The starting point for this album was the suit of Diamonds. In Norway we call this suit “ruter”. Ruter refers to the geometric shape found on the cards, but the word can also mean windows. This led to the idea that these 12 tracks should not only represent the 12 cards in the suit, but also have a narrative connected to 12 windows in my house. Windows are also interesting in terms of the fact that they are see-through, but also able to reflect. Considering this I decided that every track should describe events both inside and outside of each window. So, this is an album with a narrative. Instrumental (art) music that attempts to describe a narrative musically, is often called program music. The narrative might be presented as a text (program notes), through the piece’s title etc. In light of this, I decided that this would be an album of program music. I am sure there are people who will argue that this isn’t proper program music, in regards to it not being “classical I am sure there are people who will argue that this isn’t proper program music, in regards to it not being “classical music”/art music. I could of course make an argument and discuss this, but I will not. You just have to accept that the music you are about to hear, and the accompanying text is composed according to my interpretations of what the term program music contains.
releases September 3, 2021
Design + Artwork – Phil/Tone Burst Mastering: Jørgen Kirksæther @Transistor Mastering All tracks written & produced by T. Jervell Track 2 contains a sample from ChromaDots «Nebel sei dies Leben» Track 13 lyrics written by Arne C. Jervell
For all the love, inspiration, advice, help, co-operation/creation and conversations, Thank you: Guro and the kids, Arne, Rune Opdahl, Kristoffer Aars, Phil, Barry, Friends and family, Mr. Bosanquet, Bjørn Andor Drage, Bodvar Drotninghaug Mœ & Jørgen Kirksæther.
Digging through almost 20 years of previously unheard documents. A Barry Joseph Cullen Retrospective.
The title is inspired by Seamus Heaney’s poem Digging. What we do, how we make. The value of an archive, the power of reflection. History is never truly past, its ability to influence us continues to be felt in the present.
Original: “Between my finger and my thumb The squat pen rests. I’ll dig with it.”
Remix: “Between my finger and my thumb The soldering iron rests. I’ll make with it.”
A – 190614 edit Live recording from a week-long mini festival at PS2 gallery, Belfast. Round Buttons Square Tones co-curated with Min Hyong Kim. An instrument/system was built using reclaimed metal dishes, solenoids activated by a 555 timer circuit (taken from D. Holzer’s Tonewheels project) with piezo transducers fed into DIY distortion effects; Fuzz Face, Tone Bender MKII, Little Big Muff. A short performance gaining complexity & intensity.
2 – 240419 04 edit One of several takes. An improvisation using DIY eurorack modules. Learning to use Turing Machine through play. VCFs as generators and LFOs as clocks & modulators. Swaying from melodic to dissonant and back.
3 – guitar tuner bow fan eavesdropping (outro edit v1) This piece was made by combining a number of materials that were available for play at the time. An early example of ‘Drone’ in my practice. The guitar was still central to my instrumentation but extended approaches were becoming more important. The guitar was later stolen in a burglary and attention turned to other methods of making music.
4 – 3KFCN able v2 A short study showing the 3KFCN circuit as a feedback tone generator. A multi track recording with tuning by ear. A stack of improvisation. Slow. The result of cumulative play and listening practice.
5 – newton’s cat One of several pieces made using the Newton’s 12 Mins Companion Box with a Copycat tape echo. Noise bursts and rhythm created by layering improvisations. No editing was required.
6 – moving 1 improv One of several recordings made exploring Jasuto Pro, an iPhone app which facilitates dynamic tone play via gesture. A synth patch for live manipulation, to facilitate a new performance routine. This recording was captured from rehearsals for a performance using bass guitar through multiple DIY fuzz boxes (M.I.A).
7 – newt FKE mod v1 Companion Box (Newton’s 12 Mins) and Koma Field Kit Effects. Improvisation around a patch made to test & learn the Field Kit’s capabilities.
8 – broken lights This was made after remixing a reactive & generative AV software patch I made during my MA studies at SARC. I was living in Al Khuwair in Muscat. The neighbourhood was well lit. I found a few flickering electric lights. I took short videos and made a silent video composition; a grid of nine loops. The video triggered sine waves in max/msp/jitter. An array of frequencies depending on a previous monochrome frame difference. This is a response. There was a lack of electronic music in the location. I made my own.
9 – sarc fender contact mic Waiting in a practice room with band hardware. Instead of browsing on my phone, I used what was available to do creative work. Contact mic, bass amp and a portable recorder. The routine was to slowly change each EQ knob from high to low.
