Side 1: The House Robots
-Presenting Rhetorical Episodes Largely Using Dramatised Extracts
-Spiky Or Not, And Transitions Also
-Freedom Ultimately Gave Us Ennui
-Christian Harmony Or Rule Application Learning Exercises
Side 2: New and Weird Foliage
The first four tracks on this album were originally composed during the Easter holidays in 2014, and the last three were written towards the end of the summer term at University and during the holidays, during which time all of the compositions were revised gradually.
One of the best things about doing a music degree so far has been being introduced to electroacoustic music; I'd not heard any before I came, but it's fundamentally changed my outlook on composition, and listening to music in general. I never used to keep track of motifs or fully understand developments before attempting to understand pieces of electroacoustic music – in which melodies and harmonic movement seldom provide a 'safety net' for the ear, as they would in instrumental music. What's more, I like how the kind of production practices of popular music and electronic music are used in a more artistically involved way – for example, instead of using reverb to simply simulate a space in which a musician is theoretically playing, reverb can be used as a fundamental aspect of a motif, which is able to vary as much as any other compositional parameter.
The tracks on Side 1 are linked in their re-interpretation of familiar Classical archetypes, and the tracks on Side 2 are more focussed experimental studies. Reflective Grids is made from variations of a machine-like pulsating fifth drone and some finger clicks, and HMS Spaceship is created entirely from one 10-second recording from my phone.
The music on this album is partly a result of some of the 'what-if' conversations I've had about music with friends. I don't consider this to be any profound musical statement, but more a friendly hello to whoever may find this music interesting.