from the Sonic Arts Network
Sonic Arts Network AGM & Board Nominations
The next Sonic Arts Network Annual General Meeting is to be held at 6.30pm on Friday 12 May 2006. The purpose of the AGM is to present the Annual Review and Accounts 2005 to the members, and to elect trustees, or directors, to the governing Board of the Company. This year there is just one place up for election and nominations are invited from members to stand as Trustees for up to 3 years. It is an important time to be involved with the organisation and we welcome nominations from members wishing to contribute to Sonic Arts Network’s future.
If you wish to stand for the Board of Sonic Arts Network please contact Phil Hallett at the Sonic Arts office, or a current Director. Alternatively simply submit a 150-word biog about yourself that also outlines your potential contribution to the Board by email to email@example.com. We also require 2 statements in writing or by email as follows:
I agree to stand for election to the Board of Sonic Arts Network and if elected agree to fulfil the responsibilities of a Director.
Signed (your name)
I nominate …(your name).. to stand for election to the Board of Sonic Arts Network
Signed by another member
If you have difficulty finding a second member to nominate you, please contact Phil.
The deadline for nominations is 5pm Wednesday 19th April 2006. Further details of the AGM will be available in a few weeks.
Cut & Splice: Acousmonium
Cut and Splice brings the multi-loudspeaker orchestra, the Acousmonium, to London for the first time in its 30 year history. Sonic Arts Network, BBC Radio 3 and ICA provide a rare chance for audiences and artists alike to experience this performance machine first hand.
The festival presents some of the leading international names in current experimental electronic music – including Hans-Joachim Roedelius, John Wall, Zbigniew Karkowski, Eliane Radigue and Florian Hecker - performing alongside the great figures of the Groupe de Recherches Musicales (GRM), François Bayle, Michel Chion and Christian Zanési.
Weekend pass: £25
ICA, The Mall, London SW1
Tickets & Box Office Information: 020 7930 3647
Buy online at www.ica.org.uk
Nearest tubes: Charing Cross / Piccadilly Circus
Present - June
In the Shadow of Black Mountain
Kettle's Yard, Castle Street, Cambridge
The 2006 New Music series & Black Mountain College Music Weekend focus on the work of John Cage, Lou Harrison and Stefan Wolpe and their influence on composers and performers working today. They were all involved with the radical arts college whose legacy is explored in the Kettle's Yard exhibition 'Starting at Zero: Black Mountain College 1933-1957'.
Radio 0: The Crypto Audiological Society
Hull Art Lab, 53 Humber Street, Hull
RADIO 0 is an evening of sound based performances exploring the use of short range domestic FM radio transmitters. Several micro-stations will be broadcasting simultaneously throughout the evening. Hull Art Lab and the audience are invited to mediate the work using portable radios. The broadcasts generated will exploit the technical possibilities of the radio medium and it's cultural context. The C.A.S. will also take part in this year's SAN Expo in Manchester.
Handmade Electronic Music
15 Nassau Street, Manhattan, USA
Nicholas Collins, curator of the SAN's 'A Call for Silence', is launching his new book 'Handmade Electronic Music - The Art of Hardware Hacking' which will be released in April by Routledge. A short hacking workshop will take place beforehand, from 4-6. For those unable to attend you can find copies at www.cdemusic.org.
Shaw Room, National Gallery of Ireland
Featuring works by Pawel Szymanski, Tom Johnson, John Cage, Gerald Barry, Fergus Johnston, Iannis Xenakis, Giacinto Scelsi and György Ligeti.
Sonic Voyages: Pictures in Sound
A concert of sound and video art curated by Neal Farwell. For this concert, video and live performance join with the dynamic surround sounds of BULO, the Bristol University Loudspeaker Orchestra.
Kim Cascone: Composing Emergent Sound Art Using Simple Genetic Algorithms
Ian Gulland Lecture Theatre, Goldsmiths, New Cross, London
Internationally acclaimed sound artist Kim Cascone discusses using genetic algorithms to provide a framework for group collaboration in the production of sound art.
Edinburgh, Glasgow & Aberdeen
Freeform festival across three cities featuring over 100 artists, including the legendary Odetta plus Aphex Twin, Kieran Hebden (Four Tet), Sonic Boom amongst many others. http://www.triptychfestival.com/
Two Thousand + SIX
SARC/Belfast, Multimedia Suite
A one-day symposium on performance and technology at the Sonic Arts Research Centre (SARC) in Belfast. Line-up includes Fred Frith, Chris Cutler, Anthony Braxton, Gareth Davis, Stephen Östersjö, Elisabeth Smalt, Bob Gilmore, Carlos Zingaro, Adriana Sá, Rafael Toral, Telectu, Richard Barrett, Paul Obermeyer, Atau Tanaka, Eric Lyon, The Ulster Orchestra amongst many others.
