in seven parts (performance)

an overture in seven parts, setup 01
overall setup

an overture in seven parts, setup 02
main pair of tape loops

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an overture in seven parts, performance 01
part 1, david andree (photo: josh mason)

an overture in seven parts, performance 02
part 2, josh mason (photo: ryan potts)

an overture in seven parts, performance 03
part 3, jonathan kaiser (photo: josh mason)

an overture in seven parts, performance 04
part 4, nathan mclaughlin (photo: josh mason)

an overture in seven parts, performance 05
part 5, john marks (photo: josh mason)

an overture in seven parts, performance 06
part 6, casey deming (photo: josh mason)

an overture in seven parts, performance 07
part 7, ryan potts (aquarelle) (photo: josh mason)

An Overture in Seven Parts

overture_diptych

I am orchestrating a collaborative sound project between myself and six other artists that will take place during Northern Spark on 6/13/15 starting at 9pm. The lineup includes myself (David Andree), Josh Mason, Jonathan Kaiser, Nathan McLaughlin, John Marks, Casey Deming, and Ryan Potts (Aquarelle).

An Overture in Seven Parts is a long-form continuous sound composition that will be created in real time by a collective of seven different artists recording layered accompaniment onto the same pair of asynchronous tape loops. In a secondary room, there will be a multi-channel sound installation playing back an evolving combination of recorded samples that will be captured at regular intervals throughout the performance. Viewers will be able to move between the two rooms to either experience the larger composition unfolding in real time or walk around and in between the preserved previous moments of the sound piece.

The primary composition will rise out of the surrounding landscape by weaving atmospheres out of superimposed locally gathered field recordings which will then be manipulated and built on with various instrumentation. As the evolving composition is handed-off to the each subsequent artist, they will respond with their own additions and approach. This will both renew the soundscape and simultaneously degrade the sounds previously committed to the decaying tape loops that are continuously being worn away. The composition will close by reweaving the samples taken from all the artists throughout the performance into further iterations and new configurations.

Time: Saturday, June 13, 2015 from 9pm-5:26am
Location: Minneapolis College of Art + Design, 2501 Stevens Avenue South, Minneapolis, MN 55404

Schedule:
9pm Part 1, David Andree – Acoustic guitar, violin, objects, location recordings, electronics, tape loops
10pm Part 2, Josh Mason – Music box, electronics, cassette tapes, found objects, amplified surfaces
11pm Part 3, Jonathan Kaiser – Cello
12pm Part 4, Nathan McLaughlin – Guitar, electronics
1am Part 5, John Marks – Modular Synthesizer, tape
2am Part 6, Casey Deming – Tape
3am Part 7, Ryan Potts (Aquarelle) – Feedback, sine waves, guitar, electronics
4am A Revisiting / A Location of New Forms, David Andree – recordings recalling the previous seven parts, electronics, modified tape machines.

Links to participating artists:

David Andree
davidandree.com
twitter.com/davidandree

Josh Mason
https://facebook.com/josh.mason.music
twitter.com/josh__mason
instagram.com/josh__mason

Jonathan Kaiser
jonathankaiser.com
twitter.com/otherkaiser

Nathan McLaughlin
http://www.nathanmclaughlin.info
http://www.twitter.com/loudandsad

John Marks
alexvada.com
https://vimeo.com/user1101597

Casey Deming
http://insidesmusic.com/squidfist/
https://instagram.com/caseydeming

Ryan Potts (Aquarelle)
aquarelle-music.tumblr.com
twitter.com/aquarellemusic
aquarellemusic.bandcamp.com

call, response

i am pleased to announce that call, response, a collaborative album containing musical conversations between myself and artist josh mason (jacksonville, fl), will be published as a 12″ vinyl lp in early 2014 by own records (luxembourg).

