The Happy Generations

A couple of years ago, Makrame records released a piece of mine, improvised on prepared drums, alongside many other drummers, such as Gino Robair.

I'm not entirely sure if you can still buy the CD, so I thought I'd put the piece up here as streaming audio.

If anyone wants a copy of this please let me know.

The Happy Generations

For Loris

Neil Davidson has been kind enough to host a recording of Stephen Cornford, Sarah Hughes, and myself, realising the score 'for loris' by Jeph Jerman at his blog, never come ashore.


Please click here to listen.

For and Dancehall

A beautiful handmade 3" cdr compilation on the Psykick Dancehall label, of which I have contributed a solo drumkit improvisation, is now, i believe, sold out. 

You can hear my recording online at the labels myspace page: 

Psykick Dancehall

I believe there are plans to make the entire compilation available for free download some time in the near future. 

No Islands | Droplets

Two new releases on the Another Timbre label as part of the Silence and After series will be available this July.

The first is called Droplets , Dominic Lash, Sarah Hughes, and myself, consisting of an Improvisation and realisations of scores by Eva-Maria Houben and Taylan Sussam.


The second is called No Islands, Stephen Cornford, Kostis Kilymis, Sarah Hughes, and myself, consisting of a realisation of John Cage's Four6 and two improvisations.



These wonderful artists will also be released in the same series:
Tierce. Jez riley French, Daniel Jones, Ivan Palackẏ.
Divisions that may be autonomous but that comprise the whole. Performed by James Saunders, Tim Parkinson, Angharad Davies, Philip Thomas, Rhodri Davies, Stephen Chase, Edges Ensemble.
A Pauper’s Guide to John Cage & Early Morning Melancholia. Anett Németh.

They will be available here: Another Timbre

Photo taken By Richard Pinnell at a performance of John Cage's Music Circus in Kettles Yard, Cambridge as part of the 'Every Day is a Good day' visual art exhibition.

Green rings around the eyes, this grass in Vibrant Motion

Kosuke at Nadukeenumono has been very kind in releasing the first 36, or some such, minutes of me ever playing a turntable. I have copies, and you can also purchase them at the website, where there is a small sound sample.

Improvisation for turntable, wire brush, and contact microphone. 
Recorded by Patrick Farmer, 27.01.11, at Oxford Brookes University. 
Photo by Richard Farmer.
Title taken from a poem by Nichita Stãnescu.  
For Kate and Mark. 2011.

To listen | Purchase, please visit: Green rings around the eyes, this grass in vibrant motion

ForSake.

The affable Christian Munthe has recently started a new label called *for sake* recordings with a slew of new releases. One of which features myself. The recording in question is a brief and cut short excerpt of a recording Christian made of himself on guitar and myself on snare drum in his living room in Göteborg, the last stop of my short solo tour around Norway and Sweden a few years ago. We played for nearly an hour if I remember correctly, but due to a technical fault only a few short minutes were salvageable. More information about the release can be found below. Thanks Christian!

A compilation of never before released live and home recordings from the period of 2005-2009, featuring Christian Munthe solo and in combinations with Anders Dahl, Nina de Heney, Patrick Farmer, Kelly Jones, Saga Munthe, Pascal Nichols, Henrik Olsson, Alberto Popolla, Christine Sehnaoui, Rachael Wadham & Mariam Wallentin.

*for sake* recordings

Jeph Jerman | Tom Cox

Jeph Jerman and Tom Cox — if/when

if/when comes housed in a compelling handmade box containing mushroom prints, the cd itself, and various organic matter. A profitable collaboration that involved Tom sending various recordings to Jeph who then reconstituted and playfully juggled them into their individual selves. I highly recommend looking inside this box as the cd plays itself out, as, to me, the box acts as a microcosm of Jeph’s milieu.

Whilst attempting to describe what I have heard on this disc, my grasp of words, such as it is, seems all too misleading. So I fall upon images and visual analogies that I hope might shed some light upon how I feel about this release.

The first two tracks align themselves to visual scenes, presented differently each time I listen through. Images of invertebrates burrowing in the soil beside a constant stream of traffic, time-lapse footage of plants growing (with the sound of the film crew left in the mix), walking into a restaurant and sticking one’s head into a deep fat fryer where the sounds heard blend together, slowly vying for autonomy, and the food in the fryer scratches and pulls against the sides of the machine creating various internal soundworlds. The next two tracks bring to mind the previously mentioned microcosms once more, observing lilliputian aeolian villages where the vehicles are blown along by the wind, creating all manner of scratches and whistles, and peering through the window of Andrei Tarkovsky’s model house in The Sacrifice, as if sound emanates from the reflected light that catches your ears.

if/when is full of inspired auditory strata. It is a world of quasi-communication where energy harnessed is never dormant, but under a constant state of calibration.

Field recordings, auditory documentation, whatever you wish to call them, have come a long way in the last decade, and if listening to if/when evokes the precarious motion of stepping from rock to rock, observing the mosses underfoot, then the first two tracks of @stuk remind me that it’s all too easy to forget everyday objects and their inherent sonic worth.