27 & 28 May
Sound Junction IV
The University Of Sheffield Drama Studio, Sheffield
Latest installment of the Sound Junction Series rom the University of Sheffield Sound Studios. Featuring Chetan Pancholi, James Cross, Simon Mulvaney and Adrian Moore plus special guests Pete Stollery and Schaefferian pioneer Beatriz Ferreyra.
5 - 27 May
Pulse 2006 aims to promote the best of Central European culture from Slovakia, Hungary, Poland and the Czech Republic. The festival features a varied selection of artists performing jazz, world, alternative, dance and classical music. www.pulsefestival.net/2005
Interview: Christian Calon
Christian Calon's new project Atlas is a sound spatialisation project composed of five correlated pieces, with each piece having a duration of around 20 minutes. The first part of Atlas is the Sonic Arts Network - commissioned 'North'. The piece was developed at SARC, Belfast, where Calon was artist in residence and the piece will be presented in concert at the Sonorities festival on Saturday 29 April.
Can you tell us about your new work Atlas and why you are here in the UK?
Atlas is a virtual memorial. It wishes to be a tribute as well as a work of memory. It is a tribute to the creative forces in man, his genius for probing the world, and harnessing the unknown through sound and music, with the help of musical instruments. In parallel the project wishes to be a witness to his relentless hate and fear of his fellow man, his neighbour, through the destruction, violence, pain he has inflicted in various and innumerable ways in order to quench his greed and quest for power and possession. Thus, the under-title, Atlas (of Infamy).
In the background of the project is an idea of cartography, of a vision of the world. The world, in general, represented the same way and centred around the Atlantic. I wished for a way to conceive and present an acousmatic work in a situation where the listener could put to use his hard learned but natural capacities of hearing sound in space and present him with a conception of space and spatialisation that is free from constraints inherited from the concert situation. Things like position in space, points of view, directionality, height, planes, volumes and movement (etc.), all questions that had to be re-examined in the light of a multiple perspective (or non-dominant perspective) concept. The idea of a non-isotropic listening space. Since Atlas will be composed out of five different "regions" (or sequences, or areas on the map), each having its own material and spatialisation mode, the idea came naturally to work in different environments and studios in order to benefit from their differences and own qualities which I hope will induce something in the works. In the discussion, it became clear that working here in the U.K., at SARC, could help advance some of the ideas still at a theoretical stage and enable me to bring them to fruition.
What is your approach to audio-visual work in Atlas and your collaborative process? Is this work with image a new aspect of your work?
Things in general happen by necessity. At the early stages, the project was thought as a purely audio piece, in the form of an installation. But due to its nature, intent and thematic, it soon became apparent that the various natures of information to be delivered could and should not be carried out by sound only. The main reason for this is that I didn't think this installation type project would benefit from having voices (spoken voices) as part of the sound content. In my experience, that would shift the whole thing in an undesirable perspective, that would in a way sabotage the acoustic experience I set out to propose. So the sound should, as much as possible, concentrate on one aspect: the sounds of musical instruments of the world. Thus it became natural to think (since we are in a cinematic approach) of some form of visual proposition, in parallel to the sound. A piece developing and delivering two levels of information, each with its content and constraints. So I did not set out to make an audio-visual work, but the essence of the project pushed me to seek for solutions (which would benefit the experience for the audience) and required some shift in the form, i.e. working with images and sounds.
Your recent release 'Radio Roadmovies' was a collaboration with Chantal Dumas. Can you tell us about the project and how this collaboration came about?
After living for seven years in Europe (France and Germany) we went to Canada to do several projects. In Berlin both of us got involved more deeply in producing works for the radio, an activity which corresponded to both our interests with narrative forms. So going back to the North, we thought it would be a good idea to probe our knowledge of the Canadian entity and of this idea of North and a sense of belonging. So with the help of two commissions for radio works (one for Radio-Canada —an "audio art" piece— and one for Deutschland Radio —an "artistic documentary") we took the road and trails in the summer of 99 in a minivan. What was to be a trip in space soon became a trip both in time and in topography. It soon became apparent that we were not going to make pieces that would sound like postcards of the places we've seen. We were not going to make use of words either. But how can you make heard a mountain, a bear, a landscape? And further questions like: does the recording of a soundscape really sound like reality?
