red_robin redux

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An abundance of posts today!

Many years ago, when it came to writing and performing electronic music I used to call myself red_robin.

For a while I’d been keen to make the early red_robin albums and eps available – TiefurtStaub and Oslo. Previously, I’d had a conflicting relationship with these releases since in many respects they scream, overproductivity vs actual quality. These three releases were produced within the space of a year. Whilst there’s definitely merit and a surfeit of ideas going on, my approach to editing releases hadn’t yet been refined.

On a couple of occasions these releases had been unceremoniously removed from the web, and at worst – deleted from my computer altogether. In order to find any trace of Oslo locally I had to exhume my 2007 MacBook and scour iTunes for a copy. Miraculously, it was still there and hadn’t been sent to the trash many years ago!

On the downside, only mp3s of these releases remain so therefore they can’t go onto Bandcamp and instead have found a home over at Soundcloud. For free! I had pretty shabby standards when it came to preserving my own music in the past, and more often than not the original lossless copies were deleted. I don’t know exactly why; I can only presume I was being stupid and flippant about it.

But anyway – the albums:

Tiefurt (2008)

The only proper album of the bunch and upon reflection it should have probably been contained to probably 7-8 tracks. It’s a travelogue of sorts since the bulk of the material was composed and recorded in Germany during the latter half of 2008 – specifically around Weimar where I was undertaking a mentorship with Robin Minard at the time. Some additional work was done back in Australia. The material is fairly heavy on lo-fi approaches, blended with Plogue Bidule and Max-based processes.

Staub (2009)

This EP has a considerably more loose and improvised feel to Tiefurt. If my memory serves, I think I recorded the entire set in one day using a combination of electric guitar, turntable, Roland synth and Soundhack plugins. Very lo-fi, but a nice spatial and minimal quality to these pieces.

Oslo (2009)

I hadn’t listened to this in many years and I was pleasantly suprised by what I heard. I’d completely forgotten that recordings of my teapot work, Infuser had been employed as segues for a selection of grungy, dark drone textures and a couple of pieces which seem to have been heavily influenced by Rolf Julius. A strange work, this one.

Cheerio,

TLR

 

2016 Christmas single: “Orbit”

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When I was considering a new composition for 2016’s single I thought back to some music that I composed for an installation which was exhibited as “Orbits” within the Adelaide City Council’s concourse. This was a long-form piece consisting of layered chords from a vintage reed organ that I’d owned since 1999.

Two chords sequences of different lengths were played back simltaneously to create a phase relation and went through an additional process of subtle frequency and amplitude modulation via a EHX Memory Man and POG2 harmonic octave generator. The final piece was over seven hours long in duration and was broadcasted in the installation space on a continuous loop.

The intended reception of the installation was for the passerby to encounter a brief moment of development in the work (characterised by a texture and/or harmony) – a small moment’s encounter in a complex series of cycles.

* * *

When I think back to the period that I was composing the work it was at the beginning of 2016. Already the year had begun uneasily, yet as personal, national and worldwide events unfolded in the coming months I now arrived at the end of a year which been characterised by momentous changes; for myself and the world as a whole – a reality of Brexit, Trump, post-truth, fascism, the ruins of Aleppo, decimated ecosystems, the felt effects of climate change and countless other atrocities. I – like many others – currently feel exhausted, ragged and worn down by our teneous existence in the early 21st Century. Yet, some of us still love and care about the things that matter. If there was ever a time to be hopeful, optimistic and to passionately fight for things like facts, inclusion, tolerance, empathy, our planet: it’s natural systems and species – there’s certainly no time like the present.

* * *
It seemed only fitting to take a section of a work composed at the beginning of the year and reimagine it through an additional set of sound manipulation processes – presenting a poetic rematerialisation of “Orbits” as a single ‘orbit’ – a snapshot of a drift, disrupted and transmuted by 2016’s uneasy passages.

Here’s to the future – let’s wish for 2017’s journey to be a little steadier.

Maurilia Sound Studio: New cover artwork for Volumes 1-3 + previews for future editions

I’ve redesigned the artwork for the Maurilia Sound Studio editions – going for a bit of an old school sound library look with these.

Get/listen/stream Volumes 1-3 over at my Bandcamp page.

Volumes 4 and 5 are lined up for release over the 2015/16 new year.

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“Re imagining the mother” – Sound composition (2015)

Embedded image: element of Simone Kennedy’s “Re imagining the mother”

One of the most rewarding art projects I’ve been involved in over the past few years has been an ongoing association with the artist Simone Kennedy, where I’ve had the privilege to work closely with Simone and develop sound compositions and installation for two of her exhibitions in 2014 and 2015. Her most recent exhibition which is currently at SASA Gallery (“Re imagining the mother”) brings together work she has created over the course of her PhD. It is intensely beautiful, haunting and deeply affecting work, and I strongly encourage you to check out the exhibition whilst it is still going (until 11/9).

The source material for the composition is derived from the “Coronation Street” theme – originally composed by Eric Spear. The theme has been digitally processed so that tones are extended, whilst original pitch is maintained. The harmonic structure and texture of this rendered theme is extrapolated over four repetitions, affecting aspects of timbre and spatial quality.

Within the SASA space the composition is played back on continous loop and broadcast from two mounted speakers at a moderate volume so that it is acoustically confined to a specific area of SASA space, but yet is able to gently reverberate and diffuse through the entirety of the main space.

Great Panoptique Winter’s “Wildness” (2013) gets a physical release

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The first release from new project Great Panoptique Winter (made up of members of Pretty Boy Crossover and Hood) has been assembled part by part, from the drum loops up. The results have a delicate, frosty atmosphere. Wildness is presented in a limited edition of 200, in a handmade envelope-CDr-polaroid assemblage, on Sound In Silence.

I perform some electronics, guitar and field recordings on the release.