10 – Bent 4.5v B&W Companions & Ellie 7 This piece is one of a number of improvised pieces recorded with a set up including two Companion Boxes (Black & White), a circuit bent instrument containing a number of rewired sound effect makers and a Comet filter, Ellitone multi-synth and looper pedal. Routine of setting a start loop and improvising.
J – Texture Test 261017 02 Using Resolume to animate an audio arrangement. Dancing fragments of workshop test signals.
Q – CNTRL RM CNC v31 This piece was made from field recordings made in the control room at SARC. This track uses the sound of a CNC machine cutting the edges of a PCB. The recording was edited and arranged using Avenue. The resulting audio sounds a little like a cello ensemble.
Joker – Stockhausen tells us to go to the studio 3 may 2004 @ opening concert at SARC Belfast.
The first of a 4 part series entitled ‘Follow Suit’ will be released tomorrow. Themed around a deck of cards, each part will be released on cassette and will come with one suit of cards, all housed in a playing cards style box. So for any completists among you, you’ll have a full deck if you collect all 4. If you aren’t yet familiar with our artefacts and objects our usual merch disclaimer applies. ‘Each item is assembled by hand. The mark of the maker can be found on the surface of the items, showing the efforts to manipulate materials and minimise waste. For us, an imperfect artefact for sale is preferable to a usable flaw in the dump.’
Part 1 is ‘Winter Pines‘ by Chromadots and tells a story of Hearts. ‘Storytelling Sonics. A time documented. Dictated by situation & location. Led by emotion. A long story. Not the record that was planned but a lesson in allowing music to “grow and thrive”, organically. Learning and accepting that this was the only record possible. Unpopular Love Songs.’
Winter Pines will be available tomorrow at 3pm GMT. Thanks You
2nd press black cassette. Die cut cover with 2 inserts ( 1x print / 1x black) & 2 vinyl stickers. Comes with a cloth bound, hand stitched mini book all housed in a custom made matchbox. Includes 10 matches.
Each item is assembled by hand. The mark of the maker can be found on the surface of the items, showing the efforts to manipulate materials and minimise waste. For us, an imperfect artefact for sale is preferable to a usable flaw in the dump.
A meeting of folk and electronics, the concrete and the temporary, the old and the new. Celebrating the worlds alongside our own, and the tales lost unless spoken. Ruins and nature hold the lore of the land, and these can be formed in sound, past and present. Circular.
Words by Eddie Lenihan, Steve Oldale, James Boyce & from Fairy Folklore of County Clare.
Each item is assembled by hand. The mark of the maker can be found on the surface of the items, showing the efforts to manipulate materials and minimising waste. For us, an imperfect artefact for sale is preferable to a usable flaw in the dump.
This release consists of audio recordings made using circuits based on ICs (integrated circuits or ‘chips’) from the UM series. These DIY EMIs (electronic musical instruments) come from physical remixes, and are bent by design (thanks to Rob Hordijk). The demonstration schematics found in the official datasheets were built, bent, remixed, extended, multiplied and fabricated to facilitate play with a few parameters.
This release shows music composed on computer and expressed as hardware instead of recording. The circuit composition can be viewed as a form of score. The musical instrument voice is technological. The parameters available are limited. Complex frequency output can be made with both UM66 & UM3561 in spite of their obsolescence.
The UM3561 chip was designed to produce sound effects: The chip used in this circuit produces an emergency siren type sound. The UM3561 is used four times. They not synchronised. This DIY EMI has potentiometers to control voltage starve & volume as well as an on/off switch and two touch-pads per IC so that skin contacting the PCB changes resistance and timing/frequency.
The UM66 chip was designed to play popular monophonic melodies: The chip used in this circuit plays Für Elise. The UM66 is used two times. They not synchronised. This DIY EMI has potentiometers to control voltage starve & volume as well as a switch to change the ‘bent’ character of the sound.
These DIY EMIs require a 3v CR2032 battery for power. The output is a mono mini jack (3.5mm). Play with rhythm, melody & noise.
A very familiar journey. Two locations, Lisbon and Seixal. A river in between. A ferry crossing. A journey between north and south of the greater city of Lisbon in Portugal. These are the premises that envelope the project.
The project results from a detailed exploration of timbres and rhythms using various field recording techniques. The result takes the listener on a journey between metal, water, and time.
This edition also includes two collaborations between Matilde and Tone Burst. A silk print printed by Galdéria in Caldas da Rainha (Portugal), and a short audio/visual element—Follow the water. The silk print is a graphic exploration of the project’s useful constraints, while the audio/visual element is a conversation between Matilde, Phil and Barry using recordings of water from the various locations where each one of us was based: Lisbon, Munich and Belfast.