Friday, April 8, 2016
ingrid plum with graham dunning, ian stonehouse & john harries - everything is becoming science fiction (tape/digital, plum records)
this is a tape of duo pieces held down by plum, based around a collection of short stories by jg ballard, with improvisations using this text as the basis for the score with dunning, stonehouse and harries, respectively.
plum/dunning - track 12
split glitches, muffled, ringing electronics like extended technique on cymbal scrapes carefully intoning multiple sound sources in stereo interplay. crackles of vinyl adding presence to ulterior room air, scratches of needle mark jumps duet with pinpoint thinning feedback and voices in rotating horn-call, the sound of a massive boat shoring with everything in the background illuminating in heavy water hum as deep breathing tonal whispering fades with wind-blown reverbs into signal-sweeping shoreline smearing. getting distant and as it gains in propulsion and droning path it fades away into a crisper disintegration, leaving behind microscopic sound tides.
plum/stonehouse - the sound sweep
slippery dabs and stunted hits, older sounds coexist with new pulling peaks, free and open and lurching, voice hitting trumpet blurts and holds, thick with tricked hitch and hiss that stumbles purely into staggering rhythmic beats and interlocking hypnotic pattern. then it dives out and tests points farther away from each other with the trickling conjurations kept in full rear-view motion, locking in and flying away, steadied by bassier pulse and machine generated throb and when it flies highest, in perfect swing, it's damn heavy and right.
plum/harries - the singing statues
ballad start, teasing out softer singing breath, matched by cubist sound rising and disappearing, a contracting web of struck material and overloading frequency, with beautiful super-close vocals and blowings and wafts of chants or sound-poem glows in proper spectrum-sitting place. they can be hauntingly moving but too at peace to be unsettling, there's a deeper reach inside the unconscious/subconscious and a play for externalizing mystery, this new language answered by ceremonial drum-sound drops repeating and echoing away into higher pitched escape.