Georges Méliès: A Trip to the Moon

In January, Aardvark were invited to play at a new silent movie soundtrack night at Mello Mello in Liverpool.

We were given the quite incredible choice of Georges Méliès' 1902 sci-fi film, A Trip to the Moon. Even more amazingly, we discovered there is an original colourisation of the film. The colour is totally surreal. It was carried out at Elisabeth Thuillier's lab in Paris by a team working on one colour each in a kind of assembly line. The resulting effect is half-way between film and animation, with colours flaring up and changing shades between frames.

We tried to capture something of the anarchic and otherworldly feeling to the film during our performance, holding several rehearsals to try and strike the balance between setting the mood for various scenes and following the action on-screen. The result maintains the "classic" Aardvark sound, while delivering an apt, if slightly tongue-in-cheek, accompaniment to Méliès' masterpiece. Enjoy!

Candy Cigarettes

Last year I teamed up with experimental theatre group, the Rat Pit, to create a new multi-sensory theatre piece for the If Only festival that I was part of the curating team for at the Bluecoat in Liverpool. The end result was a new 15-minute work, Candy Cigarettes.

Working together through a series of jams, exercises and improvisations, the Rat Pit (Carly Lindon-Forrester and Georgia Tillery) created an intense non-linear drama that explored adulthood through the prism of children's play, while I devised sonic and olfactory content to accompany and enhance the drama.

Designing smells to fit the piece was a particularly fascinating process. I wanted to keep most of the smells quite abstract, in the same way that the accompanying music was abstract, without an overly literal and simplistic interpretation of the unfolding drama. Instead, I wanted something that could bring a new emotional light to the action going on onstage.

Because we had to create a very concise piece to fit in with the nature of the night, a lot of the original material developed had to be cut... somewhat of a double-edged sword. The work became tighter and more focused, but some of the scenes didn't quite have the time to breathe they really needed. We got great feedback from the performance, and decided to create a full-length version with a view to touring it.

Georgia had started working at Creed Street Arts Centre in Milton Keynes, and they were very keen on the idea. So we all trekked down south for a week of rehearsals, development and, finally, two shows that expanded the work to a full hour. Reviews were great, and we are now planning to take the show to the Edinburgh Festival next year. There is a video of the full-length performance, but, while it's in the editing suite, here's the original from the If Only festival. Enjoy!

New Amphibolous Releases

Last month saw two new Amphibolous releases, in fact within a couple of days of each other.

The first was a release on the Classwar Karaoke label, part of their 0022 survey. In the just over a month since the survey's release it's already been downloaded more than 27,000 times. You can listen to the rest of the release here. Here's our track:

 

The second release was a track we created for Roger Hill's PMS show on BBC Radio Merseyside. He asked us for a track reacting to the legacy of the Beatles. It was actually quite a challenge to create a radio-friendly length track. We had a session in the studio recording a number of short pieces. The single release is the one we sent to Roger, I'm looking through you too. But we have a new EP coming out shortly featuring a few of the tracks. Going with the Beatles theme, the new EP is called Rubber Sole. The EP is all mixed now, and we're just working on the artwork, so the release should be within the next month. In the meantime, you can enjoy the single, with an intro by Roger, and the music video that accompanies it. The video was made with footage of a giant beetle by kraftwerkmod.





Unfortunately, Adam Webster has now moved to Poland, so Amphibolous is on hiatus at the moment, but we're planning a tour of Germany and Poland later this year, so stay tuned for more details.

South-east Asia Tour

In February I went on a short tour of South-east Asia, performing in Singapore and Malaysia. It was a fantastic tour, and I was very impressed by the standard, creativity and supportiveness of the local musicians.

The first stop in the tour was Singapore, a melting-pot of cultures and ideas. I played at the Independent Archive & Resource Center, an artist-led project that aims to be an archive of, and resource centre for, art theory and practices in Singapore. There was a very friendly atmosphere there, as different people dropped in throughout the day to read a book, make musical instruments, eat chicken rice, or just have a chat.

Interestingly, my performance took place at the same time as one of the largest protests in Singapore history, a country where protest is largely restricted. Even so, it was a packed-out audience at the IARC as I took to the stage. The evening consisted of a solo set, followed by a question and answer session, where the audience quizzed me about my work and ideas, then, finally, a group session with some local musicians.