Call, Response was conceived of as a long distance musical conversation between the two artists. A single take of material performed by one artist was recorded to magnetic tape and sent to the other with the restriction that accompaniment be recorded in real time as well, closely simulating a live performance. Over time, as the players learned more about each other and their methods, an overarching quality to the body of work developed from their shared sensibilities. The call and response format allowed the voice of each artist to be present, interacting and intersecting, within a murky atmosphere punctuated by melodic fragments and moments of clarity.

trio

[soundcloud]http://soundcloud.com/davidandree/trio-disquiet0040[/soundcloud]

condition: (as determined by the fortieth junto project) create a unique performance as a third part to accompany kenneth kirschner (piano) and tawnya popoff’s (viola) duet “june 5, 2012 – iii.” you cannot change the existing audio. the finished work should have a duration between two and eleven minutes.

process: after listening to the track one time through, an improvisation for acoustic guitar was recorded in response on open reel tape in one pass with no overdubs, with the intention to at first follow then lead.

for acoustic guitar, resonant filter, home-made tape echo, modified reel-to-reel tape machines, tape loops

pressing forward, left to drown

[soundcloud]http://soundcloud.com/davidandree/pressing-forward-left-to-drown[/soundcloud]

condition: (as determined by the thirteenth junto project) create something new by using only a recording of wild up performing chamber symphony, op. 110a, by dimitri shostakovich. duration should be between two and seven minutes.

process: original recordings processed through effect pedals, looped live to closed tape loops and recorded down to 4-track open reel tape in three passes.

a very early summer

[soundcloud]http://soundcloud.com/davidandree/a-very-early-summer[/soundcloud]

condition: (as determined by the eleventh junto project) make a field recording of a rhythmic sound. use this recording as the main rhythmic element in your track while adding any additional elements. duration should be between 2-5 minutes.

process: field recording made of the asynchronous rhythms of passing traffic from under a freeway overpass in minneapolis, mn. additional performances of acoustic guitar and violin were added in two passes (one for each instrument), recorded on to 4-track open reel tape.

for field recording, acoustic guitar, violin, spring reverb and tape loops

at a great distance

[soundcloud]http://soundcloud.com/davidandree/at-a-great-distance[/soundcloud]

condition: (as determined by the eighth junto project) you will select a single sentence (or extended, self-contained clause) from chapter 11 in the autobiography of benjamin franklin. you will use that recording as the sole audio source material in your work. at some point, the sentence/clause must be comprehensible to the listener. you will not add any other sounds. duration must be between two and five minutes.

process: selected sentence was read by kara andree and recorded to a dictaphone. the dictaphone was then used for live play back which was processed using electronics and layered on a pair of modified reel to reel recorders with closed tape loops.

suspend, renew

[soundcloud]http://soundcloud.com/davidandree/suspend-renew-disquiet0006[/soundcloud]

condition: (as determined by the sixth junto project) select one distinct element from each of the three following recordings (1,2,3) and construct something new from them. (do not add any other sounds, though certainly use any sorts of processing that you might choose.) keep your finished piece to between two and five minutes. all three tracks are archival songs originally released on antique edison cylinders in the late 1800s and very early 1900s.

all audio selected from these antique cylinder recordings:

http://www.archive.org/details/colnyp-15132
http://www.archive.org/details/edba-3871
http://www.archive.org/details/ind-986

a conversation with the past, in three passes (one for each recording)

for edison cylinder recordings, electronics (effects pedals) and 1/4″ tape.

gather, response

[soundcloud]http://soundcloud.com/davidandree/gather-response-disquiet0005[/soundcloud]

condition : (as determined by the fifth junto project) make a field recording from everyday life and use the recording as a foundation for a composition layering additional sounds, 3-5 minutes in length, while keeping the original recording discernible in the final mix.

location : mississippi river lock and dam, upper st. anthony falls, minneapolis, minnesota. the original field recording was captured while traversing the terrain starting at an elevated out-skirt and ending at a melting block of ice and snow draining at the river basin. i am first familiar with the space from drawing and painting on site. there are pockets of dynamic spaces tucked around the architecture of the facility filled with trees, river shore, mud, sand and coarse rock. the sounds-cape of the location is equally rich, with man-made sounds of nearby traffic and the drone of the turbines contrasting more natural aspects such as falling water, melting ice, birds and diverse terrain underfoot.

intent : my initial aim with the work was to allow the shifting diversity of the location and presence of the original field recording to stay paramount, while adding additional melodic and textural elements to further articulate the already present tension and atmosphere.

process : after the field recording was collected and put down as a foundation, additional improvisations were woven throughout by multi-tracking on open reel tape in the following order:

1 : harmonium, closed tape loop
2 : acoustic guitar, closed tape loop
3 : acoustic guitar, rubber mallet, tape feedback + closed tape loop
4 : contact mic surface, toy bird call, multi-rods, glass slide, breath