After a year of producing my podcast 'Field Trips', I found myself with over four hours of material of varying quality. I can't reasonably expect anyone to listen to all of that, so this album is meant as a "best of" compilation - my favourite recordings from the series.
Whereas previous projects of mine have been more thematically consistent with a pre-planned concept to work from, with this album I instead adopted a more curatorial mindset, the results of which I found quite interesting. There's no overarching theme here, but I do recognise an aesthetic continuity or "style" in the recordings I've selected. It's not something I had previously been consciously aware of, but I seem to gravitate to crowded places with a more explicitly musical element to them, or otherwise I enjoy quieter places by the water. There's also less emphasis on ambiences and more of a focus on scenes, events, happenings, etc. - moments with a bit more of a narrative to follow.
The main benefit to this process is that the recordings haven't been in any way restricted or forced by any concept: Taking my album Dochuki for comparison, while hiking along the Tokaido road I would sometimes not find anything of interest to record but still had to make a recording for the sake of thematic consistency (one track for each post-station on the road), but sometimes I also came across several interesting sounds/capes in the same area but had to pick only one for the same reason. As a result I have mixed thoughts on that album: On the one hand it contains some of my best recordings, on the other hand there are some dull segments. I don't feel the same way about this album - The recordings may be arbitrary, but what I hope is that a higher standard is maintained throughout in regards to both technical quality as well as substance.
My parents recently moved house and while going through all of their belongings came across a number of outdated recording media - cassettes, reel to reel tape, minidiscs, even a couple of microcassettes - which they gave to me to see if I found anything interesting. Of the cassettes, most of them were mixtapes and practice tapes for my mother (she's a classical singer), but this one stood out to me. One side is of when my mother was pregnant with my older sister, and the other side was recorded three years later when she was pregnant with me. Maybe these recordings only mean something to me but I thought they were neat.
This film was made as part of my MA course in ethnomusicology. In it, I hoped to not only portray the pair as intriguing and talented musicians but also as witty and charismatic friends. Furthermore, the film investigates the inevitable dichotomies inherent in trying to create an album of free improvisations; how can a genre so ephemeral be appropriately contextualised for a closed and fixed document?
The album should be out sometime soon.
Field Trips is a short podcast in which I talk about field recording and listening - why I do it, what I notice, and the often indistinct line between 'sound' and 'music. The show is both an excuse to go out recording more regularly, as well an attempt to explain my hobby to people who might not otherwise be familiar with it (while also appealing to other like-minded recordists).
All episodes are free to download sans-commentary from mola-recordings.bandcamp.com/album/field-trips where you can also choose to leave a donation to help support the show, if you'd like.
Four Points is a collection of compositions created from recordings made at each of Britain's extreme geographical points. Although these recordings are from similar locations, their distance from each other clearly presents distinct sonic individualities that are expressed through both social factors as well as geographical features, demonstrating an inherent diversity within our coastal soundscape that is often overlooked.
Exhibited at the Louise House in Forest Hill as part of V22's Summer Club 2016.
This electric organ took too much abuse from us over the years and eventually one day would not turn on any more. Rest in pieces.
Exhibited by Mint Works at the Bank Al-Maghrib in Marrakesh as part of the Marrakesh Biennale 6 parallel projects as well as at the Copeland Gallery, London.