|CANTAUDIO 006: sampler|
2 my father's house
3 mont age
4 merits of public art 1993-2003
5 faith (3 excerpts)
CANTaudio 001, March 2003, everything you hope from..., edition of 31
Between purchasing Stockhausen’s helikopter-streichquartett CD and hearing it for the first time was a gap of around three hours. In this period, a sound was formed in the head based on anticipation and expectation. This was fed by the packaging of the CD, a brief knowledge of his previous work and a written description of the work in which four violinists fly in four helicopters and respond live to the experience.everything you hope from... is that anticipated sound, using clips from helikopter-streichquartett alongside field recordings of a Pontefract to Scarborough helicopter flight and excerpts from Guided by Voices, Birthday Party, Red Hot Chilli Peppers, Jesus & Mary Chain and (early) Human League.
CANTaudio 002, June 2003, will tear us apart, edition of 25
Began life as the soundtrack to a short film produced at Agora Capacete in Rio de Janeiro. The word love is carefully edited out of Joy Division’s Love WIll Tear Us Apart and the soundtrack version is accompanied here by three new interpretations. In part one, the song’s very last string section is pulled to the front and slowed/reverse to resemble swinging rope, beginning at/with the end. The verses are then reversed in order and followed by a ringtone version to relfletc New Order picking up the keyboard after Curtis’ death. Part two is constructed from downloaded versions by The Cure, 10000 Maniacs, Plate 6, the Ecstatics and cut ups that force William Burroughs, Public Enemy and Ivor Cutler to utter wil tear us apart. Part three uses New Order’s first ever version of the song, reversed, with verses from Springsteen’s My Father’s House.
CANTaudio 003, August 2003, lichth(of) fire, edition of 18
lichth(of) fire was originally pieced together for an exhibition at Der Lichthof der VHS in Cologne in 1998. It developed over the next five years through many versions, as a response to both cut-up tape work (the re-ordering what already exists to re-tell history) and also the proliferation of conspiracy theories. Simply, Nirvana songs are carefully spliced to force Kurt C to sing about the Loch Ness Monster. Then, various loose connections inspire other sounds: a billboard artwork produced on the Loch Ness Monster, in the style of Jackson Pollock, a few months after the producers of the famous faked image die, just as Cobain dies and his version of Lake of Fire is released etc etc. The faked image was a balsa wood model photographed from a great distance by Spurling and Wood. MONT AGE is founded on some early Cobain sound collages and added to layering semi-Scottish sounds (recordings of the Loch Ness Monster, Glasgow Rangers FC, Altered Images, Alexander Brothers etc) and various Nirvana-esque raw US indie sounds (Dead Kennedys, Bikini Kill, Girls Against Boys and of course the Pixies, famous for the quick-slow post-punk that inspired Cobain). Finally, the Velvet Underground’s ah, she looks so good, she’s made outta wood is inserted into an extremely slow (piano) version of the DK¹s punk classic Holiday in Cambodia.
CANTaudio 004, November 2003, GRAYVEN, edition of 18
The series of grey works began in 1989, inspired by Gerhard Richter¹s grey canvases and Irena Ratushinskaya¹s book Grey is the colour of hope. GRAYVEN takes two unrelated projects the grey series and the 1979 series and merges them. GRAYVEN was produced while the anti-smoking drug Zyban, which some claim clouds creativity. In Lithuania, the word gerai pronounced gerr-ray peppers all phone calls (it roughly means ok, cool, fine) and Scotland play Lithuania while GRAYVEN is under production. 1979 a conversation with Pavel Buchler at the Baldessari opening in 1996, he talks about his theory that people fall in love with the music that immediately precedes the first record you buy. That is, when music is in the air and not a commodity. For me, that¹s 1979, a remarkable year of early goth, post-punk, psychobilly and ska. 2003 is also the tenth anniversary of a major mural produced in Hamilton, just south of Glasgow, one that transformed a deep grey car park into a green car park ³and was heavily criticised by some residents². GRAYVEN is a dense smoke-free collage. CANTaudio 001-003 are remixes for the head, remixes for those who don¹t dance. CANTaudio 004 gives a nod to early KLF work (eg it¹s grim up north), those Cobain work and the Plunderphonics of John Oswald and Negativland.
