I’m very happy to share a new piece with you all – it is called Baltazar’s Adventure through the Great Machine. It was commissioned by Kelham Island Museum and Arts Enterprise, Sheffield, and responds to the various sounds recorded on location. Since those sounds were mainly of substantial engines and machines, my piece imagines the adventures of Balthazar – a miniature character who is journeying through a great steel engine.
Get your headphones out – I have a new binaural mix of my monstrous 40-minute, 10-channel piece based on the number 10 Billion. It contains 10 billion sounds, but I’ve been unable to produce a meaningful stereo version… until the visit from the GRM last week, where they showed me an adapted spaces plug-in, which allows any number of simulated channels to be mapped to a binaural mix. I’ve just pasted an excerpt on soundcloud (the whole to follow in due course):
Last week, we were very happy to receive a visit from Philippe Dao and Emmanuel Richier from the GRM. In addition to being unbelivably lovely people, Philippe and Emmanuel presented on the history of the GRM, the interest in space, and the purpose-built space tools. They also presented some recent works in a small concert. Here are some photos of them during the event:
Adam Stanovic was born in Leeds, now has residency at Sheffield. Here he is with Ténébrisme(IMED 18153) 1 showcasing very recent compositions 2015-17. He exhibits the now-commonplace concerns with transforming musical instruments, pieces of metal, audio travelogues and such like, but his feisty essays indicate he is trying to challenge the received wisdom of contemporary electro-acoustic music, expressing a certain frustration with over-used tropes in the genre. A dull-witted noise-lover like me can certainly dig his roary pieces, which have a lot more fire and chaos than we’re used to in the field; plenty of tidal waves of digital information surging and rebounding around imaginary spaces like titanic forces, sometimes with quite shocking dynamics, cut-offs, and wild timbral shifts. Ctrl C, Metallurgic and Inam all have this rather threatening density to them, and Foundry Flux is as alarming a portrait of Sheffield’s industrial past as you’re ever likely to hear. Bonus points too for composing a homage piece to Beatriz Ferreyra, the Argentinian wild lady of electro-acoustic music.
I’m very happy to have been invited to perform my large-scale piece – 10 billion – at Sound IN Space (SINS) at The University of Derby. I shall be giving a talk about the piece in advance of the performance, focusing particularly on space and the approach to form. Should be a lot of fun. For more details, and booking, visit: http://soundsinspace.co.uk/?page_id=357
Last week, I had the pleasure of delivering a masterclass and concert on the beautiful island of Corfu. I was a great experience, and I am extremely grateful for the invitation, support and help of Dimitrios Savva, Andreas Mniestis, and Nikos Kanel. Hard to believe. but the white building in the center of this photos is the music department, where the masterclass was held: