SoundStage 30

It’s been a fabulous week here on SoundStage sending sonic tendrils out to you festivalCHAT goers. We hope you’ve discovered some new artists to tickle your ears (and eyes), sounds to excite you and sounds to soothe you. Maybe both even. At the same time. So without further ado, here’s the penultimate SoundStage, the scritchy scratchy sounds of…..

Jon Lloyd/Walthamstow Home Keyboard Laboratory – Unparalleled Sound Pressure

Compiled from dictaphone and digital field recordings and tape loops.

https://experimentalsoundart.bandcamp.com/track/unparalleled-sound-pressure-waterworks-festival

The pieces I produce are unashamedly broken, incomplete, imperfect.

They are created quickly, seeking to capture a moment.

Unparalleled Sound Pressure was an attempt to document an event that hadn’t happened, and subsequently, never happened; the controversial Waterworks Music Festival in London in 2020. The piece intended to predict an outcome, but instead stands as false testimony to an event that never transpired. It was a protest piece for a cause that was won only through pandemic intervention.

The Walthamstow Home Keyboard Laboratory, involves childrens’ home keyboards from the 1980s and 1990s. These are the toys of my youth, but they were things I never had and could never afford until they were for sale at carboot sales and charity shops. Except, this is a conceit, because I’m very middle class, and could probably have asked my parents to buy them for me. Many of the purchases I made in my twenties I subsequently sold and have since re-purchased at inflated collectors’ rates, from Ebay.

Nevertheless, I seek to accurately portray their sonic characteristics, without the luxuries of digital intervention or external effects. Tracks are improvised, sometimes echo-ing the equipment’s time-period in a broadly Hauntological fashion, and sometimes forging more abstract noise-based arrangements. The pieces flow and each layer follows the last. The tracks are presented chronologically as they were recorded – piecemeal, over a week or so – and demonstrate a level of development in my understanding of how to use them. They are a personal exploration of the material culture of my (perceived) youth.

Twitter: @homekeyboard

Bandcamp: Walthamstow Home Keyboard Laboratory

And now…..the SoundStage finale you’ve all been waiting for……the piece made by YOU….a big round of applause please………it’s……(keep that screaming down please!)…..it’s….

Postcards from All Edges

Arr. Dave Webb with Lara Band, Jobbe Wijnen, Laura Aish, John Tierney, Dan Lee, Antonia Thomas, Rachael Kiddey, Lawrence Northall, Ursula Frederick, Jacqui Mulville, Ben Philcox, Hilary Orange

Tiny sound pictures charting your journeys to #festivalCHAT2020: A front door in East London. Late night seagulls at Ramsgate Harbour circling the fishing boats. An echoey street in Gelderland, so noisy that every falling hairpin can be heard inside, listening to some radio, going outside, a family had just passed, and then a 1950 Mercedes car passed by.

A walk through overgrown graveyard in West Cork – Kilbrogan has one of the oldest ‘modern’ headstones in Ireland dating to 1623 – the mortuary monument appears to be Protestant and it represents the divided and contested landscape of the Bandon area since the town was founded in 1608.

The sea at Dingyshowe, Deerness. The beach is a tombolo between The East Mainland and Deerness (‘nearly an island’). This beach on the east side faces the North Sea. The tide was high, and the weather calm, and small waves were breaking over a small sand shelf at the top of the beach. Sometimes the waves would wash over to the top of the sand. Nearby is a large broch mound, hence the ‘howe’ placename of the beach. Willow and Bee, the kittens purring.

A calf mooing and a bit of owl, a windy and rainy old morning, near Dartmouth, south Devon, UK. Breakfast at Zest Cafe, Ramsgate. A trip for coffee in Canberra with the general bustle of birds, people walking past, hum of building sounds (electricity?). The River taff on a  morning run, CV19 defences. And a laptop falling off a desk….

SoundStage 28

Midweek listening now: draw your ears to a reimagining of Maderna by Daniel James Ross, Carla Rees and Marie Schreer. Then use your imagining to draw your own sonclusions for this  shadow score by Lara Band

Daniel James Ross, Carla Rees, Marie Schreer – Maderna 100

https://classicalremix.bandcamp.com/album/maderna-100

An acousmatic work in four sections based on the music of Bruno Maderna. Each section takes a piece of Maderna’s (or, in the case of section 2, an interview) and uses machine listening techniques to extract musical data that forms the basis of an algorithmic composition. The pieces analysed are “Musica su due dimensioni”, “Standchen fur Tini” and “Dialodia” .

i. 3D
ii. Conversation
iii. Serenade
iv. Trialodia

Twitter: @danieljamesross

Lara Band – Yellow Drift

A graphic score as yet unmade

On 12 April 2020 at Royal Albert Dock, on a near-Easter #DistanceDrift following only yellow, the lichen on the dock edge stood out. Why does it gather more in some places than others? Why does the yellow lichen (probably Caloplaca flavescens) favour some spots and the white (probably Lecanora muralis, chewing gum lichen) favour others? What would the play between this organic, unruly stuff and the machine made fencing sound like? There’s an element of chance and other-than-human agency. The piece would change over time as the lichen grows and as the shadows of the wires of the fence fall differently. Time ran out and the piece remains unmade.

Twitter: @_LaraBand

See also https://festivalchat2020.wordpress.com/2020/10/15/distance-drift/

Postcards from all edges

David Webb & Lara Band (UK)

Arr. Dave Webb with Lara Band, Jobbe Wijnen, Laura Aish, John Tierney, Dan Lee, Antonia Thomas, Rachael Kiddey, Lawrence Northall, Ursula Frederick, Jacqui Mulville, Ben Philcox, Hilary Orange

Tiny sound pictures charting your journeys to #festivalCHAT2020: A front door in East London. Late night seagulls at Ramsgate Harbour circling the fishing boats. An echoey street in Gelderland, so noisy that every falling hairpin can be heard inside, listening to some radio, going outside, a family had just passed, and then a 1950 Mercedes car passed by.

A walk through overgrown graveyard in West Cork – Kilbrogan has one of the oldest ‘modern’ headstones in Ireland dating to 1623 – the mortuary monument appears to be Protestant and it represents the divided and contested landscape of the Bandon area since the town was founded in 1608.

The sea at Dingyshowe, Deerness. The beach is a tombolo between The East Mainland and Deerness (‘nearly an island’). This beach on the east side faces the North Sea. The tide was high, and the weather calm, and small waves were breaking over a small sand shelf at the top of the beach. Sometimes the waves would wash over to the top of the sand. Nearby is a large broch mound, hence the ‘howe’ placename of the beach. Willow and Bee, the kittens purring.

A calf mooing and a bit of owl, a windy and rainy old morning, near Dartmouth, south Devon, UK. Breakfast at Zest Cafe, Ramsgate. A trip for coffee in Canberra with the general bustle of birds, people walking past, hum of building sounds (electricity?). The River taff on a  morning run, CV19 defences. And a laptop falling off a desk….

Visit the SoundStage for other sonic experiences …

Original Call:

This piece is all about you and by you, collectively!

‘The journey to CHAT’ – people documenting their journey to the annual CHAT conference – has become an informal tradition over the years. In absence of physical journeys this year we’d like to recreate your journeys in sound through sound postcards, recorded from your window on your way to festivalCHAT.

Over the week we’ll arrange the sounds, sequentially in the order that they arrive and binaurally according to their position geographically. This will create a continuous soundscape hosted on our own Soundcloud and will be the final piece posted on SoundStage on the last day of festivalCHAT. Please send a recording up to 20 seconds long, ideally MP3 or .wav. Phone recordings are fine and we can also rip sound from films made on your phone if necessary. Email your postcard to drw33@hotmail.com with your approximate location, if you’re a happy to share that with us. Let us know if you’re happy for us to credit you by name in our summary of the piece too.

You can send your postcard anytime from the first day of festivalCHAT on Friday 23 October until midnight (your time zone) on Monday 26 October to give us time to put it together.

We look forward to hearing from you!

