The nights are darker, the air is cooler and it’s another step towards the New Year, as ever rolling around faster and faster as the years turn.
I’ve just returned from Kalisz in central Poland where I closed up the 6. Kalisz Ambient Festiwal with a live set, featuring new material and freshly improvised sounds. It was a trip bookmarked by travelling, leaving home at 05.00 a.m. on Saturday and arriving in Kalisz at 15.00, then in reverse the following day returning home. Europe may be modest in scale at times but airports and security rather sadly inhibit the joys of travel these days.
My installation at Little Moreton Hall, The Dreamer is Still Asleep, finally closed at the end of October, having been experienced by close to 30,000 visitors. It was an extraordinary opportunity to share my work in such a unique environment, the oldest Tudor house in the UK, and the responses were so positive. As part of the project I ran a digital music workshop with young people where I spent a joyful day showing them how to use samplers, loop pedals and experience sound through their bodies. To watch them strap on a SUBPAC and marvel at their faces as I turned up the intensity of the bass frequencies was unforgettable. The SUBPAC is a kind of backpack speaker that transmits the sounds so that you feel them as well as hear them, optimising the experience of listening through the physical dimension of sound. Truly amazing!
I’ve been super busy in the studio recently working on this new production for Dutch National Ballet and ISH in The Netherlands. GRIMM premieres in 2018 with a massive tour across The Netherlands and Belgium and hopefully further afield later on.
GRIMM is an exciting collaboration between the Junior Company and ISH Dance Collective, and is thus an encounter between ballet and other dance forms, like hip hop and street dance. The two dance styles complement one another in a spectacular way in GRIMM, and I’m honoured to score this ambitious new work. Act One is almost finished and here’s a little teaser to offer something of the dynamic involved. Watch here.
The Great Crater has been received to great critical acclaim now, as the reviews roll out. “For The Great Crater, Rimbaud has taken the most minimal route to create some of the most compelling electronic music of his bountiful career." Last remaining copies of the limited CD are available directly from the label, but digital is available in most familiar places.
And like when you wait for a bus for hours, only to find that two arrive at the very same time, so I have a second album out in December and this is something very special indeed.
With a catalogue busy with commissions, soundtracks and strange projects this is my first studio album since 2009’s Rockets, Unto the Edge of Rockets (Bine Music) and a return to albums like Lauwarm Instrumentals in my mind. In this time much has changed – I lost my entire family and left the comfort of a familiar city, London, to live in a former textile factory to re-invent my life.
Fibolae offers up a world that splinters between melancholia and penetrating energy. Opening with a blindingly aggressive percussive attack, then moving through sinuous snake guitars, harmonic rhythmic melodies and cinematic passages, it’s an epic little journey.
Combining digital technologies, software and live instrumentation Fibolae is both a rhetoric of mourning and a celebration of music to empower. Warm, organic, sensual, passionate and frequently angry, it’s an album that radiates with possibilities and arguably one of my most personal releases yet. It’s out on limited vinyl on 1st December 2017 on Pomperipossa Records run by the amazing Anna von Hausswolff. Digital will also be available at the time. For a little teaser tune in here to Paste Magazine for some very generous words about the forthcoming release. BUY here.
This month I set off on tour around the UK but most unusually not for my own work. I’m performing as part of an ensemble in Dear Esther, an innovative live staging of The Chinese Room’s celebrated video game.
Featuring a deserted Hebridean landscape, memories of a fatal crash, a book written by a dying protagonist, it’s an exploratory and mysterious live audio-visual performance, where I’m taking care of the electronics in an ensemble piece. There will be a play-through of the game itself on stage, accompanied by live narration and a live performance of BAFTA-winning composer Jessica Curry’s powerful score, bringing the story to life as an innovative performative work of visual art, classical music and theatrical storytelling. I hope to see some of you there on the dates. The show opens in Glasgow this week and travels to Birmingham, Coventry and Cambridge to close the month. More details here.
I’m also returning Parma in Italy to work with the wonderful Natura Dèi Teatri in a new outdoor production this month, performing live on the regal steps of Scalone Monumentale della Pilotta with lights and projections, looking set to be quite a spectacular setting indeed!
So another month spent living out of a suitcase but in a very joyful way. Now wrap up warm and have a great November!
::: listen :::
Bernard Parmegiani: Rock (Transversales Disques)
Ben Frost: Super Dark Times (Super Dark Times)
Luc Ferrari: Complete Music For Films 1960-1984 (Sub Rosa)
Loscil: Monument Builders (Kranky)
::: read :::
Kim Bjørn: Push Turn Move (Bjooks)
Dali/Duchamp (Royal Academy of Arts)
Source 1 (Raster Noton)
Brian Eno: Light Music (Paul Stolper)
It Comes at Night: Trey Edward Shults
Breathe: Andy Serkis
Bladerunner 2049: Denis Villeneuve
I Am Not a Witch: Rungano Nyoni
Open Space 2017: Re-envisioning the Future
Between the Bullet and the Hole
ICC Tokyo Japan
27 May 2017 - 11 March 2018
A group show, featuring Between the Bullet and the Hole, a film by artist Aura Satz that I designed all the sound for, which examines the role of women in ballistic research, early computing and pattern perception in warfare.