CANTaudio 005, January 2004, faith:drunk:leap:rage, edition of 18
One Saturday in November 03, a weekend supplement carried a free leaflet for Sight Savers International. The front cover showed a young boy with a Frankie Says-style t-shirt with the text BORN TO BE BLIND. Rock'n'roll used to save eyes. Was blind but now I see. faith:drunk:leap:rage was developed more intuitively than the previous GRAYVEN, the grey cloud clearing and the sense of adventure returning. What began as a thirty-minute remix of Amazing Grace crystalized into four distinct fields. Faith is a collection of one-minute Graces. It couldn't start much darker than Einsturzende Neubauten, Nick Cave and The Cramps before Sinatra enters the fray in the future tense (I will see you, I will be seeing you). drunk was produced drunk, on strong Lithuanian brew, yet with enough sobriety to nod to the four areas of audio art (field recordings, reworkings of existing audio, voice as sound and documents of performance). Leap is simply the sublime such a good thing with a new ending and rage is with Rooney in mind for the Bluecoat Gallery billboard and Melt Banana's Liverpool gig.
CANTaudio began as an exercise in DIY. Final Cut Pro on an iBook, imported and downloaded wav and mp3 files (mp3's converted to QT with Cleaner). Transferred to PC for audio burning (Media Player) and Hewlett Packard/PageMaker 6.5 labels and sleeves (Jessops Matt Paper).
Various CANTaudio productions have been given and sent fee of charge to the following interested parties (in no particular order): Bryan Biggs, Lewis Biggs, Alex Dempster, Paul Domela, Bill Drummond, Douglas Gordon, Clive Gilman, Becky Shaw, Kelly Large, Maria Stukoff, Maria Brewster, Bernadette McGrath, Roger McKinley, Chris Watson, Jeff Young, Kelly Large, John Young, Pavel Büchler, Philip Jeck, Tom Cullen, Duncan Hamilton, Paul Sullivan, Marie-Anne McQuay, Colin Fallows, Roger Hill, Alfons Schilling, Tommi Grünland & Petteri Nisunen, Charles Esche, Otto Berchem, Nick Crowe, Graham Parker and Steve Renshaw. CANTaudio 002-004 gave opportunity to rework audio files and ideas that existed, dated back to 1989. With CANTaudio 005 a new phase began, one fuelled by a series of in and outside influences:
The Guided by Voices DIY sensibility and work ethic (see Hardcore UFO's, Suitcase and Earthquake Glue, all 2003). Cheers Bob
The clear thoughts and thinking of John Oswald
The 'Dance of Days' writings on early Minor Threat development (Mark Andersen & Mark Jenkins, Soft Skull Press, 2001)
Bergen, Copenhagen, Malmö, Helsinki, St. Petersburg, Kiev, Tallinn, Odessa, Riga, Vilnius (2002-3)
Melt Banana, The Melvins, Philip Jeck & Otomo Yoshihide in Liverpool (with Scotland beating Holland in one walkman ear) and Arab Strap in Bergen
Negativland "These guys are from England and who gives a shit", SeeLard Records, 2001
Stick Men With Ray Guns, lo-fi "some people deserve to suffer", Emperor Jones Records, 2002
Riikka, Jamie McFadden, Miranda July, Wayne Rooney, Silvia Guimaeres, Darren Fletcher, Jurgita Remeikyte, Rita & John, Rirkrit, Jim (enjoy Nebraska!), Dempster
Kelly Large's "Wish You Were Here" 15 CD set - highlights Åke Hodell, Williams, the first half of Shaw & McNally, Cole & Larson
Bonnie 'Prince' Billy, Jon Spencer Blues Explosion, Einstürzende Neubauten, Jeff Hanson, Fugazi, Shockabilly, 'Whip In My Valise' (1978 version), Penguin Cafe Orchestra, Minor Threat, Can 'Little Star of Bethlehem', Trent Reznor web radio, Orson Family and Bob Mould
Zyban, social workers, grenades in Canning Street, Ultrasound, The Wire & The Wirral