So we came to think of the two pieces as mirrors of one another: The little man in the ear, is an action piece, a road movie in which the listener is always with the microphone and part of the action. Presence is always felt and heard; here a few words, clothes noise, the shaking of a microphone, footsteps, etc. The form goes fast from a sequence to another, the road is omnipresent, and from the south to the north, there is always the presence of man. Surface documents is a landscape size piece that can be perceived as abstract for the wide expanse of sound as if painted with very large brushes, but at the same time totally concrete in the sense that materials overfill the whole acoustic space. We worked with the microphone the same way one would do with the camera. Closing in on some tiny insect in a wheat field in the Prairies or shifting perspective and taking in large planes of sound or again creating dual perspectives. And a paradox we came to was that, probably largely due to the quality of the sounds and recordings, at times, one does not hear the "document" anymore but slips into the purely musical dimension of sound. Sound as a composed material. As a result, in both cases, the pieces do not have much to do with what are called soundscapes.
But how does the sound convey the experience we had of the places, the people, the landscape, the spirit of the land? In order to bring some of this back we realized that we were not making documentaries, but in both cases fictions that were so close to the original that the listener would not look at them like as remote postcards, but be in the action and in the sound. So what one hears is not what was there. On the other hand what one hears is exactly what we saw and heard.
What will be the relationship between sound, spatialisation and image in the Atlas installation?
Being at heart a phenomenologist, I would not be able to say so early what the relations between the elements will be. That is for the audience to experience and define. What can be described are the elements coming into play, the setting of the piece. This work is about perspective. The elements are all considered spatially; images, sounds and … audience. Just like the way things happen around us in the world, never at any moment can one say: I am at the centre of what is happening. There is no centre but a cohabitation of local spaces, visual areas, passages; the centre of the structural space in which the installation takes place is not necessarily the centre of the activity or the best place to follow it. No predominant direction, not one but several "volumes" to enter and inhabit. The piece is not at all unlimited in its scope and perspectives but wishes to offer just another way of looking at things, of listening to something that remains a musical discourse. Yes there are images projected on several surfaces, but these too are a non-directional. As I said earlier, since the piece is about different perspectives, various facilities encourage this "difference" simply by their layout, equipment and spaces.
Can you tell us a little about your life in Canada? Do you travel much within the country? Can you touch on how it influences your work?
Canada is a large country and cities or centres are far apart. It is also a place with a non-uniform distribution of aesthetics and interest, and from the west to the east artists and centres in the same field have very different perspectives. Of course, in digital based arts, the conditions and questions related to technology are quite equivalent, but remain the aesthetical specifics. So historically, and this is still true today, acousmatic practice is a thing that grows east, closer to Montreal. In such a country, yes, you need to travel in order to grasp the various ways art can be thought and practiced. But of course, the sense of space, the openness, a certain distance from dense and strong centres as in Europe or the USA has turned Canada into a very favourable soil, where ideas have a certain freedom to generate and develop without the pressure to accept certain dominant rules edicted somewhere else. This is also why there is to be found a different nature/culture balance.
Do you feel part of a community of artists there? Is there much mutual support between different groups?
Definitely, yes. And at the same time the best position for an artist is to find his own balance between the proximity to centres and their collaborative possibilities and a healthy distance from their pressures. This for the sake of his own personal research. This in order to have the freedom to try and redefine forms and contexts of successive projects and certainly so when these are eventually, slightly off of the main road. Artistic activity and groups of course are largely dependent on financial institutions that require them to define their fields of activity. So groups may be perceived from the outside as monolithic entities within a very defined field of practice. But in general, there is a strong tendency nowadays for groups to collaborate and exchange (but this is always the push of some individual of course) in order to open to newer forms and projects and shifting interest on the part of artists. Groups and centres open up to various forms and aesthetical differences are put aside in order to encourage and achieve the work of creation.
Christian Calon will present Atlas: North at the Sonorities Festival on Saturday 29 April www.sarc.qub.ac.uk. Christian will also be joining Robert Worby at Coma Summer School. www.coma.org.
