Thursday, April 22, 2021

Rough Interlude Study, Break &Week 6

Week 6 which is a break week and repetition, gravitating towards previous workings and projects, sail wind, and reinventing sequels, noonbell too; pairing with improvisation and composition, krautrock influence. No coding was done this week, rather code was used, as intended. Then week 6 which was week 6 as scheduled with a hiatus and a recording and a performance. This post will cover the events of two weeks, with details and (eventual) videos pertaining to both weeks as the work of the past fortnight was fairly continuous from one another.

A video for break week detailed below, which can also be found at this link here.


Week 6 which is break week and Monday

The first day, with a full day studio session; here lies krautrock and beginnings of sail wind for the week: drumming leading to guitar leading to vocals, resulting in  psych kraut rock jam, something that without a doubt will be sampled time and time again in my projects to come, something which I plan on working on and fleshing out into something exciting.

Wednesday to Friday

Noonbell too recorded on this Wednesday reprising noonbell one from week one, delving into the same and similar techniques and methods of recording: spoken whispers through brickwall limiting compression and tube and tape sped up so it plays back slow normally. However this time I recorded with acoustic guitar layers, added bellowing reverb in digital, filled the spectrum with air and guitars and voices and sound of overwhelming noise.

videofiller, to be placed for week 6 which is week 6 here, a recording of the performance from week 6 oscilloscape performance at alchemix

Week 6 which is week 6 and Monday Again

Week six which is week six and repeating bells. Noonbell work and more voices work and sampler words wrote Stereo Attic three... Sampling spoken abstract poem from tape with distortion and overcompression into chopped collage, destroying it further in arrangement of overlapping ideals and thoughts with produced guitar and sounds coming in and out, explosion of noise over repeating lights words. 

Stereo attic three is one of my favorites so far of this study. Abstract and slightly chaotic and it embodies what I was going for and wanting to achieve. Combining my worlds and tastes of experimentalist sound collage with moody abstract poetry with guitars with synthesizers with my own words and. I will look to continue down this path for the rest of the study and into the future. The songs and pieces I have created so far which make up what you will soon learn to be called Rough Interlude Study, Part One are much more songs and while I value them greatly and love what has come of them, especially together, as a larger body of work (and especially noonbells), the idea of cutting them up and desecrating them with methodologies I used resulting in stereo attic three excites me more than anything has so far in this project.

And as notes say,,, the work for this performance would be named  

Rough Interlude, Part One

from Friday onwards.

Friday Onwards

Friday preparation for Oscilloscape and Saturday performance, then rest. Final performance setup revolved around the Fostex playing six tracks (three stereo stems), which were routed to a mixer alongside a reverb and digidelay looper pedal. Since Birdfisher performances this past February I have been moving further and further into this area of thought, of a less traditionally involved performance: one that doesnt need all sound to be played and made live, a backing track or even a full pre-recorded mix/stems (a genre of which this Oscilloscape performance falls into) can still make for an engaging and captivating performance, for both audience and performer.   .    .    My friend Tess King has been exploring many performances of this kind recently, where she will generally perform live visuals over a fully or mostly mixed set of music, which have been some of the most beautiful and inspiring performance I've seen in so long; while I was not myself performing visuals last Saturday, they were being performed by Andrew Gibbs,  and having a relaxed position as musician allowed me to fully immerse myself into the music, rather than have to manage it. I did not perform the music, I performed as the music, I impersonated it and embodied it.

Letting these notes and words lay somewhat abstract and uncomplete, resting minds over what would be called week 7 to continue work and path towards finality over the course of the rest of this semester at university, with regular intervals and interludes and breaks and resting periods.

More words and more sounds and more performance to come in due course.


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