the evening of the 3rd of July saw me embarking on further collaborative sonic explorations with Black Boned Angel guitarist, Stumps drummer, Sandoz Lab Technicians multi-instrumentalist and general improv polymath James Kirk.
taking the opportunity, while i was in Wellington, to build on some investigations begun in Dunedin at Lines of Flight last May, we began to clarify a method around the minimalist use of strings and static, finding an instrumental base in radios, erhu, violin, and melodica, and a manifest expression in small summations of broken melodies, careful fragments and drift, with a vaguely Sandozian-eastern feel.
Harnessing the effects pedal James uses with Black Boned Angel added a whole new sonic palette to my violin, with drones like arctic ice and deep space becoming the backing to a delicate foreground of whispering acoustics and feathery aetheric scratchiness...
I recorded about half an hour of audio. a fairly sketchy edit snipped off this, called 'from the pencil area' is listenable here
"... we each discover our own silence, we each recreate silence as a metaphor. From noise to silence, from panic to quiescence, from catastrophe to calm: the very existence of silence both depends on noise, and permits noise to exist"
- Allen S. Weiss, Phantasmic Radio
"I have become increasingly preoccupied with atmosphere. Somehow I wanted to move what I'm doing (intention) towards this notion of atmosphere, an activity where we're not aware of technique, of instrument, of playing, of music even, but instead as feeling/sensation suspended in space, perhaps what Feldman meant by music as time, energising to the air, making the silence (unintention) audible."
- Keith Rowe, liner notes for Duos for Doris