SoundStage

A sound stage for festivalCHAT curated by Lara Band, Dave Webb and Lawrence Northall (UK)

Hello and welcome to SoundStage. Over the week, every day, we’ll be here introducing soundstronauts, noise makers, musicians and sonic experimenters for all your aural pleasures.

Follow the daily entries as they emerge here:

SoundStage 23

SoundStage 24

SoundStage 25

SoundStage 26

SoundStage 27

SoundStage 28

SoundStage 29

SoundStage 30

Original call for contributions

We’re putting out this call for you to either create something new or share a ready made sound piece. Your piece should be a response to place, space or materiality: You may also want to consider the special themes: Archaeologies of festivals; COVID-19 pandemic; Equality & Diversity; Decolonializing contemporary archaeology; Archaeologies of protest; Togetherness & Fragmentation; Drift.

If you’ve a piece you’d like featured, send us your bio and some words about the piece (max 300 words), a link* and an image (as a separate file named ‘artist name’.jpg) to soundstagechat@gmail.com. Include your social media @s too. We’ll organise submissions into themed sets – using your own words and image as the main texts of the blog. Every day during the week long festival the festivalCHAT website will release a blog with the set as suggested listening for the day.

*Sound pieces with accompanying film are also welcome but you must be able to host this yourself. We envisage that most of you will have your own Soundcloud, Bandcamp, webpage or similar but we can help you set up a free Soundcloud account if necessary.

 

CHAT-CHAIN-MAIL

Katy Whitaker (UK) and Lara Band (UK)

How can people come together at a time of enforced separation? Inspired by Client Culture’s postal zine project Cross Pollination for Antiuniversity 2020, CHAT-CHAIN-MAIL is a Mail Art project for festivalCHAT building a chain of thoughts, ideas and art as the piece moves through the physical world.

This event is open now so get involved!

Mail Art developed in contemporary art movements of the 1960s and 1970s. Also known as postal art, Mail Art is a populist art movement that involves making small pieces to be sent in the post. These artworks are commonly postcards, small zines, little collages or textual pieces, they make use of everyday materials, found materials, rubber stamps, and home printing, but ultimately includes anything that can be put in an envelope and sent by post.

Mail Art is thus an egalitarian art-form. It is cheap and it circumvents the conventional art market. It is global, putting people in touch with one another around the world via international postal services. Mail Art often chimes with the ethos of ‘Reuse, Repair, Recycle’ in the materials found, selected, adapted, and collated to make the pieces.

It is not only the image that matters. The material properties and networked nature of Mail Art are things that archaeology has the means to attend to. And the connectedness of Mail Art, tangible items whose properties are not mediated by a screen, affords the possibility of real-life, physical inter-connection between people otherwise kept apart from one-another in a time of pandemic. The journey that our Mail Art will take and its transformation through each pair of creative hands are as, if not more, important, than the final completed piece that we can share.

How this will work:

If you’d like to take part sign up between now and the last day of festivalCHAT, Friday 30 October 2020 by emailing us at chatchainmail@gmail.com . We’ll send you guidelines for how the project will work, read and agree to these (ask if you’ve any questions) and we’ll add you to the list!

On the first day of festivalCHAT, Friday 23 October we’ll start CHAT-CHAIN-MAIL by posting an opening piece to the first person on the list. The recipient will have three days to add their contribution before posting it on to the next participant. We’ll only share your address with the previous contributor in the chain and we won’t keep your contact details after.

Each person will have three days to add their piece, it can be a response to the previous piece or something new: size guide is a maximum of two sides of A4 paper with thoughts, art and ideas using whatever materials you like. Email us when you’ve completed your piece and we’ll send you the address of the next person to send it to.

CHAT-CHAIN-MAIL will inevitably continue its travels after festivalCHAT so to document the package as it travels through festivalCHAT-time and beyond we’d like contributors to take a picture of their work, in whole or part, to share on social media with #FestivalCHAT2020 #ChatChainMail. The final piece will be scanned for documenting on the festivalCHAT and/or CHAT website and the piece itself will travel to the next live CHAT accompanied by an approximate map of its journey, for perusal in person.

#CHATChainMail @_Laraband @artefactual_KW