A couple of days before the event, I went along to be interviewed by Jordan Johari Rais, who organised the gig.



Kuala Lumpur was the exact opposite of Singapore. Where Singapore is squeaky clean, and you can even go to prison for chewing gum, Kuala Lumpur is more how you might imagine a large urban centre in Asia, somewhat chaotic and brimming with activity.

In Kuala Lumpur I performed at FINDARS. Whereas the IARC had a very homely feel, with assorted random objects strewn about the place in a slightly bric-a-brac aesthetic, FINDARS was very obviously set up as a venue for performance. The graffiti up the stairs leading to the performance space set the mood, and the black walls inside created an amazing atmosphere to perform in.

The darkness inside the venue gave the ideal opportunity to work with some visuals I had been working on during the trip. The visuals were written in Java using a kind of stochastic fractal process. The other acts were all of a very high standard, and ranged from free jazz, to drone noise, to postmodern genre-defying cauldrons of goodness.

Here are some highlights from my performance:



To finish with, here's the collaborative set from my gig in Singapore. This is one of the best bits about playing in new places, getting to meet and play with different artists, exploring ideas, developing what we do.

Amphibolous release on EM Records

The latest Amphibolous track is out now on EM Records' OuTpUt SeVeN compilation. Helping Blind People is the culmination of several recordings we made at a garage in Everton. It's a prelude to where our music is moving, and we're planning on working on a new album soon, as well as a track for the BBC, so plenty in store for all you avid listeners.

In the meantime, here is the release:

Hot Hail in Istanbul

Here's a bit of a montage from my trip to Istanbul in May (yes, it's taken me a little while to post the video).



I played at Arka Oda, a venue on the Asian side of the city, in a gig put on by Batur Sonmez. It was a great night of musical collaborations. The event started out with a set by another Turkish musican, Korhan Erel, who played a fantastic set that was quite acousmatically oriented. Next I played a solo Hot Hail set. After that, we went into a collaborative set, starting off with a duo between Korhan and me, then evolving into a duo between me and Batur. Batur's music is more from a noise background, with continuous generation of sounds, so I acted as the bridge between the two styles. A fantastic collaboration, and a great night!

New Amphibolous release

We've just released the first Amphibolous single, He Leans to the Left. Well, I call it a single, but it's just over 20 minutes long, and with no B side, but then that's often the score with experimental music. It's available for free download, or you can by the mini-CD for £4.



The single was recorded in the run up to a gig we played in Manchester last month. It's one continuous take with very minimal editing, so is quite reflective of our live sound. The theme for the track was a record that Ash found in a charity show, The New Maths. Fantastic! There's some really interesting manipulation of a sine wave record that Ash used as well. Enjoy!

Amphibolous at the Noise Upstairs

Amphibolous is a new group I formed last year with Ash Steel and Adam Webster. Last week we had our second live outing, at the Noise Upstairs in Manchester. It was a packed audience at the Manchester improv night, where part of the evening, people put their names in the hat to play in random groupings. Then it came to us.

The instrumentation in the group is:

Adam Webster: amplified cello
Ash Steel: turntables
Si Jones: objects and effects

The great thing about the group for me is that it's been a while since I've been in a noise group that practises regularly, and it's really paid off in our live performances.

You can listen to a recording of our set by following this link. We also have an album to be released shortly, and a few more gigs lined up, so stay tuned for more developments...

Circuits Music Night

In October, I played at a new alternative music night at Mello Mello in Liverpool called Circuits. It was a really amazing mix of acts, covering a range from noise to electronica to hip hop. I'm looking forward to seeing more of these nights this year, but, in the meantime, there's a short YouTube clip from my set below.

Black Forest Orchestra live at the Woodland Gathering Festival

Here's a recording of a set I played at the Woodland Gathering Festival in July with the Black Forest Orchestra. The group is made up of members from several other experimental music groups, Shaun Blezard from Clutter, Ian Simpson from Noise Research, and Glenn Boulter from Focal Gaol. The Woodland Gathering is a two-day festival run at Fellfoot Wood in the Lake District by Radio Black Forest. The recording was made and broadcast by Phantom Circuit, a programme broadcasting "strange and wonderful sound waves". Go to about 6 minutes in for the Black Forest Orchestra set.

