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 Musicand 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.
For a while there – let’s say most of 2016 and the start of this year – it almost seemed like the Fleurieu Sound Map wouldn’t continue. As several blog posts had indicated, at various points from 2015 to mid-2017 I was hugely unhappy with my creative practice for several reasons and on several occassions I felt compelled to put several projects and possibly the entire thing on ice for an indefinite period.
Well, how things have changed! I’ve overcome my discontent, and as (another) several posts have indicated I’m back with it and fully engaged with things, feeling a genuine passion for things again. Insofar, the sound map is resuming with a bunch of new and archived recordings being prepared for documentation. It’s a really, really good time at the moment and I’m having a ball getting the FSM back up and running again.
So, with that in mind here’s a sonic apperitif comprising of two new site recordings, from Ingalalla Falls and Second Valley Forest Reserve respectively. I’ve also added a bit more depth to the field notes accompanying the sites, which previously have felt a bit too concise. Follow the link below and click on Updates to find the new ones.
More is to come – I’d forgotten how time consuming the post-production process is with HTML-ing, audio uploads and pinning the things on Google Maps. I’ve got some little audio snapshopts from Parawa and Torrens Vale (done on the same road trip) and also more recent recordings from my Mum’s property which feature the new Sound Devices Mix Pre-3.
In the meantime, check out the new additions to the soundmap and make sure you also check out my new video blog covering the visits to these sites!
Since I began the sound map back in 2012, I’ve wanted to do something like this, but other things took precendence, such as the actual recording of things to put on the sound map or not really having anything to say at a given time. Well, it’s five years later and I (think I) can articulate myself a bit better on camera and combined with higher resolution technology, this will hopefully make for interesting and nice looking outcomes.
In this first instalment I visit the beautiful Ingalalla Waterfall and adjoining creek (almost entirely absent of visitors for the hour I was there) and the far more desolate and slightly creepy area of Second Valley Forest near Gate MH2.
The audio recordings made on these visits will be posted to the sound map soon.
My concert work forMax/MSP and vocoder, Goyder’s Line (2014-17) will be performed at Concert 2 (Saturday 30th September 2017, Elder Hall) as part of this year’s Australasian Computer Music Conference. Information regarding the conference and concert program can be found at the conference website.
I’ve been busy working at refining the MSP patch with a few tweaks and additional parameters. Rehearsals have begun in the studio and it’s sounding promising!
Earlier this year I wrote at length about the development of Goyder’s Line. You can find the post here.
I’ve submitted a proposal to perform my work, Goyder’s Line (2014-2017) at this year’s Australasian Computer Music Conference which is taking place in Adelaide this year. I’ve reproduced the text of my proposal/abstract below. Although I’ve regularily commented on the inspiration and development of Goyder’s Line in the past on this blog, I feel as though this text perfectly sums up the essence of the work. With thanks to L for her thoughts and input.
The plains that I crossed in those days were not endlessly alike. Sometimes I looked over a great shallow valley with scattered trees and idle cattle and perhaps a meagre stream at its centre. Sometimes, at the end of a tract of utterly uncompromising country, the road rose towards what was unquestionably a hill before I saw ahead only another plain, level and bare and daunting. Gerald Murnane, The Plains (1982)
The plains surrounding the ghost town of Dawson are situated in the lower Flinders Ranges – a vast arena of ochre-coloured earth and sparse vegetation. The presence of distant hills that stretch around the plains appear to reinforce the utter stillness of this place. As if time and motion are suspended or are just inclined to unfold at their own pace. As one spends more time in this place, its unique properties are revealed. A subtle scent carried on a breeze that sends a rustle through dry leaves, the droning buzz of busy insects, the brief relief that lies in the shadows of clouds drifting slowly over the terrain and discrete rumbles that exist just on the audible periphery.
Sometime during 1865, a few kilometres south of where Dawson would be settled twenty-three years later, George Goyder was travelling across the region on horseback. Goyder, who was the South Australian colony’s Surveyor-General had been tasked with the duty of mapping the boundary between areas that received regular rainfall and those that were prone to drought. Based on Goyder’s Line of Rainfall and the subsequent report detailing his findings, farmers were discouraged from planting crops north of the line. In most instances, this advice was not heeded.
At the beginning of the 21st Century as much of Australia was enduring the Millennium Drought (1997-2009), Goyder’s Line became a point of reference for meteorologists, climate scientists and farming communities. During the drought it became evident that the line of rainfall as identified by Goyder in the late 19th Century – whilst being subsequently regarded as a highly accurate tool of analysis and agricultural planning for most of the following century – was requiring reassessment and pointed to a southward trend in light of protracted drought, shifting seasonal rainfall patterns and the impact of anthropogenic climate change.
Goyder’s original line of rainfall and a recent 21st Century revision inform the basis of this electro-acoustic work. The lines – their relative patterns and trajectories- represent the fundamental frequencies of two sawtooth waves, which are routed as inputs to a vocoder and extended effects modules. Although each of the frequencies remain distinct throughout the work, the resulting modulations reveal expansive sonorities and rich harmonic textures. At regular iterations the lines are purposefully suspended in parallel, allowing their harmonic relationship and modulations to unfold and develop.
I regard this work as an ode to the South Australian interior, as defined by Goyder’s original line and its contemporary revision. The interior, at its boundary appears as a vast, seemingly boundless space – rich with the possibility of uncertainty, terror and fascination.
Another new realease. “Nodes/Old Waters” is a meeting of sorts – a studio improvised amalgam of live instruments, Fleurieu field recordings and samples from old red_robin tracks. Listen/purchase below.