Tin-Tone Army

Below is a try at a score I wrote for them while visiting Apo33 for the Opensound Book Sprint in September 2012. Also in France were Audiolab – always a privilege to spend time with all these people – Romain, Julien P, Julien O, Jenny P et famile.

This piece, which I hope will be performed again, is dedicated to these people and in transcendence, my fellow traveller through France, space, life and sound, Michal Hochman.
Detailed text score to follow. Available to any group of musicians. No fee. No interference. No problem. Free Music. Free Minds. Free Sound.

Emerging from the Noise

Emerging from the Noise (mp3 – 42.2MB: 47:57 mins)
A bricolage of shellac records found in Cologne in early 2012 forms the basis for a sonic ethnography of geographically bound historicised listening. There is an accompanying article published in Off-Topic #4 written in collaboration with George Brock-Nannestad and Dirk Specht. This work was undertaken during a research fellowship at the Kunsthochschule für Medien Köln. Many thanks to Anthony Moore, Cathy Lane and Martin Rumori for making this work possible.

1.) Karl Reich: Volkslieder. (Dreistimmung, harmonisch umsungen von Nachtigall-Edelkanarien der Zucht)
ELECTROLA E.G. 855 8-49269. Germany.
2.) Adalbert Lutter mit seinen Tanzorchester: Rhythmus der Freunde (There’s a New World).
Telefunken Bestell.Nr 6359 22016. Brown shellac. 1937. Germany.
3.) Die Goldene Sieben und ihr Orchester: Gefährliches Spiel (Tonfilm).
ELECTROLA E.G. 3923 ORA 1923 / ORA 1924. 1937. Germany.
4.) Grosses Tanzorchester: Für ein paar Stunden hast du mich glücklich gemacht.
TELEFUNKEN A 2190 21968. Germany.
5.) Zarah Leander & Werner Müller mit dem RIAS Tanzorchester, Berlin: Eine Frau in meinen Jahren.
POLYDOR. 48871 B. Germany.
6.) Harry Roy & his Orchestra: The Merry-Go-Round Broke Down.
ODEON. 0-31198b. 1937. England.
7.) Eugen Wolff v. Hotel Eden, Berlin: Es geht ein Singen.
ODEON. 0-31154b Be. 11654. 1937. Germany.
8.) Cyrus Bassiak (Serge Rezvani) et Jeanne Moreau: Le Tourbillon.
DISQUES PYRAL. 1962. France.
9.) Orchester Ludwig Ruth (Refrain gesang: Elena Lauri): Ach, Ich Hab Soviel Rhythmus.
ELECTROLA. E.G.3807. ORA 1596. 1937. Germany.
10.) De Groot und Edward O’Henry: Ave Maria.
ELECTROLA. E.G. 2012 30-3824. Germany.
11.) Jaqueline François mit Joe Boyer u.s. Orchestor: Mélancolie.
BRUNSWICK. 82451 A. 1956. France.
12.) Dizzy Gillespie & his Orchestra: Cubana Bop.
ELECTROLA. EG 7779 D7 VB 2934. Germany.
13.) Willy Breuser und die Kölsche Rabaue: Och wat wor dat fröher schön doch en Colonia.
KRISTALL. Bestell.Nr 9113 C 9718,1. Germany.
14.) Staats and Dom Chor (unter Lietung von Professor Hugo Rüdel): Licht von Herrn.
ELECTROLA. E.G. 223. 8-44750. Germany.
15.) Harry Roy & his Orchestra: I’m gonna kiss myself Goodbye.
ODEON. 0-31198a. 1937. England.
16.) Bassiak et Jeanne Moreau: Le Tourbillon.
Dialogue overdub. DISQUES PYRAL. France.

