 2016 it was the first time I hadn’t taken my recorder with me, instead opting for my camera to document the state of the largely destroyed sculpture.

Solastalgiac

Diverging from the sound map, over the years I’ve watched the Fleurieu region change in visible increments, noticing prominent swathes of vegetation reclaiming the hills and gullies whilst conversely land is cleared and houses pop up in towns and on their outskirts. The tension between nature and human activity is particularly felt on the Fleurieu. It occasionally causes a measure of anxiety in me.

I remember the first time I felt an unease towards changes in the surrounding landscape. In the early 1990’s a large parcel of agricultural land was sold off near Lady Bay and a large scale housing development covered the hillside and a golf course was carved out of the ground. The Links Lady Bay took a long time to get going and for its first decade it looked like a geniune folly with only a few houses constructed and the golf course stalled at nine holes and situated in what looked like a cow paddock (which is what it was previously). Now, over 25 years later it has the semblance of something like what the original scale model looked like when myself and the locals saw it proudly displayed under perspex outside Normanville’s shopping centre. Elsewhere, other pockets of land have been sold away and a combination of residential and holiday houses spread over plains near the town.

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It’s a delicate topic of discussion for a town like Normanville. After all, a significant chunk of the region’s economy and employment has relied on tourism and development since the 1970s. The resort at Wirrina Cove was one of the first developments of this kind in the area. I completely appreciate this reality and that this sort of progress in regional towns around Australia is a vital component to keeping communities intact.  The Links development and its golf course are hugely beneficial to the area and it employs plenty of people including some I knew in high school. The compromise is, of course trading off bits of the landscape (and potentially the environment) for progress. Within the scope of my experience, this can be summed as a solastalgia of sorts and has comprised a large part of my ongoing relationship with the region when I was living there and when ever I’ve returned.

The term solastalgia was coined by Australian,  to describe the emotional impact on the inhabitents of a community who experience significant changes to their immediate and/or surrounding landscape. Albrecht’s case study that derived this term related to the impact felt by communities in the Upper Hunter region of New South Wales where the large scale expansion of open cut mines had radically altered surrounding landscapes whilst impacting aspects of the environment – such as the air quality and wildlife. Aside from communities’ ongoing concern with open-cut mines, unconventional gas extraction and a certain coal port development threatening the Great Barrier Reef, a significant issue for communities is the sprawl of suburban developments which encrope into native vegetation or agricultural land.

In the case of sprawl, this is what one will see as you make your way  to the western coast of the Fleurieu. From Noarlunga through Seaford to Aldinga and Port Willunga, expanses of large houses pop up, creep and rub against pockets of farmland. So again we return to that onerous issue of progress and what we’re willing to compromise for it. From the vantage of what’s been happening in and around Normanville over the past 30 years, this is small fish compared to things like the current aberration that is Seaford’s Vista development which saw a huge chunk of farmland progressively covered with McMansions and an obligatory Aldi supermarket. Enough said – I won’t go there for risk of steering this post into rant territory; my cup of tea’s not strong enough to clearly articulate where that particular thread is heading. Another time, maybe.

Thankfully, nobody is mining for coal or extracting gas in or around Normanville, there aren’t plumes of coal dust filling the air and there are no spikes in lung infections or cancer in the community. All that is really happening is that more houses are being built to accomodate growing families whilst fufilling a demand for more holiday accomodation in the area.

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Normanville Heights, as seen from the Bungala River running through the local caravan park.

When I reflect on such a thing it seems like the term solastalgia was custom built for such a dramatically nostalgic individual myself – one who is so acutely affected, moved or piqued by the slightest of change to an environment. I believe this is one of the reasons why I started the Fleurieu Sound Map – where photographic media failed to adequately document (and in some way preserve) a place, the audio option would come in.

The here and the now

Given the struggles with my mental health this year, my lifelong tendency to get so hung up on the rampant scourge of humans and their prediliction or expand their turf across and into everything might not seem like such a good thing to ruminate on, especially when I’m making an effort to clear my head of particular anxieties. However, to my suprise (and relief) I found on my recent trips to Normanville that my concerns relating to this have diluted somewhat and that I’m comfortable accepting it as more of a drift of ‘stuff that happens’. I’m cool with it – as long as everyone looks after the native vegetation, sand dunes, animals and stops pumping vile shit into the Bungala River.