Phantom Circuit #80 (17th Aug 2011) by Phantom Circuit on Mixcloud

I'll post some photos from the festival here soon, so watch this space...

Oh Oca O

This month I released the first full-length Hot Hail album, Oh Oca O. It's been several months' work of recording, composing and editing, but it's all paid off in the end. The album is available from Probe Records in Liverpool, or from my Bandcamp site, where buy the physical album or download the digital release.




The album is an exploration of perception. Throughout, different aspects of the way we perceive the world are explored and manipulated: from the right-left sidedness of the brain, to notions of continuity and the way our mind perceives objects. Several new stereo techniques are developed and explored, and each track divides the sidedness of the brain's attention in a different way, opening new perceptual experiences.

Another theme of the album is the exploration of both the micro and macro worlds of sound. Everywhere is constant evolution, from the global level right down to microscopic manipulations. There are many layers of fine timbral nuance throughout the album, so for best results listen through headphones. Then you'll make the most of the stereo effects too then.

Reconstructions in Brass

It's been a little while since I updated my blog. Been busy with gigs and projects the past couple of months. I'm still in the middle of it all, but here are a few little updates till I've got more time to write some lengthier posts.

First off is the Noise Club commission from Octopus. For this piece, Reconstructions in Brass, we bent, manipulated and circuit bent a variety of brass instruments for a 2-hour performance in Barrow Park's band stand. It was a lot of fun getting to find new ways of making sound with brass instruments, some relatively straightforward, like a hacked-off trombone with a clarinet mouthpiece, others a bit more complicated, like the circuit bent tenor horn Mike Loftus constructed. Even the geese joined in for the gig... it's amazing how loud they can be!

Hopefully, I'll have an extended video of the event for you all soon, but, in the meantime, here's a short clip to give you a flavour of the day.

New release: Music of the Spheres

I don't often write drone music, but I was recently asked by noise=noise to write a drone piece for their event, A Midsummer Night's Drone, a celebration of the summer solstice on the Suffolk coast in which drones would be played from sunset until sunrise the next day. They were asking for work that explored the mathematics of the solar system, so I created a piece using the notion of 'the harmony of the spheres'.



The concept of the harmony of the spheres originated with the Pythagorean philosophers of ancient Greece. Using the ratios of the orbits of the planets, they drew analogies between music, mathematics, geometry and astronomy. Harmonies are also ratios, and so the orbits of the planets could be thought of as one giant harmony encompassing the solar system. But this music was not necessarily one of actual sound, but rather conceptual sound: a mental music using the power of the human brain to abstract reality and make connections between ideas. 

The idea re-emerged with the likes of Johannes Kepler, whose ‘musica universalis’ again connected geometry, cosmology, astronomy, harmonics and music in one enormous and powerful concept. 

In exploring this concept, my piece, Music of the Spheres, uses the ratios between the average orbits of Mercury, Venus, Earth, Mars, Ceres, Jupiter, Saturn, Uranus, Neptune, Pluto, Haumea, Makemake and Eris as the basis of its harmonic development. To govern the relative weighting of each harmony I used the mass of the respective body, eg. Jupiter being the most massive, it was the loudest. I wanted to get something across of the extreme scale of the solar system, both in terms of size and timescale, so opted for a very slow and gradual development. This would allow me to keep the feeling of a drone, while having a continuous evolution of the sound.

New Hot Hail release on Electronic Musik: Utrum

Last week a new piece of mine was released as part of a compilation album by net-label, Electronic Musik. The piece is called Utrum, from the Latin for 'whether', and was released under the Hot Hail name. Sparse and desolate, it explores continuous evolution of sound and timbre, while developing what Stockhausen called 'moment form', the idea of taking a single instant of time and stretching it out to examine it microscopically. The piece uses a variety of sound sources, including my newly constructed trombone-clarinet hybrid. There are a lot of other interesting works on the compilation too, so be sure to check them out as well.

Feedback Prototype Test

I've just completed the first prototype for my interactive audio-visual-haptic project, Feedback. The work uses the sense of touch to guide the audience through its interactions with the piece and each other, making the audience’s engagement literally ‘hands on’. The project extends my work in the manipulation of feedback with physical objects. Passing feedback through the surface of a beach ball, the audience can change the sound by manipulating the beach ball. The video was recorded on my phone at Red Wire Studios, Liverpool. The prototype was funded by a research grant from Frakture.

