Day #362/365: Signals sent, signals received…

  • Trails and Influences: Electronic Ether. Case #51/52.

    Audiological source: #1. #2. #3. #4. #5. #6. #7.
    Visual/audiological source: #1.

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    1.

    “…I had written about how the imagined landscape (Britain, in these cases) features so strongly in some strains of contemporary experimental folk music. Granted, this has been a central theme in folk since the 60s revival, but as I argue, the ease with which electronic manipulation can be applied these days has really influenced some of the more experimental folk works in the past decade or so. This heightened interplay of the ‘acoustic’ and electronic, and in a broader sense, between the rural and the urban, makes for a liminal artistic and imaginary field that is finding different forms of expression these days...”

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    2.

    …these concerns streak through the British visionary imagination, from painters such as Blake and Samuel Palmer to early 20th century romantic composers like Peter Warlock, 1960s pantheistic pranksters Incredible String Band and into the post-industrial underground of Coil, Psychic TV and Current 93. In the UK… this reanimation of the mythic countryside, underscored by liminal drones, residual folk forms and improvisation has found voice again recently in imprints like David Barker’s Folklore Tapes, Stephen Collin’s Stone Tape Recordings and Rob Lee’s Heretic’s Folk Club…”

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    3.

    …the whole thing looks as a discovery, a document, a forgotten memory or a souvenir – something you may find in an abandoned library, not in a record store…

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    4.

    …one imagines such editions being buried in time capsules or cemented in stone walls for future generations to mull over: sedimentary layers of history.

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    5.

    …uma vez mais trata-se de um exercício assombrado de field recordings, uma colagem psico-geográfica de sons que funciona como uma nocturna pintura aura…

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    6.

    Sounds must play for we don’t play with instruments, we play with soundtrack, with editing, filtering, reverberation. These games must use all kind of possibilities. It’s about transformation, the magic of transformation of sounds is important… It’s an animation, an animation of sound talk…  an urban source response to the dark moors and haunted woods mythology of modern folklorist music-makers…”

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    7.

    The sounds expose themselves, transform and meld producing a piece of music that is at times introspective, at times vociferous and in a constant state of resurgence and restless agitation…

     

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