Weekly Beats comes but only every two years and since 2012 I’ve committed myself to it as a willing participant. In short, it’s a project that involves its participants to write and record an original piece of music each week for the rest of the year. I’ve never made the full 52 weeks, but since its inception in 2012 I’ve thrown myself into it in order to kickstart some new ideas or nudge along curiosities.
Let It Go takes its inspiration from two things: guitar and Jim O’Rourke. Since I’m using each month of this Weekly Beats year to explore a particular area of instrumentation/process, I thought it would be interesting to use the variety of guitars in my studio and see what would happen.
Both “Mouth Canyon” pieces anchor themselves around open/alternate tunings, fingerpicking and circular chord progressions in the style of country blues and folk. In this sense, O’Rourke’s Eureka and Bad Timing were obvious touchstones, but his earlier work with David Grubbs (Gastr Del Sol) and Grubbs own work informed the composition and arrangements strongly. They’re (to date) the most accessible tracks I think I’ve ever put on this Bandcamp page, and maybe that’s a good thing. Between the “Mouth Canyon” bookends are two more abstract pieces which again reference O’Rourke/Gastr, but listening back to them now I think they’re much closer in style to Daniel Lanois’ solo work. If you haven’t heard his 2016 release, “Goodbye To Language” I urge you to do so; it’s absolutely beautiful.
Recorded at Studio Maurilia – February 2018.
All tracks composed and performed by TLR.
TLR: voice, guitars, reed organ, synthesisers, bass, mandolin, baritone ukelele, glockenspiel, percussion, electronics, programming.
Artwork is a collage of three stills from the Nicholas Roeg films, Bad Timing, Eureka and Insignificance.
Howdy folks! It’s been a bit quiet on this blog since I’ve essentially been on vacation and taking leave from writing/posting on here. I’m getting back into the swing of things though and I’ve got a few things planned in the coming months including a couple of new ‘long reads’ and a big website overhaul. The latter project has been taking up a considerable chunk of my time – it’s a big update!
In the meantime, here’s a brand new EP consisting of my first four weeks from Weekly Beats 2018. Details below.
Summer Dreams consists of the four tracks I produced during January 2018 as Adelaide experienced weird tropical weather interspersed with two characteristically Adelaidian heatwaves. Brutal heatwaves. Ah, climate change.
Through the heat, rain, wind and storm activity, I composed these four pieces which explore elements of sound texture and density, whilst aiming to ensure degrees of space and contrast. My ongoing interest in customised percussion and field recordings (specifically spatial and locative properties) inform these pieces heavily. Then there’s the tried and true sound manipulations and iterative processes, which feature in virtually anything that I produce in the studio.
Hello friends. As this strange year begins to wind down I wanted to post links to a couple of recently assembled editions which you can stream/download/purchase via Bandcamp and Soundcloud.
The first of these is entitled Distance Music and consists of three tracks which were recorded between February and April. The intersection of time and space and the localities of sound are themes which inform these works. The two main compositions, “Fleurieu Nodes” and “Overcast in Phuket” employ improvised performance and field recordings so as to evoke an impression of place. The other track, “Chang Song” is a shorter composition consisting of two beer bottle resonances (330 ml & 700 ml) superimposed against each other, which were recorded outside a villa on the island of Koh Lanta, Thailand.
The second of the editions, Awry is a suite of four compositions recorded last week in my studio. I had been on sick leave from work for this period and decided to use the spare time (when I felt fit enough) to continue to explore the improvised collage technique I had employed for the Distance Music material. Themes of personal reflection and lucid thought inform these tracks.
You can also listen to these tracks via Soundcloud:
Thanks for dropping by and I should have my (semi) traditional EOY/Xmas release prepared later in December.
A new little release. Two new pieces drawn from field recordings made in Thailand last year and studio improvisations.
The Door Into Summer is now available for purchase at my Bandcamp store.
Purchase of the album includes the following items:
THE DOOR INTO SUMMER – ALBUM + LINER NOTES
1. This Gilded Engine
3. Swathe of Opiates
4. Artesian Pulse
5. Red Eyes
6. The Door Into Summer
THE DOOR INTO SUMMER – BONUS TRACKS
1. Mouth of Ambience
2. Deaf Bed
3. Death To Idols
4. The Last Hour
5. Sunn Fripp
LIVE AT THE WHEATSHEAF – JULY 2014
1. Infuser IV #1 (live)
2. Goyder’s Line (live)
3. Infuser IV #2 (live)
4. The Damage Over Distance (live)
5. Maurilia (live)
6. Confluence with S.H. (live)
7. The Door Into Summer (live)