Cassette Release: HEARTSWIN – TAMMUZ



with Sar Friedman (concept, voice, harmonies & arrangement)

Olivia Chaney, Harmonium, Voice, http://www.myspace.com/oliviachaney/music
Serafina Steer: Harp, Voice www.serafinasteer.com
Joe McKee: Guitar
Cecil Cuthbertson: Oboe
J Milo Taylor: baritone guitar, treatments, engineer, co-producer
Cover Still – Penny Vozniak
Artist Photograph – Bianca Markwell

The Blurred Compilation Album (Track 10) Rajesh Mehta “Sounding Buildings: New Music and New Architecture”

Keynote Address

The atmosphere is becoming more cordial in the room. People are chatting more with each other.

Rajesh began his professional career as an Acoustic Engineer and developed an interest in modern architecture and the acoustics of particular buildings. He has an interest in mapping and visual art, alongside a background in music, playing the trumpet. He began to approach his instrument as a modifiable architecture, a structure in which to intervene, and he has, over the years, developed a number of techniques to extend the trumpet using pipes, lamps, mutes and slides.

In the early 21st century his visual art began to intersect with the architectural drawings to which he was being exposed, and developed into meta-compositional scores, which he describes as ‘imaginational maps’.

This dynamic between score, instrument, architecture, space, and movement came together in a collaborative project called ‘Sounding Buildings’.

A-V technician wearing a headset is instructing a camera operator.

Mutter. Mutter.
playback > > DVD of the Film Project ‘Sounding Buildings’, MIT

Snik, Snik, SNik. DVD play.

Female voice – AhhHHh. Modulations in tone. No words.

Flute overlay.

DVD snik, snik – Screen and sound frozen for 3 seconds.

Rattle.                     Drone.
Insect type sounds.

Palimpsest video. Static buildings, maps.

Overlayed textures.

Arrhythmic rattles.

Difference video overlay.

Skratch.                 Scatta.                 Squiggle.

Tambourine. Tap and shake.

Drum tap lo.

Violin glissandi. Microtonal variations.

Rhythm disappears.

Cello. Lo glissandi. And Pluck.



Brass. Buzzy Swells. Almost as analogue synth resonant sweep.

Lo bowed strings.

Some suggestion of trumpet tonality.

Fade out. Screen transition to black.

Rajesh describes the importance of the DVD as an integrating medium. Video compositing and the synchronisation of audio and visual material acted as a ‘glue’ between disparate domains; namely the architecture of sound, derived from drawing notated scores and the architecture of environments. His concerns at this time were the historically reoccurring interest in possible synaesthetic translations from the visual to the audible domains.

He goes on to a more detailed discussion of his strategies with regards to his score making, and his development of a multidimensional approach in keeping with his architectural concerns. The scores he has developed address pitch, rhythm, melodic ornamentation, and spatial trajectories thorough the performance space.
“The music is constructed from a map – like an architect”.

Alongside this architectural construction of sound, is a complementary and contradictory deconstruction of the architecture of his instrument. He demonstrates his hybrid trumpet experiments; by removing the slides from the trumpets pipes, its sound becomes a spatialised simultaneity, operating both forwards and backwards, and also existing in a newly acknowledged immanence, surrounding the composer/performer alerting the audience to a reinvigorated engagement with the specifics of space.

He presents us with DVD documentation of a realisation of the project which occurred in Cork (year? Specifics?).

playback > >

ding DVD auto resume.

The camera moves through a modern art gallery at night, picking out the shadows of audience members moving freely through the space, and the illuminated faces of musicians and sound artists distributed throughout the gallery space.

Female voices. Reverberant in space.
Muted trumpet.
Electronics and laptop.
Kaospad. Version 2.
Bass trumpet.
Stratocaster. Highly effected and transformed.



Tone Generator.


“Different happenings all over the building. It’s hard to capture everything that was going on over 4 floors”.


Questions from the floor.

“How much were you hearing when you were drawing?”

“…a conscious choice about language, a monkey going up and down, and this takes time…”.

“…it was done very freely…”.

“It was mixed, but it was nice to be in a system that existed before and after listening”.

Rajesh expands upon this point and relates it to Hindi music theory, where ‘nada’, the struck sound, complements ‘anhatanada’, the unstruck sound. This ‘before sounding’ provides the metaphysical basis for sound-making within the culture from which his family originates.

“We’ll leave it there.”