Music Video – Phoneutrian – Base Journey

My music video for Base-journey by Phoneutrian, Interworld Media, 2018.

This song for me is very emotive & evokes a strong sense of feeling alone in a crowded environment, so I endeavoured to articulate this feeling of solitude.
One of my favourite things to watch, as previously mentioned, is slow movement. I’m a big fan of ‘slow-t.v.’ and anything which involves the gradual transition of form. Furthermore, I recalled a powerful experience exploring spaces which are usually busy but now are empty (Kenopsia).

I used these experiences to draw inspiration from primarily because of how removed the vocal lines are in the song, it instantly made me feel like I’m inside a vast cavern, glimmers of human interaction echoing off the walls, like the dying hiss of reverb desperately trying to stay alive! Moreover, I had experienced many long car journeys growing up and would routinely try and create patterns in what I was seeing as a way of keeping myself entertained.

I had previously enjoyed sessions viewing ‘Night Walk/Ride‘, which is a ”
first-person view of a trip through part of Toronto during the late-night hours, accompanied by Jazz ” and found them comparable to my present-day late-night/early-morning walks home from work. I decided to use this footage instead of trying to re-create my own as I felt I would create a poor recreation, also I felt that it may date the video tremendously if I used contemporary footage as opposed to the ‘Nightwalk’ footage, which was shot in the 80s. But isn’t the 80s footage dated as well? Well yes, however, I feel that using found footage doesn’t recall as strong a sense of specific location or date for me. Whereas if I had used contemporary footage, I feel it would have seemed like I was overtly trying to say something about that specific space/time. Which is exactly the opposite of what I wanted: a universal experience of travelling alone.

One of my favourite music videos of all time, which undoubtedly had a very discernible impact on me is for the Chemical Brothers song ‘Star Guitar’ directed by Michel Gondry. Its influence on me and my life is palpable and it still gives me goosebumps every single time I watch it.

If I was to start this project again I would probably choose to use a wider variety of footage. Whilst I used a wide palette of material I chose to exclude some footage due to a wide difference in colour levels. Whilst recognising those as different is obviously important I feel that I could have used them elsewhere in the project, working with their differences as opposed to against them.

‘Dronez’ Album

My first collection of music published on a physical format.

When I made Dronez and the period of time directly leading up to its publication was the most difficult of my life thus far. I had just finished my University degree (barely) & education as a whole, ended a 7-year relationship and was effectively homeless.
Despite this, or maybe because of it, my first collection of music was more-or-less ready for release. The album liner notes read “…Dronez is a culmination of the author’s fascination with stretching and spatial manipulation of audio. The emotional intensity of Dronestasy and True Grit counterbalances the calming environments of Frahmbient and Peace With Birds to achieve a complete psychoacoustic experience. For this reason, we advise Dronez is enjoyed in one sitting. “

I was severely unwell during this period and only now find myself coming close to feeling 100% again. The myth that artists produce better work when they are unhappy is just that, a myth & a terribly damaging one at that.

Hugeyes – The album opener starts with a very soft bed of blended string-based instrumentation put through a vocal convolution reverb. Essentially meaning that it’s a sound which was placed inside an unfamiliar or impossible space, in this case, it’s the sound of a variety of pianos run through the vocal characteristics of a human mouth. 
This slips surprisingly into a distorted drum beat, one made entirely of artificial sounds. Unnaturally low kicks bounce back & forward as extended snaps slap along and a field of static is propelled forward. I wanted this dichotomy of natural & artificial elements to be both disparate and also synonymous, as this was how I felt. 

True Grit – Is the soundtrack & reaction to a poem written by Joe Kriss. The poem – to me- is about being in nature and the overwhelming response it can elicit. I tried to convey this through my use of spatial swelling and in the wide palette of sounds & instruments sampled in the recording.

Dronestasy – This was one of my first major accomplishments in sound design and remains one of my favourite pieces I have made. I was trying to evoke the feeling of full-body pulsation I had felt so very strongly at the end of my first experience with ecstasy. Laying in bed not listening to anything except my own heartbeat and imagined 4×4 drum beat that had been the predominant force for the past few hours. I realised not only could I hear my blood flowing through my body but I could feel it as well.

Peace with birds – Is a more-or-less closed environment. Made at a time in my life when I felt I could no longer listen to music, for fear of associating it with how awful I felt. I would take walks to calm my mind and listen to small things which pleased me, like the sound of tree leaves in the wind and bird sound. During this period I made a wide amount of aleatoric (randomness in nature) recordings, which I would find myself returning to at varying instances when I wanted to elicit that feeling of natural stillness.

6000w – Or 6000 words by tomorrow is an illustration of how I was feeling, pressured. I was struggling heavily with depression, anxiety & invasive thoughts and university deadlines. I made this song when I had a 6000 word essay due the next day, I should really have been concentrating on that but instead decided to use that urgency in this piece.
This song is preceded by the much earlier ‘3000w’, which as you can guess was made under similar circumstances. Probably my least favourite on the album due to how ‘scrapey’ I feel it sounds now.

Frahmbient – This is an ambient reworking of a song by Nils 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.

Ideasthesia – The final track is a record of where I was then, a sound excerpt from my final university installation.I have written & spoken about this in length elsewhere but as a summary: The piece itself was a meditation on the melding of sight & sound, pairing colour groups with sounds & vice versa, these are sonic excerpts taken from the installation blended into a narrative experience.

This album is available to listen & purchase via Interworld Media:


https://interworldmedia.bandcamp.com/album/dronez

http://reworked.nilsfrahm.com/rework/YOU/you-zaron-mizmeras

Climax – Gig Excerpt (3)

The final excerpt of the ‘Cittasamskara’ event held at The Moor Theatre Deli, 2016.

The song, slowly builds with militaristic reverberated snares, a swelling layer of pitched vocals and a slow advance in volume, which builds up to nothing. An anti-climax.
This is how I had felt at the time about my university degree and personal life, everything I had done so far in my life had been working up to something I no longer had; I felt extremely detached from the entire arrangement, to say the least.

Cephlalgia – Gig excerpt (2)


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.

Relax – Gig Excerpt (1)

 
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.

Drone mixtape 1 & 2 – Generative Sound

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.

Dronestasy – Composed sound

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.

Lizard Quest – Profile

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

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.

Frahmbient – Remix of ‘You’ by Nils Frahm

 

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 –

http://reworked.nilsfrahm.com/rework/YOU/you-zaron-mizmeras

The image is an amplified image of tears, specifically, tears of change.

Ambstract – 3 abstract-ambient pieces from 2014


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.