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

the river makes its own refrain

[soundcloud]http://soundcloud.com/davidandree/the-river-makes-its-own[/soundcloud]

condition: (as determined by the twenty-ninth junto project) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water’s internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.

process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.

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