Durham University: Composer Fellowship
Department of Music
Arts Council England North East Composer Fellowship
(Fixed Term for Three Years)
£24,352 - £30,002 per annum
The Department of Music seeks applications for the above position from established composers of high achievement and standing who can make a significant contribution to the University and the region in terms of creating and disseminating new work. Although applications from composers practising in any musical style and from any musical culture and background will be warmly welcomed, preference will be given to applications from composers whose creative activities include a significant commitment to electroacoustic music. The successful applicant will be expected to enhance and complement the research standing of the Department in the context of the forthcoming RAE.
Closing date: 15 May 2021 Vacancy Reference: 1343
Further details of the post and an application form are available on our website (https://jobs.dur.ac.uk) or telephone 0191 334 6499; fax 0191 334 6495
Course in Max/Msp and Group Improvisation
It runs on Saturdays from 29th April till 27th May and consists of 5 sessions.
Max/Msp will be taught in the mornings and group improvisation in the afternoon. These two activities will be completely inter-linked.
The Max part of the course focuses on the teaching of a powerful architecture within which diverse projects can be articulated. This architecture is based on OSC (open sound control) and can be used across networks and with other software packages. One of the main features of this architecture is that it allows the easy creation and modification of a range of mapping strategies. (Mapping concerns the relationships between different elements of a piece ie gesture sound, or time generative process).
This area is something which is very hard to learn from the tutorials that come with max, and is an essential part of any stable system.
The course will look in detail at one particular use of this architecture: a group improvisation system.
This improvisation system is the basis of the afternoon part of the course - an experiential one which explores group electroacoustic improvistion.
A key concept in group improvisation is mutual awareness and mutual engagement. In these classes this is the main priority, and helps to decide how instruments are designed, and the ways in which they generate sound.
A design currently being used is based on a Ouija board around which 4 performers sit. A video camera captures the hand movements of performers as they pass through individual and group areas, controlling a quadraphonic sound space.
This model will be elaborated and discussed in the Max classes. Also discussed will be the relation of this model to other electroacoustic genres such as acousmatic music, acoustic ecology, and instrumental music. The group instrument will be supplemented by smaller discrete individual instruments built by you during the course.
Where and When and How much
The course takes place at the Mary Ward centre, a beautiful old building near Kings Cross in London, with an excellent Cafe. It occurs on 5 Saturdays (29th April till 27th May) from 10:30 am till 4:30 pm. It costs £70 or £22 concs for the whole course. (Please check final details with the Mary Ward Centre.)
Booking can be made through the Mary Ward Centre:
The Mary Ward Centre
42 Queen Square
London WC1N 3AQ
Interfaces available include the Icube, a blackboard sized touch sensitive screen. game controllers , keyboard, video.
Hardware 2 Macintosh computers and 5 Windows PCs. Please bring your laptop if you have one.
Thomas Gardner is a composer and teacher. He teaches Max at Birmingham Conservatoire, University of Brighton and City University.
University of Sheffield Summer Schools
The University of Sheffield Sound Studios is pleased to announce two
summer schools focusing upon the composition and performance of
School A and B follow the same programme of events. The course team
comprises: Adrian Moore (composition and performance), Dave Moore
(MSP) and James Mooney (composition and performance)
*School A: Two weekends: 8th/9th July + 15th/16th July (4 days)
*School B: Weekdays: Tuesday 11th - Friday 14th July (4 days)
Extended deadline April 21st.
CALL FOR WORK
The4thScreen: a global fest of art & innovation for mobile phones,
focuses on the mobile phone as an emerging cultural, technological and
We invite artists, designers, technologists, and all creative thinkers
are to submit their creations, inventions and revolutionary ideas in one
of two categories:
Moving images - including videos, animations, and games made
specifically for mobile delivery
Wise technologies - including SMS based projects, sound, software art,
software and hardware projects proposing new or extended use of mobile
devices, applications that impact the life, the cultural, social and
economical conditions of people living in diverse cultures.
The4thScreen is a platform where you can influence the future of this
new medium, exchange your ideas over the boundaries of your culture and participate in the global village.
The deadline for submissions is June 4, 2020
The Jury will present ten awards of US $ 5,000
For more information:http://www.The4thScreen.net
The4thScreen Festival'06 is produced by Postmasters Productions in
partnership with the Museum of the Moving Image and Polytechnic
University, New York.
C6 Call for Submissions
C6 invite submissions for its forthcoming publication DiY Audio. The second in their DiY series, DiY Audio focuses on sound, its production, theory and practice. Its launch coincides with C6's curation of NuArt, the media art event within the Numusic festival (Stavanger, 6-10 September 2006).
