Cephalalgia – Ice cream headache
This is the Second portion of a 3-part performance of visuals & sound, combined generative & composed. Performed at the Sheffield Theatre Delicatessen in support of ‘Jefferson Slim Sheik Experience’ for their ‘Cittasamskara’ show.
One of the few pieces containing voice, albeit barely recognisable. Regarding the cognitive dissonance contained within ice cream headaches.
This is the first of a 3-part performance of visuals & sound, combined generative & composed. Performed at the Sheffield Theatre Delicatessen in support of ‘Jefferson Slim Sheik Experience’ for their ‘Cittasamskara’ show.
I wanted each section within the performance to have a defined style. Thus this part refers to calming notions of water, nature, birds, forests, etc. I conceived this piece after discovering a ‘relaxation cassette’ made by my father for one of his clients roughly 20 years ago. I listened to the entire recording & constructed complimentary pieces of sound design to go alongside the narration, as well as utilising existing footage of water used in previous projects. Subverting both to form a new, altogether connected experience.
What do we hear when we listen to sound? What could we see? What would it mean to us? How do we construct this meaning? Through experience? What could we experience? Do we experience the event itself? Or the experience alone?
The installation sought to create a synaesthetic environment through the juxtaposition of colour & sound. Through assigning groups of colour with specific sonic events, a combined aural/visual experience occurs within the audience.
Here’s an interview where I explain it a bit better.
Here’s the tester video I made prior to the installation in order to convey the idea of what it might be like. I was pretty close.
What is it like to hear a colour? What is colour? What is sound? What are dreams? What is reality? Is music just sound? Is art just colour? Are dreams a part of our reality? Could you see a sound? Would a colour sound different depending on which colour it was? What colour would sound be? Does it have to be a colour? Is what’s red to me, also red to you? If I see it, do I have to hear it? Would it be a sound? Or would it make a sound? What kind of sound would colour make? Or what colour would sound be?
The installation sought to explore the idea of Synaesthesia, using projection feedback and live electronic instruments, a bizarre, immersive, dream-like environment was constructed for the audience to interact with & experience.
The installation itself consisted of a device known as a photo-theremin, which affected the pitch of the tone generated based upon what frequency of light entered the circuits. This was pitted against an evolving backdrop of analogue video feedback. Thus, interacting with only one element of the installation was impossible, as to interact with the visual component inherently involved affecting the colour, which in turn changed the sonic aspect of the environment.
Whilst this may not be the most applicable or truest interpretation of the Synaesthetic experience, I believe it effectively illustrates an important aspect of subjective / experiential ideas & how illusory our sensory world can be.
Drone Mixtape 1 & 2, was a compiled piece of music designed for a seamless listening experience.
Comprising of mostly generative pieces of sound, it draws elements from established genres of ambient music & adds chance procedures in it’s structure & overlying message; which is constructed entirely within the audiences mind, a subjective experience within another.
It will be released & available to purchase in the coming months on tape & digital as part of Interworld Media.
The cover image is a still taken from my visual work.
Please listen on headphones.
Dronestasy is a composed piece of music borne entirely from ‘comedowns’. I made certain to only work on this piece under that specific constriction.
It was important to me to relay such emotions as contained within the specifics of a post-mdma head-space.
The brutal intensity of how it overwhelms thoughts with a soft buzz & the throbbing reverberation of drums pulsating around an imagined & overused brain.
The image is a composite of colourised burnt-out film stock & projection mapped smoke.
For aeons the lizard quest has been ongoing, the seed planted so deep within the past as to impregnant the future with its curse. The Lizard’s Quest is an eternal one.
Lizard Quest is Aaron Mears & Jake Horgan, two creative minds working as one, cultivating years of practice & experience to form one entity with one aim, to bring out the Lizard in all of us.
Utilising field recordings & found material, as well as glitched-out digital instrumentation conjuring an exploration of contrasting sound areas, taking as frame of reference: rhythmic clatter deep droning pulses re-appropriation of found sounds, with an emphasis of exploring digital realms.
Combining this with our entirely original & connected visuals based on pure video feedback, creates an overwhelmingly groovy intergalactic experience.
This is an ambient reworking of a song by Nil Frahm, I made this immediately after hearing the album ‘Screws’ for the first time.
I clearly remember how powerfully the entire album was from start to finish. It instantly compelled me to make music again and I needed to emulate how it made me feel.
I recorded the sound of ‘You’ playing into the room I had first heard it in and began layering it back onto itself. (you can even hear the church bells & the birds tweeting from outside my window, a beautiful natural addition I decided to keep in). From there I worked with more convolution reverb and various other filters to separate layers and generate a few different versions. This is certainly the best take however, exhibiting the careful solitude of the original piece whilst still displaying an overwhelming feeling of peace.
This piece was submitted as part of a Nils Frahm remix collection & is also available to listen on his website below –
The image is an amplified image of tears, specifically, tears of change.
The first piece ‘Sun-days’ was written across two different Sundays and as such has two distinct styles/moods, using the same source material.
’11 Wizards’ was conceived as the soundtrack to a dream I had experienced. Immediately after awakening I sought to replicate what I had heard in the dream, which was an epic, drawn-out, wizard battle royale. It began with a stalemate, which seamlessly shifted into a brief opening ceremony and then eventually the battle, which subsided into darkness. The entire dream was performed as if it were in 500 frames-per-second slow-motion, the soundtrack emulates this.
‘Returnal Occurence’ is the main theme within actual short film ‘Eternal Recurrence’, dir. Rob West (2014). Based upon the Nietzschian concept of an eternally re-occurring universe, it seeks to emulate this idea through it’s loopable nature whilst retaining a specific ‘beginning’ & ‘end’.
The 3 pieces were packaged together due to their compatibility & over-arching abstract principles.