 

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The places we inhabit hold a deep significance for us. We feel connected to them through memories, objects, landscapes as well as the mysteriously intangible – the things we can’t quite put our finger, eye or ear to. Familiarity and change are part of this drift. There’s such a strong poetic to a hometown and through the Fleurieu Sound Map and its various field recordings I found myself slipping further into the mystery of the town I grew up and its surrounding areas. Since it continues to change and unfold, I don’t see any reason why the Fleurieu Sound Map should end – or ever end for that matter. I’ve just got to scope out some interesting locations and wait patiently for the angle grinders to abate. Unless of course the recording emphasises the angle grinders. It could happen.

So, with that in mind there will be some new additions to sound map shortly. It’s something a little different and it may potentially raise some new questions and possibilities for this project. But more on that when I get around to posting.

In the meantime, drift on.

What’s Happening #5: Therapy Part II

WH5-TLR-Therapy

You (don’t) Want It Darker

I was just informed by my sweetheart, L that the yearly day of reckoning will be upon us once the 11th hour clocks over into midnight. More accurately but no less dramatically, I regard it as my personal reckoning since South Australia’s daylight savings ceases and the evenings are plunged into premature darkness along with increasingly colder nights and mornings. I dread this time of the year because I like daylight. I need daylight. Whatever proclivities I once had for seasonal darkness were left on the shores of a dismal coastline of seemingly endless depression. I used to relish the darkness and general climactic shittiness of the colder months. I don’t know exactly why, since I’d pretty much established an analytical framework from when I was about 16 which basically told me: “Stay inside, make a cup of tea, don’t go outside..well if you must, at least put a jacket on. It’s raining; do you care? Oh, that’s right..you’re being hard and brooding. Forgive me. You’ll be miserable when you get back…oh, fine – fuck it, don’t listen to me then.” So there I was on a given day walking along the beach in the middle of winter, occasionally it would piss down with rain. It would – more often than not – make me feel miserable, but at the same time there was a peculiar contentment to be had feeling lonely and bored whilst my shoes filled with water.

Shoot forward a couple of decades and whatever romantic notion I ascribe to walks along the beach in the middle of winter are now accompanied with a rainjacket and sensible footwear. Better yet, I don’t even get out the door and instead I make a cup of tea. Strategies!

A strategy is critical when you’re someone like me – partial to the whim of the elements, whether it’s coupled to the drift of seasonal activity or coughed up in a random spasm thanks to anthropogenic climate change. February and March are traditionally the time I lay the groundwork for segueing into not-daylight-savings-time relatively free of anxiety, insomnia and the odd panic attack. Unfortunately, this plan was scuppered by being busy and besieged by a myriad of…anxiety, insomnia and panic attacks.

You may recall the first of these long posts was written at the beginning of February this year and laid out some of the groundwork for feeling better about myself and my art practice. If someone was to read only this blog as a measure of my progress since then, you would potentially glean an impression that things have been alright, maybe even downright rosy. The evidence is there – lots of posts about engaging with own and others activities. It all seems reasonably upbeat and there’s loads of writing too (which I hope is gradually improving). The blog’s been great in this sense since it’s provided me with a point of focus, allowing me to steer my brain toward routine activities which are thoughtful and fulfilling. This sort of thing is also known by that fucking awful (awful, awful, awful) thing called ‘mindfulness’, which I equate more to a KPI dreamed up by a global HR thinktank as opposed to its supposed Buddhist connotations.

Doomed

So, on the surface of things the blog makes out that things are good, and in some respects they are. Jump over to another social media/self-publishing portal of mine such as Instagram and you might encounter the odd doomed fantasy-vision of a dystopian society. Behold:

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Look at the framing of that image. At the bottom the upper stories of a domestic idyll are ruptured by this dismal-looking building under construction that dominates the rest of the image. Desaturated completely of colour, amped-up contrast enriches the grim monochrome whilst the caption of ‘Ballardian skyline’ wraps everything in a neat little package of Depressed Chic.

Sometimes I wonder what an image like this does contextually in a given Instagram user’s photo stream. Of course it depends on whom the user is following and what other users might be posting, but occasionally I think that an image like my Ballard Building might have the chance of temporarily ruining someone’s afternoon. I’m trying not to judge here and this is a very general assumption, but a given person’s photo stream might hypothetically go like this:

picture of someone’s food >cute dog > picture of someone’s food > drink in mason jar > LOL cat > duck face > picture of someone’s food > Tristan’s picture of building in dismal monochrome > picture of someone’s food.

