I’ve been pretty quite here lately and I’ve been sitting on the last 3 releases from my flurry of activity last year. This brings the total to a pleasing 11 collections of sound. Each of these is accompanied by a browser-based virtual multiplayer installation. The links are included with downloads of the albums. Each installation links to the other ones, but you have to explore to find the portals.
I’ll leave one link here, which I believe I’ve left before.
Six Tape Works and One Exploded Composition are the left and right hands. Tape is long and Exploded is tall. Provincial Skinflint is the feet. In 2015 I reencountered Audacity through a French dictation assignment and saw that it was possible to cut and splice strips of audio much like one does with analog tape. I was enthralled. I said at the time that it felt more like compulsion than creation. The same can be said for most of my music.
I was abroad without any of my guitar toys as crutches. I was experiencing the early joys of dysphoria and the early dividends of trauma. I needed to make music. Thank goodness I found a way to do so. I admit these are intentionally rough around the edges, but they form the foundation of my field collaging practice.
I later learned this is called musique concrete. Reading Eliane Radigue’s ‘Intermediary Spaces,’ I felt immense kinship with her work and her airplanes. She only got to hear six per day when she lived in Nice with no tape recorder. She wrote a timetable so she wouldn’t miss them. I couldn’t keep airplanes out of my field recordings if I tried. Neither of us could keep whatever that sound was out of our minds.
The Tvordis Veeler mask was constructed at this time too, a mechanism I now realize was defense. This is Tvordis’s first work of art, and I, Sammie, remain a faithful archivist of his oeuvre after his passing. Some say I was his muse, but I wouldn’t be so self important. Like Eliane, I didn’t see the significance of what I was doing and feeling until much later. Before this was art, it was a game.
Audacity has been more important to my work than any guitar, pedal, plugin, or synthesizer. And it’s free. It’s obvious that I didn’t make this music to get famous, or even to make people happy. I made this because I needed to.
With this triptych of hands and feet finally resolved, perhaps my next work will come nearer to my body.
I wrote little ditties like this on the other releases, but I think this one is the most important.
(please include at least a paragraph of writing to facilitate discussion)