C6 DiY books are divided into sections: theory, practical Do It Yourselves and case studies related to methods and tactics of projects or strategies employed by different groups. C6's publications are a mix of high and low
brow commentaries on DiY production, useful, humorous and provocative, these tales of bedroom production are collated to inspire and inform.
Articles are requested from those working within the following fields:
radiophonic work, community, experimental/interactive music, audio/sound art, evolutionary music, algorithmic music, broadcasting, field recording, environmental sonic intervention, electroacoustic music, hacktivism and circuit bending. Technical descriptions of processes or techniques for making instruments and sound are also welcome, as well as tactics for engaging the public through distribution, production or performance.
Your submitted texts will accompany entries from musicians and artists attending the NuArt event, to produce a unique festival catalogue that retains relevance after the curtain has fallen.
Existing material is welcome as well as the submission of abstracts for
Deadline for submissions is June the 15th 2006
To submit please email diy_audio [at] c6dotorg
DiY Audio will be a POD (Print on Demand) book, available to the attending audience and later online.
Martyn Reed - Numusic
Richard Whitelaw - Sonic Arts Network
Leon - C6.org
Numusic with over 50 live acts and dj's, debates, exhibitions and installations is fast becoming Scandinavia's leading festival dedicated to
the advancement of electronic music.
Attending will be Pierre Henry b1927 - founding father of Musique Concrete, History of Hip Hop - Mad Professor, Dj Kool Herc, Dj Spooky that subliminal Kid and very special guests!
There are a number of calls for participation associated with the events in
September. For full details visit http://c6.org/nuart
Third International Recorder Race 2006
WE WANT YOU FOR WORLDRECORDER!
Third International Recorder Race 2006
After the grand success of the races held in Munich in 2003 and 2004, it's all happening again in 2006 in sight of Dortmund's Westfalen-Stadion: screw on the wheels and off we go, fast forwarding to the starting line, driven by nothing but the motor that used to spool magnetic tape.
No matter if it's a Walkman or Boombox classic, recorder racing is not just about speed. A further important criterion in selecting the Weltrekorder 2006 is the quality of style, design and performance of both the vehicle and it's team. To award points for this overall grandezza there will again be a highly competent international jury of prominent representatives from the fields of design, art, politics, and racing sports.
Born from the idea 'How does one actually recycle obsolete technologies?' this competition is a sports event in which a growing number of enthusiastic friends of recorder racing meet and set up their fabulous racer. Unbelievable creativity and a real sporting spirit go up against one another.
So, why don't you bring your old tape recorders out of the basement, arm up your soldering gun, and fast forward to the Recorder Race of 2006!
Final signup cut-off date: Friday, May 27th 2006
Important information, racing regulations, sign-up forms, and tips and tricks can be found at www.rekorderrennen.de
Rekorderrennen 2006 is generously supported by Fonds Soziokultur
Major new commissioning scheme and New Producers Network launched to give the opportunity for an innovative new music project to be created,
developed and performed by three key arts organisations in the South
Deadline for applications Friday 28 April 2021
Winner to be announced June 2006
World premiere performances Spring 2007
Application packs can be downloaded from the www.realiSElive.com from
February 1st 2006
Oxford Contemporary Music, Turner Sims Concert Hall and South Hill Park are launching an exciting new initiative for a new music project to be
commissioned, developed and performed in Oxford, Southampton and
Bracknell. The RealiSE Live scheme, supported by Arts Council England,
is offering professional musicians the chance to have a new work funded
and presented by the New Producers Network, a consortium of three major music promoters in the South East of England set up to support the
production of new music commissions outside of the London area. The New Producers Network are keen to hear from both new and established
artists, based in the UK or abroad, with high quality and innovative
ideas for creating a new work that will capture the imagination of their
audiences and stretch the possibilities for each venue. RealiSE Live is
a major new opportunity for artists and producers to develop alongside
each other, supporting the creative process and creating a significant
new work that will tour three major venues in the South East in spring
RealiSE Live invites ideas for new work which
- is an original piece of music (existing work will not be considered)
- is of the highest quality
- is an innovative new work in jazz, folk, electronica or any field of
- has the potential to capture the imagination of the venue audiences
- stretches the ability of the performers but also each venue
- is able to tour three different venues of varying scale and technical
RealiSE Live welcomes submissions from individual artists, collectives,
agents and managers. The artist/composer must be prepared to work
closely with the New Producers Network to realise their project.
