The White Noise: An Audio Feature in Stereophonic Hell
The White Noise: An Audio Feature in Stereophonic Hell is a collage of audio arranged and edited by David Butler with video by Andrea Pazos produced for Delia Derbyshire Day 2019 which honoured the 50th anniversary of “An Electric Storm” by White Noise (Island Records, 1969). This feature is made in the spirit of the four ‘Inventions for Radio’, which Delia Derbyshire collaborated on with the dramatist Barry Bermange.
This piece is an attempt to illustrate with sounds and voices the story of White Noise’s album An Electric Storm – how the album came to be made, its distinctive qualities, cultural significance and ongoing influence on artists today.
All the voices were recorded from life and arranged in a setting of radiophonic sound in twelve movements.
Drawing on music and sound design by Delia Derbyshire, Brian Hodgson and David Vorhaus from the Kaleidophon years when An Electric Storm was made and released, the feature includes interviews with Ian Campbell, Chris Carter, Ian Heliwell, Suzy Mangion, Cosey Fanni Tutti, Adrian Utley, Martyn Ware and Mandy Wigby as well as an original arrangement and performance of ‘Firebird’ by Morris Clarke.
The groundbreaking White Noise album, An Electric Storm, is celebrated this Saturday at The British Library.
Organised by our friends at Delia Derbyshire Day, there are a series of events planned throughout the day, including a contribution from Delia’s bandmates Brian Hodgson and David Vorhaus.
The day will also include a special screening of a 20 minute audio feature produced by Lead Researcher and Curator of the Delia audio archive in Manchester, David Butler. This includes contributions from Adrian Utley (Portishead), Martyn Ware (The Human League, BEF, Heaven 17), Chris+Cosey (Throbbing Gristle), and our own Ian Campbell.
Tim Seeley and Ian Campbell from Synthcurious were delighted to work with local poet and visual artist Mary Courtney on her digital art project. Below are 2 of the pieces they provided the music for.
Best played on loop.
A series of electronic music scores for short films. Composed for, and inspired by, the visual art of Mary Courtney.
The pieces were performed and recorded live using analogue synthesizers, with computers only involved for the purpose of recording.
Composed to accompany the digital art piece Lips.
Equipment used includes: Cwejman modular; Korg Delta
Based out of Berlin, Germany, electro-acoustic music composer and performer Hainbach (Opal Tapes, Seil Records) creates shifting audio landscapes THE WIRE called “One hell of a trip”. Using esoteric synthesizers, test equipment, magnetic tape, and idiophones his music is both abstract yet very much a corporal experience. He has become known for his immersive live performances for and recently through his YouTube channel, where he brings experimental music techniques to a wider audience.
A big thank you to everyone who came along to the Chapel of Many over the last week. We had hundreds, if not thousands, of visitors. And thanks to everyone who came to talk to us about the Chapel, and our Sound Installation.
Thanks of course to Sebastian Hicks for a great event, and for inviting us to take part. And to Rhiannon Bigham for her help during the preparations, and the event itself.
Synthcurious have been commissioned to provide the music for a sound installation for the Chapel of Many event in the Cathedral Ruins.
Using multitracking, looping and layering techniques the sonic representation will constantly evolve over the duration of the event, never repeating the same passage twice. This is to represent the uniqueness of every individual, and their involvement and participation in the groups they form each and every day. Some intentional, some accidental, but always evolving.
The event will run from Wednesday 19th to Sunday 23rd June, with the installation playing at various times throughout the week. There’s also a special launch evening on Tuesday 18th from 6pm.
Admission is free, and is open to everyone.
The Chapel of Many was conceived and designed by Sebastian Hicks from Coventry University.