Here's a short video of the first test of the prototype.

Hot Hail: new solo project

I've started a new solo project called Hot Hail, a solo extension of what I've been doing with Noise Club for the past 8 years. I've got a few tracks completed already, some released by myself on Bandcamp, and a track in an upcoming sampler release from net label, Electronic Musik (I'll post it here when it's released).

Here's my first completed release under the Hot Hail name.



The piece is called coram, from the Latin for 'in the presence of' or 'before'; a symphony of sounds, shifting through evocations, moods and ideas, exploring subjective perception and constructed meaning. The sonic landscape is made up of metamorphosing timbres and clouds of sound; sometimes the textures are jagged and moving, other times the music is supremely desolate in its delicate beauty.

The entire piece is performed with egg slicer and feedback.

Noise Club BBQ performance

It's been a little while since I've updated my blog... busy with lots of projects, as usual. I've been uploading a few videos to the net of performances from last year. Here's a bit of a gem... it's a Noise Club performance I was in at the Bluecoat's If Only...! night in Liverpool. For this gig, we decided to have a noise barbeque, complete with homemade burgers: a food performance. Surprisingly, the contact mics we made actually withstood the burning flames of the hot BBQ for quite some time!

WARNING: EXPLICIT LYRICS

Resonating vans, Neon Party in the Car Park

Here's some footage of last month's Noise Club gig in Dundee at Neon Party in the Car Park, which, as the name suggests, was actually in a multi-story car park in Dundee. Mike Loftus and myself were the performers.

During the gig I resonated a van that had been hired for us using feedback, manipulating the sound with the panels on the van and effects, while Mike, among other things, recorded sound live from the performance onto megaphones, which he then placed around the car park, looping the recorded sounds.

Up the Wall, Chester

Here are some pictures from my recent installation at Up the Wall in Chester. Up the Wall is a site specific, installation and live art festival along Chester’s ancient city walls run by Chester Performs. My installation was a 49-speaker installation called Jericho's Revenge. It was created under the Noise Club name as a site-specific work.

Jericho's Revenge is an interactive sound installation that turns the biblical story of the fall of the Walls of Jericho on its head.  Instead of bringing the walls tumbling down, here, a wall is constructed from the sound of trombones, a viewer-playable, 49 strong orchestra of powerful and dissonant sounds, giving new resonance to an ancient tale.

Jericho's Revenge uses dense harmonic structures to create clouds of sound that are simultaneously static and continuously changing. Musically, the piece pays tribute to the choral music of the Renaissance; in particular, to Thomas Tallis' motet, Spem in Alium, which uses 40 independent vocal lines to create, in places, an intensely powerful wall of sound. The idea in Jericho's Revenge was to use Tallis' techniques within a modern musical idiom.

 The trombonist was Alex Scott, and my assistant on the project was Anthony Thomas.

Photos by Tamsin Drury

Here's a video of the festival as a whole, including my piece.


Up the Wall 2010 from Chester Performs on Vimeo.

Interface Amnesty 3

Interface Amnesty is an event run by SoundNetwork. It shows off new interfaces that artists have been working to control sound/vision/bubbles/and much more. This was the third Interface Amnesty (Noise Club have been at all three), and was part of the Abandon Normal Devices festival. This time the event was held in Noiselab in Manchester.

It was a double-whammy for me, as I was there not only with Noise Club, but with the Inari Noodle project I had been working on.

For the Noise Club stall, we demonstrated a few of the new instruments we'd been working on. Mike Loftus, always the prolific builder, had modified a cello with brake pedals (see clip below), and was also demonstrating his new electronic instrument he'd built with home-made capacitors. I showed off some of the work I've been doing on controlling feedback with physical objects (more of this to come in future posts).



Inari Noodle is an audiovisual noodle bar project by Japanese artist, Inari Nishiki. My role in the project was quite extensive: writing computer-game-type music to use as the project's theme; creating a media player for the audiovisual clips, and getting them to play when a particular type of noodle was selected; and controlling the noodle dispenser using servos controlled by an Arduino. It was really interesting working on the Arduino - so many possibilities - and I think I'm going to use the knowledge I gained in the process to create a robotics project at some point in the future. More to come, then...

In the meantime, here's a short clip of the moment I got the Arduino controlling its first servo.