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Sketchrock (2009)

A collection of tracks created in the period 2007 - early 2010. Home recordings &/or recorded at gigs - mainly at the sadly missed Don't Look Gallery in Dulwich Hill, Sydney.
The majority of these works were composed by processing audio recordings in Max/MSP on a laptop. They were performed in the same manner with the addition of some kind of real-time intervention, using a MIDI controller or Kaoss pad.

Listen to the collection on Soundcloud

mfv

started in about 2000 & eventually finished in 2007. Included in the SoundLab VI online exhibition of sound art. This work was inspired by the notion of enlarging a tiny fragment of audio into the size of a larger piece of music by employing digital analysis and synthesis software. The final sung notes & chord from a recording made by my father late in his life is used as the source.

souvenir

1996: A remix of 'journey that keeps at a distance' - a composition for tenor sax & electronics (Sax played by Greg Telian). That was over in a flash at Artspace in Sydney in 1995 (during one of the 'Sounds in Space' programmes. I re-worked the recordings of the performance into this composition the following year For me this one of the first things I ever completed using a computer for editing & mixing, as opposed to a radio workshop or tape-based home studio. It was included in a concert of computer & tape works organised bt WATT at Newtown Performing Arts hall 1999. I revisited this piece - manipulated off a CD turntable - in January 2010 in a short collaboration with Alex Spence (Clarinets) at the Difficult Music Festival at Sedition in Darlinghurst, Sydney. Unfortunately there was no recording made of that version.

signs (excerpt)

1989: An excerpt of a radio piece commissioned for The Listening Room on ABC FM. The work threaded together several spoken passages taken from Virginia Woolf (The Waves & Mrs Dalloway)- the music presenting an evocation of imaginary landscapes that I attempted to grow out of clues in the texts. This is one such interlude.

I was doing research into Musique Concrete at this time and this segment is almost didactic in the way a snippet of locally-recorded birdsong is repeated in different treatments & guises. In this case it's simply one way to treatment an audio fragment: preserving it's identity as a kind of 'phrase' but as if turning it over in one's hands to examine it from different angles.