A history of background, Track Listing
Unknown - Sound 8: Background Music For Your Personal Movies - Music For Children's Activities
Jack Fitzgerald – Cyan63
The Stupids – A Small Glass of Prosecco
Emma Parry – A SYMBOLIC REPRESENTATION OF AN IDEALISTIC MORNING
Carol Kaye - Interview From Bob Edwards Radio
Lee ‘Scratch’ Perry & The Upsetters - Jungle Skank (aka Jungle Fever)
Joseph Moore – Chimera......
Interview with Nigel Rodgers, pipedown
Muzak Orchestra - In The Eighteenth Century Drawing Room
Einstürzende Neubauten - U-Haft Muzak (Muzak For While On Remand)
Talesh Patel – Henry Moore Institute, part 1
Cyrus - In The Background
Talesh Patel – Henry Moore Institute, part 2
Jeff Young – Blown Up
James Burnage – Hidden Messages (Glitch Speak)
Hannah Dargavel-Leafe - Kitchen Trio
Carl Allport – Conversation Filter
Martyn Rainford - In favour of CHANCE _ (for which, read experimental)
Conway, Young and Hassall – Education Cuts
Rob Blackburn - Untitled
AD&THEFILMTAXI – scottishbackground (featuring Zak)
Steven Stafford - Love Killed Estonia
Amy Leech - Reconstruction Of Din
Bo Diddley - Background To A Music
Bruce Davies & Jonny Fryer – Elegy (edit)
Anthony Kelly and David Stalling – Saturday Night
Steven Stafford – Thursday Morning
Nicky Hamer – Be Be Be
Nicky Hamer – Vessels
Matthew Toole and Sara Pepper - Chinese Whispers
Brian Eno - Music For Airports, interview
Wolff Cubb – Lift Music
Elisa Grasso and Chloe Plumb - It’s Freezing Out There
Bob Barker – Seascape
Eve Hell - Boogie in A
Beth Turner - Figure & Ground
Andrew Tunstall – Evangelos Would Be Pleased
Undark - Static (edit)
Lisa Stansbie - Background To A Film: Spitfire Beach
Erik Satie - Musique d’ameublement (Furniture Music)
Lower Class Brats - Background Music
Andy Warhol - Lunch in Paris
AD&THEFILMTAXI - backbenches
Michelangelo Antonioni - Excerpt from Il deserto rosso (Red Desert)
Unknown – The Sound Of The Vela Pulsar
Joe Finister – Spot The Pirate
Alfons Schilling - tenantspin interview
Jack Fitzgerald - MimicSoil
Unknown - Recording From Deep Space 2004
David Bowie - Space Oddity (Backing Vocal, Flute and Cellos)
Robert Swift - R09_0072
With thanks to John B. Draper, EAMER Legal and Kim Ratley, Kodak Limited.
Background excerpts taken from CD/LP The Kids Don’t Like It © Boss Tuneage, 2009, collated by Andrew Fryer with thanks to Aston at Boss Tuneage.
The symbolic representation of an idealistic morning refers to the tradition in thought that represents a perfect morning in perfect form.
Used with permission from Carol and BobEdwardsRadio, 1999.
From the 1973 LP 14 Dub Blackboard Jungle (GBAJE7400485, Sanctuary Records Group Ltd), and the 2004 Auralux CD, produced and directed by Lee ‘Scratch’ Perry, with thanks to Steve Marsh (Licensing Administrator, Universal Music) and Zapatoo the Tiger (Trojan Forum).
Enter the wormhole
The campaign against piped music - www.pipedown.info
Performed in 1968 by the Muzak Orchestra on the Muzak Records label, published by Empirical Rhythm Music, Muzak’s publishing Company, with thanks to Bruce McKagan, Company Communications, Special Music Projects, Muzak llc.
From the 1981 LP Kollaps, with thanks to the band and Swantje Fiedler (Marketing/Licensing, Freibank) and Andrea Schmid (Bargeld Entertainment).
From the 2010 collection This is Dubstep 2, with thanks to Cyrus/Random Trio/Jay and Josh Brandon (Management 16), master owned by Eight:FX.
Background notes to a film about background running on repeat in the background.
Sound exists within all files but cannot always be heard, through interfering with them these hidden sounds in the background of a files code can be transformed into an audio we are not meant to hear.
Incidental recordings from the kitchen: a kettle comes to the boil and the washing machine rattles the plates on the draining board.
In part a reaction to way graphic design is understood by those who feel its only contribution is to conveying someone else’s message and not the message itself, but also a response to technology and Duchampian ideas of chance.
On the 10th November 2010 fifty-thousand people united to demonstrate against the proposed government cuts to education.
During one of the biggest public protests since the 1980’s angry individuals from around the country, previously unheard, gathered together in London to voice their opinions collectively, with the aim of amplifying their shared cause and bringing their concerns to the forefront. This piece is based on a collection of protest banners that were documented during the demonstration.
