Welcome to another new beginning, 2016, and many more adventures, surprises and naturally a few challenges ahead.
December closed the year in a much busier fashion than usual, with a host of rather hush-hush top-secret deadlines for projects as yet to be shared publicly, rather frustratingly at times!
I was delighted to be recently announced as a winner in a new commission to create an installation for Rijeka Airport on the island of Krk in Croatia. Supported by Music Tech Fest in collaboration with The Department for Culture, Sports and Technical Culture, I’m going to present Water Drops, a new six-hour generative music installation in the passenger terminal, which will open in the summer of 2016.
My fellow awardees are Swedish producer Håkan Lidbo in collaboration with Coldcut and sound artist Jack James for their ever-changing ‘Interactive Sound Field,’ as well as local producer Aleksandar Valencic. More on this project as the year progresses then. I will be visiting the city to work with local musicians on my work, which will be happily played through a Sonos wireless speaker system too.
A very interesting piece of writing appeared resonating on these ideas of generative sounds and music over here, that touches on some key responses to such futuristic approaches. Read it here.
For those interested in my working methods and what role modular synthesis has played in recent years in studio work, then documentation has just appeared online. Firstly there’s my walking you through my modest live set up, module by module, filmed at Bells ‘n’ Whistles, Crackles ‘n’ Pops in Peterborough. Then there’s my full live set itself, a rather risky chaotic affair as I improvised the entire set up. So enjoy watching a man gently walking across a tight-rope without a rope beneath him and gentle falling off at several points.
Just a couple of weeks later I presented my work in London at Modular101, a special day set up by London Modular to explore a conversation between makers and listeners, and again presented my set up and then performed a live set. Here’s a recording of that very improvised live set. Watch it here.
Christmas may have slipped past, but it’s never too late for gifts. Back in 2014 I presented a new work at the Museum of London Docklands, Bridging the World. My works frequently celebrate forgotten, invisible and overlooked aspects of the world we inhabit. Bridging the World was created as an ode to bridges, extraordinary structures, which we often take for granted. A river of hanging speakers took you on a journey around the world through voices whispering or reciting names of bridges and culminating in poetic and humorous stories of commutes, acts and mishaps on London bridges.
The public was invited to walk through the installation and immerse themselves in a multi-lingual world of bridges and explore the many connections they bring about. The recordings of voices were collected over the summer through the use of social networks and personal interactions with visitors at the museum so it’s always a way to collect memories from people I know and have met over the past years. So here’s a stereo recording of my multi-channel work for free download.
If you have any down time then a major feature just appeared on my work which covers so much ground it’s rather overwhelming, from composition, the state of flux in creativity and electronics, sounds and voices, the latency of sound, collaboration and so very much more. Sit down comfortably on your sofa on a quiet Sunday afternoon and dare to browse through. Read it in full here.
Stay tuned for new work too. This new compilation will be featuring new work of mine on Tiptop Records, alongside some pumping techno tunes my rather cinematic voice stands out like a sore thumb, but rather a pleasing injury to be honest. I just finished a very unique score for a new film for British artist Aura Satz that will be exhibited very soon, as well as several ballet scores. Pattern Recognition, choreographed by Alexander Whitley, will be premiered in Sadlers Wells in the UK and features a special collaboration between cellist Oliver Coates and myself in a new full evening length score, then a new work for Dutch National Ballet choreographed by Juanjo Arques to be premiered in Den Bosch The Netherlands as part of a massive celebration of the work of visionary artist Hieronymus Bosch.
So whilst it might sometimes appear that I’ve been terribly quiet then there’s actually a lot of activity beneath the surface and 2016 will be a bumper year in that respect, including my first full-length studio album in some years.
Wishing you all a very positive start to 2016.
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The Crafts Council presents Weave Waves, a digital commission, which brings together sound artist Scanner, and textile designer Ismini Samanidou.Weave Waves explores sound, geography and mapping and how this data relates to both textile weave structures and musical scores. The work features as part of a show exploring the relationship of crafts and audio.
Scanner and Samanidou were inspired by the visual and technical similarities between the digital software they both use and the physicality of code.
Artangel Interaction invited