If the image hasn’t ruined their day then that’s excellent; I didn’t set out to purposefully ruin someone’s day. But, perhaps someone dwells briefly over this grim image and thinks to themselves, “wow, that guy must be really miserable”, the cogs tick over in their head and they proceed to unfollow my profile out of self-preservation because they don’t want to see shit like that in their feed. That’s totally fair enough. I must admit that  hypothetical photo stream description of mine above lays out a barely veiled contempt for all things food porn, cute dogs and mason jars. Who am I to judge if someone doesn’t like a photo of some fanstasy-dystopia? I despise mason jars. Each to their own.

Therapy Redux

I’ve veered a bit off track here. What I’m trying to suggest here is that in spite of the good stuff broadcast on this blog, there’s been a lot of grimness occupying my mind for the past couple of months. That domestic idyll in the picture is the blog, the ugly building erupting in the sky and ejaculating bad vibes into the air is pretty much everything else that’s been going on. Whilst life has remained relatively coherent and I haven’t overexploited my partner or friends patience and generosity, it has felt at times as though I’ve been losing my mind completely. This is why I haven’t been able to make a plan for dealing with the dreaded seasonal drift since I’ve been cracking up, recovering, analysing and making the best effort not to crack up again.

It’s been (or it’s felt like) a lengthy process of taking steps to get to a relatively safe position where I find myself now.

First of all I moved out of my private office at work and back into an open plan space. That worked wonders. I’d always fantasised about having my own office and shortly after my relocation into the city I jumped at the opportunity. I could get past the horrid early 90’s pastels that covered nearly every surface and the meagre slither of natural light entering the space because I had my own office. Since moving out of that space I’ve had conversations with fellow staff about the office and barring one exception practically everyone who’s occupied the space had to get out of there. I’m not supernaturally minded but I do enjoy spooking myself from time to time. Realistically, the problem was that I was learning a new role in an isolated space with minimal natural light and shitty decor, however I can’t get over the fact that there were some seriously bad vibes in that office. Note to self and anyone else: don’t work in dismal offices by yourself when your trying to learn a new role. It will fuck you up big time.

The second thing I did was arranged to see a councillor via work to talk through some of my issues. This is something I did once before a few years ago and mostly hated the process. I mostly hated being given homework to do. Thankfully, this current counciller hasn’t given me any homework to do and instead we talk through various issues pertaining to stress, anxiety and maintaining a work/life balance. If that sounds dry, it mostly is except this counciller actually has a personality and by the end of the first session we were already waxing broadly about the state of the global economy under Trump’s presidency and the virtues of Brian Eno’s ambient music. This might just work out and I do feel much better as a result of attending these sessions. Hooray for work who are completely subsidising the cost of this experiment, including the tangential waffles off-topic.

The third thing is a bit more multi-tiered and relates to improving aspects of my day-to-day diet and fitness. I ride my bike to work everyday and walk a fair bit to get around the place. This is one of the huge advantages of living so close to the city. So whilst I wasn’t putting on weight or remaining idle for long stretches, in the pits of my recent blues I found myself eating more bad stuff and drinking a lot more (thanks, Festival season.) So I’ve sorted that out to an extent and have curbed my booze intake marginally, though this is still an uncomfortable work-in-progress since I really, really like drinking wine. A critical workaround for this compulsion to eat bad food or drink a bit more than usual is to question why you’re doing it. If I find myself hankering for something deliciously fried, then I should be asking myself: “Do you really want this?; do you really need this?; Oh, don’t make me digest this…please.” At that point I might eat a banana instead. By this same token, if something alcoholic is on the agenda, I will most likely be asking myself: “what is the purpose of this? To get a bit numb and distract yourself from the horrors of your existence? Don’t go there, man.” At which point I might make myself a cup of licorice tea. So that’s working to an extent.  On the fitness front, I’ve recently gotten into the habit of jogging around the local oval in the mornings before work. This is the kind of bourgeois activity that would have made me mock myself verbally in public five years prior, but it’s pretty excellent and is just the thing I need to switch my brain off for five to ten minutes at a time as I amble around the oval in a daggy t-shirt. Walking doesn’t work so well since I use my brain a bit too much. It’s better if I’m entirely focused on not passing out and keeping in a straight line.

Beating Dem Ol’ Seasonal Affective Disorder Blues

Now it’s just past 6pm and the light’s beginning to wane. By 8pm it will be virtually dark. This time tomorrow night it will probably already be dark.

I’d like to think that I’ve gotten better at adjusting to this time of the year. The chemical interactions in my brain are probably following the same pathways they were twenty years ago when this stuff started to happen. I just have a better awareness of it nowadays. I think for the first few years (maybe even the first ten years) I had no idea what the hell was going on. I don’t even think the term Seasonal Affective Disorder (SADS) existed back in the 1990’s, so how on Earth am I going to know what’s going on with me if I don’t have a label to stick on it? An accredited label at that. I need labels, boxes, categories, schematics, gannt charts and to-do lists put my stuff in, under, around or through.

Life is too complicated and I’m getting too old to follow a miserablist’s  whim which lands me in my underwear on the beach in the middle of winter shouting at the ocean. I’m past that now.

I’ll still keep taking photos of depressing buildings though because I find them particularly beautiful in my own damaged kind of way. I do apologise in advance if it does happen to spoil your day.

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What’s Happening #4: Big Red (2007-2017)

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Continuing the recent trend of looking back at past work and its intersections with present activities and preoccupations, I thought that this time around I would return to where I found myself approximately ten years ago.

This is essentially a post about how a teapot salvaged my Masters degree and went on to form the basis of an installation work that I’ve presented a couple of times over the years. The teapot in question began its sonic journey ten years ago and has been used in conjunction with loudspeakers, microphones and other electronic paraphanalia more than actually brewing tea. This was to be its fate.

Trust in Crate.

To set the scene it was mid-March 2007. I’d arrived in the morning at Sebastian Tomczak’s parents house in Brighton carrying my Tascam 424 Portastudio and a milkcrate full of non-musical objects. The milkcrate and its contents were an important component of this visit. In 2004, Seb hosted the first Milkcrate[1], a music project he devised whereby participants are required to create music using only the contents of their milkcrate over a continuous 24-hour period. I’d participated in the second Milkcrate which was held in the Brighton scout hall in January 2005. That was a strange experience. I’d recently come off a particularly humiliating break-up and had spent a good week shacked up in my room not speaking to anyone. By the time I arrived at the scout hall on a sunny January morning I was having tremendous difficulty verbally communicating or acknowledging anyone present. Eventually I loosened up and got into the flow of making a racket with a pair of speakers, a couple of objects and load of feedback. Good times!

 [1] http://milkcrate.com.au

By March 2007, the ‘Crate was up to its thirteenth installment and had been hosted in a variety of locations including Adelaide University, my sharehouse in Stirling and a former art and music venue, The Gallery Delacatessen. All manner of objects were exploited during these sessions – various kitchen implements, plastic tubing, wineglasses, aerosol cans, etc – with the musical outcomes encompassing a variety of styles. Where one participant might be producing a soothing ambient bed of textures, another might be rendering a monolithic slab of abrasive noise. Up to that point I’d participated in a few of the sessions with results ranging from admirable to fucking horrendous. Whilst one could sometimes attribute (or pass off) the dubious quality of their work to a lack of sleep over a 24-hour period, some of the ideas I incorporated into given pieces (in spite of dulled faculties) now seem downright inexcusable. A track from Milkcrate 6 comes to mind, a piece entitled “Carnal Pivot” where a short shrill EDM beat is followed by the audible penetration of a peach with a blunt pencil. Throbbing Gristle much?

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Some of the ingredients that made up the awful, awful track, “Carnal Pivot” (2006) Penetrated peach pictured top left of image.

I arrived at Seb’s parents house with next-to-no fruit molesting intentions and instead set my motivations on exploiting a variety of resonant objects in my Milkcrate, including a big red teapot. This is where my eventual work, Infuser took its origins.

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March 2007: Miserable, broke and making art.

At this point in my life I was pretty miserable. I’d (again) come off a break-up and was looking more worse for wear than usual. I had begun to live in a shit-brown coloured leather jacket with wide lapels and not bothered to wash my hair in about a month. I was pretty much broke with a dribble of income coming in from music technology tutoring and trying desperately to resurrect my Masters after acrimoniously abandoning it the previous year. My life was a depressed slag-heap consisting of misery, apologies and late rent, so surrendering myself to spontaneous music making over 24-hours seemed like a good idea.