Sample of a sample of background, recorded from a background creating and documenting device that was left in the background.
Personal background through a subtle reworking of a piece of music from a student in Estonia, reflecting the impact of a recent trip to Estonia upon the directions of Steven’s work.
A conceptual montage of recordings based on noise pollution.
From the 1961 LP The Originator on Checker Records, courtesy of Geffen Records, with thanks to Steve Marsh (Licensing Administrator, Universal Music) and A&C Black Publishers Limited.
Elegy is a mournful lament for the dead, a sonic footprint of a former Department Store in Leeds in the process of being re-commercialized.
The sound recording was made in the new premises of the company that used to occupy the building in which Elegy was presented, with the sound processed to draw out pre-existing frequencies in the original recording and place them all at the same level.
From the 2009 CD and book Unknown Point on Farpoint Recordings, courtesy of Farpoint Recordings, a field recording taken from an installation of site specific sonic and visual works by Kelly & Stalling at the library of IT Carlow and Carlow Town Park.
Everyday noises in the background, rain, breathing, yawning.
Inspired by Phil Spector's Wall of Sound with added drum beat organ treated reverb and delay, recorded using a Midi Keyboard and Ableton Live Suite.
Inspired by shoegazing and dreampop and recorded using guitar, external sound card and Ableton Live Studio.
Made from a background recording in an art studio, playing upon the fear that if you hear laughter in the background, it may be directed at you.
1999 interview at Schiphol Airport courtesy of NOS and beel en geluid archive with thanks to
Seth Flink (Nederlands Instituut voor Beeld en Geluid), Constant Dullaart, Russell Mills, Brian Eno and
Jane Geerts (Business Manager, Opal Ltd).
An interpretation of background noise stemming from glimpses into everyday life, catching snippets of conversations from passing strangers and recording them in a monotone, impersonal voice to highlight the banality of daily occurrences and how we disconnect ourselves from others.
Nine different beginnings or endings from soundtracks meshed together and laid gently over the sound of the sea.
Extracted bass line from Eve of Eve Hell & The Razors.
Radio is normally a background sound itself but in this piece the role is reversed, the radio becoming the foreground and the figure behind the music on the radio becoming the 'background noise'.
A Vangelis-inspired soundtrack with cinematic fadeout.
Edited extract of a ground track for a soundwork for an unrealized site-specific multimedia installation, commissioned by
North Tyneside Arts. All sounds used are from field recordings made at sites with significance in the cultural or
industrial evolution of North Tyneside. Undark are Russell Mills, Michael Fearon and Tom Smyth © Undark 2010.
Narrative and background music from the film Spitfire Beach, narrated by Gerard Fletcher. Using the top ten best selling Airfix aeroplane kit names, a narrative is written around individuals queuing on Spitfire Beach to throw crates of their personal belongings into the sea.
Composed by Satie in 1917 and performed live by the Chamber League in Concert, with musical director Clyde Yasuhara, in 1997 at the Firehouse in San Francisco. With thanks to Clyde and Lisa Philips (Fort Mason Center).
From the 1998 LP Rather Be Hated Than Ignored, with thanks to the band and Josh Barnes (TKO Records).
Andy Warhol Audio Tape Recording, 1973, © The Andy Warhol Foundation for the Visual Arts, Inc., with thanks to Samo Gale (Licensing Assistant, Warhol Museum) and, for the voice of David Whitney, thanks to Mark Lancaster, Geraldine Aramand
a and Clare Elliott (Menil Archives), Lynn Davis (Executrix, David Whitney Estate), Rebeccah Johnson (Studio Manager, Lynn Davis Studio), Christy MacLear and Thompson M. Mayes (National Trust for Historic Preservation).
Cameron and Brown debate credibility gulfs and inheritance tax, 2007.
Starring Monica Vitti and Richard Harris, 1964, with thanks to Michelangelo’s niece Elisabetta Antonioni, his collaborator for forty years Carlo di Carlo, artist Stefania Corbelli for translation, Eddie Berg (Director, British Film Institute) and Federica Mei and Marco Valerio Fusco (Intramovies Srl). Excerpt courtesy of MEDIASET DISTRIBUTION.
The sound of PSR B0833-45, The Vela Pulsar, with thanks to Christine Jordan and Ben Stappers (Jodrell Bank Centre for Astrophysics, The University of Manchester).
In 2003 Schilling worked with Liverpool community project tenantspin using his custom-built perspective-reversing spectacles.
Performed by David Bowie, 1969, courtesy of RZO Music, with thanks to James Chinneck (LMU), Jenny Gosling (Bucks Music Group), Nigel Reeve (EMI), Amanda Chinneck (National Media Museum, Bradford), Henry Wrenn-Meleck and Aisha Cohen (RZO Music) and Beth Greenacre (Rokeby Gallery).