The New Producers Network and what they do:
OCM. Oxford Contemporary Music has been building a reputation for its
high quality and innovative programme for over a decade. Using a whole
range of venues in the city, OCM currently stages around 30 contemporary music events per year including many commissions and premieres. The scale of the venues OCM uses goes from the Café under Modern Art Oxford which houses 100 people to the Oxford Playhouse which houses 600.
South Hill Park, Bracknell, is one of the South East s most vibrant and
adventurous arts centres, with a programme of international festivals,
new commissions and premiers across the art-forms involving theatre,
circus, visual arts and music in a multi-purpose venue with 7 or more
different possible spaces.
Turner Sims Concert Hall, Southampton is one of the major music venues
in the South of England. Offering stunning natural acoustics, Turner
Sims presents an annual programme of prestigious music events in a wide range of genres with emphasis on classical music, contemporary jazz, world music and folk.
For further press information please contact:
National press: Maija Handover / mhpr 020 7377 2831, firstname.lastname@example.org
Regional press: Satu Teppo / mhpr 020 7377 2529, email@example.com
Music for Spaghetti Western
Prolific post industrialists, dronologists, and pseudo-ethnomusicologists, Zoviet France have put out music for spaghetti western (klanggalerie gg111), maybe as a reminder of just how much phonic terrain they have already mapped so that black dice doesn’t have to!
This material was recorded in 1985-86 in an acknowledged house on the north east coast, and for some reason has remained unheard until now.
The four movements consist of droning textures set against tribal rhythms and fleeting dissonant melodies, often made from neglected sound sources: obscure radio broadcasts, toy instruments, and other odds and ends, often heavily processed or looped in lost collaged dada rants and watery tapestries.
Last minute s.o.s signals from old-fashioned tape recorders, homemade acoustic instruments, primitive looping and sampling devices and basic dub trickery just before the crush of computers. The noises abused within reward the ears with ghostly nostalgic dread. This early collection of previously shelved jewels paint a picture of the undercurrent of Northern Britain at the time and is reminiscent of the Mercury Records forgotten compilation ‘The Sound Of Dissent’ (all of you must find a copy). It represents the collapse of a culture, a call to arms without violence, a call for help in a system which marked the beginning of the end. Traditions were being sold; the information age had raped what was left of industry. This therefore is an important sound document of that time and along with Zoviet. Others who also captured the spirit of the age were Emissions, Throbbing Gristle, Test Dept's early days and 23 Skidoo, before therot even set in on these giants.
"Scene 1" has a repeating sample of Ronald Reagan. Speaking into the Babylonian megaphone of the media, the mantra builds the foundation for a prayer of evil. What’s really weird is that it was then and it could be now. Abused loops push and battle with found recording of what sounds like Borroughsian Moroccan juveniles hitting cash converter instruments. The tonal language reflects a sonic version of the Hebrew prophet Daniel and his wild vision of the great statue made from devaluing materials and the collapse of the world system and the links from the medo-Persian Empire right to Anglo America.
The fire is documented.
The second movement is a 30 minute song of dying anxious recycled broken whales. There is a short wispy vocal saying ‘forgive me’ which makes this funeral song more poignant with its Indians on the warpath whoops and hollers. A contradiction from The U.S. of A brainwash action of track one. In fact the cd seems to be a break down from the first track of the control borders within culture as half way through track 2 pan-pipes appear. We are constantly reminded that a more primitive way is an antidote to the collapse of western civilisation. From concrete to leaf, from satellite to pipe.
The fire is documented.
From the city of track one and from the forest of track two. Zoviet make a leap in to spiritual ether on track three, thus breaking down their concept of society. So far then the materials of concept have changed, manmade, natural, void.
Track 4 concludes with anaemic lullaby for childhoods lost due to modern issues, an assessment of all that’s gone before almost admitting defeat and holding hands up to a problem which seems never to go away, the fire of the collapse of western idealism burns stronger now. Maybe it is for a reason that these recordings have been forgotten about until now.
‘Music for a Spaghetti Western’. Is this a comment on the idea that all territory is now a wild west? A desolate place for the Indians to be wiped out by the cowboys? Black hats and white hats?
The fire has been documented.
Reviewed by Justin Wiggan
Wiggan’s new project - Build A Fort Set It On Fire releases it’s new live e.p Victorian paper wolf on www.uavtape.co.uk and plays the Cardigan Arms in Leeds with James Blackshaw on May 5th.