Paging Alvin Lucier.

* * *

 I Am Sitting In A Teapot

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Alvin Lucier.

One of the composer Alvin Lucier’s lesser know later works is a piece called Nothing Is Real (1990) and consists of a performance involving a piano, teapot and amplification system. The title of the work derived from a line in The Beatles’ 1967 track, “Strawberry Fields Forever” and the melody which accompanies the song’s lyrics are played on the piano during the performance; albeit with a deliberate free-time feel and sustained tone clusters giving the melody a slightly disjointed, yet recognizable feel. On top of the piano is a teapot, and placed near the teapot is a microphone. Whist the pianist is playing the melody to “Strawberry Fields Forever” a recording is being made of the performance. Once the pianist has finished the melody, a small loudspeaker positioned inside the teapot broadcasts the recording of the performance. At various points the lid of teapot is lifted and this radically affects the resonant response of the piano – with blooms of rich harmonics materialising from the piano’s body.  It’s a beautiful, elegant work. You can watch a performance of this work performed by Lucier below.

* * *

With my Tascam 424 Portastudio, a little loudspeaker, small microphone and Big Red I would record the sound of the teapot and broadcast its sound back into the teapot’s chamber until its natural resonance had reinforced fully. Whilst my teapot process was in part inspired by Lucier’s work, Nothing Is Real it was his seminal electro-acoustic work, I am sitting in a room (1970) that really brought my own process to fruition.

Explained succinctly, I am sitting a room consists of a performance work which involves spoken text and two recording devices. Following the initial recitation of the text, a recording of this is then broadcast back into the performance space – whilst being simultaneously re-recorded – until the natural resonant frequencies of the room are reinforced.

The spoken text also operates as a score:

I am sitting in a room. Different to the one you are in now. I am recording the sound of my speaking voice, and I am going to play it back into the room again and again until the natural resonant frequencies of the room reinforce themselves. What you will hear then, are the natural resonant frequencies of the room articulated my speech. I regard this activity not so much as a demonstration of a physical fact, but rather to smooth out any irregularities my speech might have.

Depending on the dimensions of the room, a performance of Lucier’s work can take up to 40 iterations of the process of broadcast/re-recording until the natural resonant frequencies are reinforced. Applying this process with the intimate confines of a teapot streamlines the iterative process considerably whereby the resonant frequency of a teapot can be established over 3-5 repetitions of this process.

The process utilized in I am sitting in a room is similar to the process of photocopying the same thing over and over again. Imagine you have the front page of a newspaper consisting of a header, headlines, some images and a bunch of text. If you make a photocopy of this material and then proceed to photocopy it again and again, gradually certain elements of the material will become indistinguishable from their original source – losing aspects of their detail and semblance – and eventually becoming a homogenous blot of ink.

So I went to work: hunched over the teapot, making sure the microphone was positioned appropriately within its chamber and placing an appropriately sized loudspeaker in place of the teapots lid. Four to five iterations of the process of recording/broadcasting brought the Big Red’s voice out.

Big Red salvages Masters degree

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April 2007: First proper recording of what would become Infuser. Electronic Music Unit, University of Adelaide.

 In the past couple of weeks I have re-activated my status as a post-graduate student at Adelaide University. Though I had considered my life as a student to be officially over after last year’s debacle, a handful of people managed to coerce me back into the fold. The research on Alvin Lucier re-commences!, complete with rocks, teapots, stairwells and the University’s resources at my disposal. The provisa [sic] is of course I am undertaking my study as a part-timer and I won’t complete my degree until around December 2008. This means plenty of research centric posts over the next 18 months. Hooray for you dear reader! (blog post, 29th March 2007)

Enthused by the results of this Milkcrate session, the following month I booked a studio at the Electronic Music Unit and used my MiniDisc recorder, microphone, an amplifier and ProTools to replicate the process.

A key aspect that distinguished the teapot process from the one utilized in Lucier’s I am sitting in a room was that the teapot process didn’t begin with a voice or any other sound, rather it began with silence. This was one of the most compelling things about exploring this process during the Milkcrate session; hearing a resonant voice coaxed out of seemingly nothing. Of course, there was something there, and within the context of the Milkcrate session, the activity of fellow participants in adjoining rooms of the house and street traffic could be heard on the periphery of the teapot’s quiet chamber. Over a couple of repetitions of the process, these incidental sounds would dissolve into a harmonic texture consisting of several perceptible harmonic frequencies.

