Hello So, we’ve made it in the second month of the year already. Cause for celebration! Again, I’d dearly love to be sharing with you news of forthcoming shows and more, but that’s seriously lacking unfortunately, as indeed it is for most creatives at present. However, I do always seem to have lots of news to share!
My album Trawl was released officially on Friday 5th February on my Bandcamp page. You can currently hear the album on all streaming services from Apple Music to Spotify but there’s only one place you can buy the full quality high resolution files! At present, it’s still stuck at Customs in Moscow where it’s remained since 21 December 2020. I learnt this week that post to the UK will resume from February, so let’s remain positive that it will arrive in time for the launch too. The album features the four original mixes released on vinyl in 1996, plus four unreleased mixes (30+ mins of music), with remixes from Mick Harris (Scorn/Napalm Death) and Bill Laswell (Material/legendary music producer). It’s a very dense, dub oriented, beat driven release so get ready to tap your toes. Read more about it here.
I’m thrilled to present new music on this exciting musical tribute celebrating the 50th Anniversary of beloved poet Allen Ginsberg’s “The Fall of America: Poems of these States 1965-1971.” It was released on Allen Ginsberg Recordings on 5 February on digital, and then on 4 June on CD and vinyl. My new work Elegy for Neil Cassady kicks off the release, followed by new pieces from Ed Sanders, Yo La Tengo, Shintaro Sakamoto, Angelique Kidjo, Thurston Moore, Lee Ranaldo, Handsome Family, Devendra Banhart, Bill Frisell, Andrew Bird, Mickey Hart and many more. Follow this link for more info.
All proceeds from the sale of this album will be donated to HeadCount.org promoting voter registration and participation in democracy through the power of music.
Bandcamp continues to be a place where I offer more exclusive works. As always, there are special treats for Fans only, who will, as always, receive all new releases immediately on release included as part of their subscription. Last month I added Riff for fans only, a score for a special dance work with choreographer Matthias Sperling. And Voicelab, a work originally created to be performed at the Norfolk and Norwich Festival in the UK in 2007, but circumstances came to be that meant it never happened. I just found these in the archive and was pleasantly surprised by them, having not heard them in 14 years now. They were intended on being recorded with a live choir, so these two works feature the same voices that would have been singing them live too. What a pity indeed.
I also added two more rare back catalogue items, including Correspondence: Auguste Orts Film Soundtracks (2008) and Flower Echoes (2005). Corrrespondence compiles the series of soundtracks I produced to accompany an exhibition of works by the August Arts art collective from Belgium in London in 2008. Flower Echoes was commissioned by the British Council China for Guangzhou 2005, as part of their Sound and the City project, alongside works by Brian Eno and David Toop.
I’ve always tried my utmost to support the output and creativity of others and in recent years have begun using Instagram not only as a way to display endless photos of me with hot supermodels on beaches, but also to enthuse about the work of others. I just wrote an expansive feature on the American composer Charlotte Moorman. The story of Moorman (1933–1991), cellist, performance artist and festival producer is a compelling tale of riches to rags, a lyrical and yet heart-breaking inversion of the typical coming of age narrative. Frequently known only as the “topless cellist,” Moorman was a rule-bending polymath, who advocated for the most experimental art of her time.
However, despite shaping how we experience art and performance today, her own work has sat critically undervalued in the archives, avoiding critical attention or analysis until recently. Moorman was a rule-bending polymath, who advocated for the most experimental art of her time. Here are some thoughts on her. Read all about her here.
I also wrote an extensive feature on the work of Max Neuhaus, whose inspirational projects truly launched me into making much of what I do today! Composer and artist Max Neuhaus (1939-2009) alerted us to the vibrations of the world around us in unique ways. Abandoning his successful career as a solo percussionist in the last 1960s, having toured with Boulez and Stockhausen, packing away his one thousand kilos of instruments, he went on to pioneer ideas of ‘sound installations’ and interactive art forms with a social context. For him, space as sound was a primary force.
He entered my world when I was 19 years old when I happened to pick up a flyer at Riverside Studios, a cultural arts centre in London, where I would chance upon so many revelatory works. It was there that I first experienced Brian Eno’s visual light installations, saw Glenn Branca live (twice) for his first UK shows, the dancer Michael Clark, Anthony Gormley sculptures, and later wandered the streets aimlessly in a vain search for Samuel Beckett who was in town rehearsing for one of his plays. I’d seen rare images of him in the press and hoped that somehow his tall shadowy figure might just pass me in the street, if I hung around just long enough! Read more about him here.
This rather unusual project just launched, which features music of mine in the following film. Transitstation is an ongoing international exhibition-as-live-art event featuring performance art, music, experimental electronica, physical theatre, poetry, video, mixed-media projection, installation, interactive performance, fashion, lectures, workshops and interviews. Phew!
The exhibition-as-event is a work of art in its totality comprising 24-hours of non-stop artistic actions in two 12-hour segments over the course of a weekend, culminating in EduAction Day, with lectures, workshops and debate on the Monday immediately following. More on this here.
Downtime has at least offered more playtime in the studio and I’ve been offering up all kinds of light sketches from the studio. Here’s a little sonic and rather cinematic adventure with the Phenol synth.
And creating music using light as the source is such fun too. Here’s an experiment using this ADDAC instrument that allows me control the sound by switching the light on and off.
I’ve always loved extended contemplative music, which can accompany other mundane work like accounts, so I created this work with the strangely named Wing Pinger. It has frequencies so very low that I recommend you listen on speakers or headphones and then you can feel the music move your entire body!
Looking back through my own archives I have a huge array of video works and interviews and intend to upload a lot of these to YouTube in the next months. First up this month is Low Membrane. This was created by Hänzel & Gretzel in Belgium in 1998. Hänzel & Gretzel was the pseudonym of Daniel Mangeon, video artist, author, maker of music videos, television director and image dresser of all sorts, who tragically died in 2000 of AIDS at the age of 34. Read more about Daniel here. Watch the video here.
I’m currently working in the studio mixing and mastering an album of songs with British singer Sally Doherty which we originally wrote over a decade ago, but agreed that we felt it was something that should be shared with the wider world. This should be out soon. And plenty more of course. You know how I just can’t rest creatively, at least!
Thanks for your support!
::: listen :::
Tim Story: Threads (Dais)
Abul Mogard: In Immobile Air (Ecstatic)
Bernard Szajner: Some Deaths Take Forever (Cortizona)
Thys/Amon Tobin: Ithaca (Vision Recordings)
::: read :::
Brian Dillon: In the Dark Room (Fitzcarraldo)
Electronic from Kraftwerk to Chemical Brothers (Design Museum)
Nick Drake: Remembered for a While (John Murray
)Stephen Morris: Record Play Pause (Constable)
::: watch :::
The Public Image is Rotten: Tabbert Fiiller
The Undoing: Susanne Bier
La Prisonniere: Henri-Georges Clouzot
The Brass Teapot: Ramaa Mosley