subota, 19. siječnja 2013.

Andrea Parker & Daz Quayle - Daphne Oram: Private Dreams and Public Nightmares (Interpretations by Andrea Parker & Daz Quayle) (2012)

Reinterpretacije pionirskih elektroničkih snimki Daphe Oram. Otkriće atomskog mraka u njihovu srcu.

Private Dreams and Public Nightmares is a unique concept album which re-works and re-interprets original, unheard sounds from the Daphne Oram archives to create completely new pieces of music. Two of these pieces were performed live by Andrea Parker and Daz Quayle for 'Oramics: The Life and Works of Daphne Oram' at The Royal Festival Hall and for the Short Circuit Festival at The Roundhouse, where they supported the BBC Radiophonic Workshop.
The story began in 2008, when Parker was invited to a meeting with Phil Howlett, who was putting together the 'Oramics' event at The Royal Festival Hall. He was looking for an artist who could write and produce an original piece, incorporating some of Daphne Oram's sounds and then perform it live. Having remixed some of the great electronic pioneers in the past and as an idol and inspiration throughout her career, it was the chance Parker had been waiting for.
Shortly after this, four CD's full of Daphne's original sounds dropped through her letterbox. For Parker it was a defining moment. Along with Daphne's numerous recordings were some of the first examples of 'drawn' sounds. This was an entirely new way of making sound, the pioneering concept that paved the way for electronic music as we know it today. These sounds, like Daphne’s Oramics machine itself, are part of British musical history and only now are this history and Daphne's legacy starting to be given the recognition they deserve. America had Robert Moog, Britain had Daphne Oram. Both of these pioneers were as important as each other to the future of electronic music, but it was Daphne's unique Britishness that led to her building The Oramics Machine into the empty shell of her own dressing table.
After the performances, the duo wanted to continue re-working and manipulating these sounds to create an entire album, as they hoped Daphne Oram herself may have even done today. Parker arranged to meet with Dr. Mick Grierson, Director of the Daphne Oram Collection at Goldsmiths College and Secretary of the Daphne Oram Trust and, after hearing her ideas, Mick gave them that opportunity. In 2009, Parker became one of the first people to be given unrestricted access to the Daphne Oram Archives, containing photographs, diagrams and hundreds of reel-to-reel tapes.
They soon discovered how descriptive Daphne had been when naming her sounds, calling them things like: 'toothache' and 'rheumatism'. Sounds that literally throbbed and pulsated as their titles suggested.
Hundreds of hours were spent sampling these sounds and carefully treating them through various noise reduction processors. They set out to use some of the less-obvious, unnerving sounds they had found in the archives to explore a different side of Daphne, a darker side, integrating them with sounds from Parker's own archives (made using analogue synthesizers like her arp2600 as well as her 808) and using Quayle’s sampling and studio expertise to create the balance. What developed was a deeply personal album, an intense piece of work. Minimal, yet in some pieces over 100 individual sounds were used. Haunting, or itself perhaps... haunted?

"The subtitle says: Daphne Oram, Reworked And Reinterpreted, bu Private Dreams... is no mere remix. Accessing the archives of the Radiophonic Workshop pioneer, Djs Parker and Quayle summon he dark, throbbing heart of Oram's music, producing a stunning piece of sinister sound theatre that's half mystical biography, half sonic divination." - Mojo

Andrea Parker's Aperture label returns to deliver its most interesting release yet -  a concept album featuring re-works of original material from the Daphne Oram archives made by Parker and cohort Daz Quayle. It's a tricky proposition - tackling source material of this calibre might well be seen as ill-advised, but Parker and Quayle do a good job of drawing out the inherent darkness of Daphne's recordings without ever pandering to stereotypical Radiophonic tropes. The set opens with a treated interview given by Oram on Radio Four's "Women's Hour', overlaying that distinctive voice with eerie tremors and stark soundscapes which set the template nicely for whats to follow. The fact that Parker and Quayle had access to the full Oram Archive over at Goldsmiths during the making of these pieces lends these recordings an extra dimension - you never quite know if what you're listening to stems from the original tapes or from something new, a testament not only to Daphne's visionary musical vocabulary but also to Parker and Quayle's understanding of it. "Frightened of Myself" is a case in point, a track built around a short vocal loop that heads deep down into the darkest recesses of sound to deliver something genuinely terrifying. Some of the other pieces are more overtly modern - "Ghost Hamlet" unfolds into a robust percussive number which, to these ears at least, is far less interesting than the more Concrète pieces to be found on this set, but still, it's interesting to hear the source material in this context. Overall though - it's hard to overstate just how good a job Parker and Quayle have done of working their own musical ideas into the mix without ever disrespecting Oram's unique aesthetic. Highly Recommended. - boomkat

This is the third album release on Andrea Parker's avant-garde Aperture label, a label carving its own niche in experimental electronic music. Other artists to date have included Oberman Knocks, clifordandcalix, and remixes from the likes of Luke Vibert, Freeform, Majestic 12, Andrea Parker and Daz Quayle. The album at hand is a concept album which re-works and re-interprets original, unheard sounds from the Daphne Oram archives to create eight unique original pieces culminating in an album which includes two live performances by Andrea Parker and Daz Quayle. Done purely as a labor of love in their spare time, Parker and Quayle have incorporated some of the less-obvious, unnerving sounds they discovered hidden in the archives to explore a different side of Daphne Oram -- a darker side. What developed was a deeply personal album, drawing on Parker's in-depth knowledge of Daphne Oram's life and works, containing pieces created as they hoped Daphne Oram herself would have done with the sounds that she had made. Daphne Oram needs no introduction... British pioneer and forerunner of modern electronic music, and founder of the BBC Radiophonic Workshop, she's the genius who built the Oramics machine. She is also one of Parker's idols. It was her obsessive interest in collecting sound effects records and her passion for electronic pioneers that first introduced her to Daphne Oram and the BBC Radiophonic Workshop. A chance meeting with Phil Howlett at The Royal Festival Hall ultimately led to her direct involvement with the Daphne Oram Trust, through trustee Dr. Mick Grierson, who gave Parker permission to create a unique concept album using some of Daphne Oram's original sounds. In doing so she became one of the first people to be given unrestricted access to the Daphne Oram Archives, containing hundreds of tapes (211 to be precise) of original, unheard sounds created by Daphne Oram herself. Private Dreams and Public Nightmares starts with an interview featuring Daphne Oram recorded for women's hour for the BBC. Followed by two pieces performed live by Parker and Quayle, one for the Short Circuit Festival supporting the BBC Radiophonic Workshop at The Roundhouse and also for "Oramics: The Life and Works of Daphne Oram" at The Royal Festival Hall. The album sounds minimal, yet in some pieces, up to 80 insular sounds were used to create a detailed path to lead your ear through the unknown. An intense piece of work. This album is challenging and isolationist, using a spectrum of dark sounds running throughout with the occasional beat, lots of bass that certainly weighs it down, giving it a distinctive, moody and ominous sound. There are chords as well as lots of bleeps, electronic clangs and plenty of sinister drones that force their way into your consciousness, leaving you feeling possibly unstable with emotional tension. It's fearsome, haunting and downright scary at times, certainly not for the faint-hearted. It's definitely not easy listening, but be patient, and you will find extraordinary pieces delivered in an unnerving way.  -

bonus:Andrea Parker, Nobody's Perfect Vol 3 + ...


Nema komentara:

Objavi komentar