Obviously, the architecture of a room differs significantly from the inner chamber of a teapot, so the complex acoustic properties of the teapot’s interior made the process of coaxing out and reinforcing resonant frequencies an occasionally delicate affair. For one, I needed to dutifully monitor the volume level from one iteration to the next as the unpredictable harmonic response within that little chamber would cause frequencies to amplify significantly and materialise in all their ugly distorted glory. Rather than being frustrating, this instead became a way of learning how to bring out the teapot’s frequencies effectively – a tweak of the volume here, a slight attenuation of middle-band EQ there. Later on, when I would put Big Red with other teapots for an ‘ensemble performance’ I would need to learn how to play other teapots of various dimensions and materials. Every one is unique in itself. I’ve found that porcelain teapots are the most manageable during a recording process, whereas thin metal teapots are an absolute nightmare to get anything worthwhile out of[2].

 [2] In 2007 I acquired a bunch of about 6-8 metal teapots from the 1950s. Whilst they were aesthetically interesting from a visual point of view, they were absolutely useless for furthering my research. Later that year, I was packing the last of my possessions for a move to a new sharehouse I decided that these teapots were not going to join me on the next stage of my life. As it was very late in the evening and being a bit wired by the whole moving ordeal, I took the teapots down to the nearby beach, arranged them by the water’s edge and let them be taken out by the tide. This is (now) known as littering.

Installations

By around 2008 the teapot process began to find form as an installation work which I had called Infuser, the title being a poetic reference to the process of brewing tea leaves which I also considered an appropriate analogy for the technical process of reinforcing the resonant frequencies of the teapot.

I can’t recall the exact background, but in 2009 I was invited to participate in a group exhibition at a newly established artist-run gallery in North Adelaide. The exhibition was called The Art of Tea and featured work from painters, ceramicists and sculptors. The exhibition seemed like the a perfect opportunity to present my work to the public for the first time. Three teapots featured in this version of the work.

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A couple of years later I submitted Infuser for the 2011 Format Festival and it was exhibited  in the front area of the Format venue in the Adelaide CBD. Seven teapots featured in this version of the work.

For each of these installations, I sequenced the looped playback of each of the channels so that there would be a fade-in and fade-out of the resonant frequencies, followed by a silence. I made each of these sequences at different lengths so that when each of the recordings began a new loop they would fall out of phase with each other creating different tonal and textural patterns. Obviously, the more teapots that were introduced the more complex and varied the patterns became. This was certainly the case of the Format installation.

Infusing the present

Infuser hasn’t been exhibited since the Format installation in 2011 and as other projects have taken priority in the following years, I haven’t really had an opportunity to revisit the work. I did utilise a very similar process to the recording of the teapots for my work, Five Voices (2015) where bottles of different sizes were recorded in a manner so as to reveal their resonant frequencies.

Where I had previously begun the recording process with silence, by this point I had discovered that it more favourable to begin the process with an impulse (similar to Lucier’s spoken text) as this allowed the subsequent process of re-recording to be a bit easier to manage in terms of volume, equalisations and following the behavior of the resonant response with each iteration. Since I didn’t want to use anything readily identifiable or dynamic as a voice or instrument, I used a clip of continuous white noise that would serve as a consistent acoustic impulse for the resonant frequencies to reinforce themselves around.

So, what’s happening now? Well, Big Red’s currently in the upstairs studio joining a few of the others for some impromptu jam sessions. There’s nothing to present as yet but I’m pleased with outcomes so far – it’s been lovely to reacquaint myself with this work and hopefully there will be another installation sometime in the future.

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March 2017: From left to right: Big Red, Neko, White Ghost and Iron God.

Reflecting on Big Red, I tend to regard this teapot as I would any other musical instrument. Much like a guitar, it’s symbolic of various artistic and social activities over the years. It also wears the marks of usage with a couple of scratches and a very recent chip near its spout. It’s imbued with good memories and long may it continue to be there as a familiar and reliable presence in my practice.

Having said this though, every teapot is significant whether it’s used for sound art or conventionally making tea for oneself or good company. As an object, teapots can possess a deep personal significance – tied to aspects of domesticity, socialising, ritual and aesthetics. These are broader and potentially interesting threads to follow, but that’s something to explore another time. The tea’s getting cold.