Employing subtle sine tone oscillations and field recordings as sonic source material, the two short pieces simply titled “1” and “2” gently explore timbre and presence … This is an excellent, restrained effort, both in terms of content and length, and a thoroughly remedying listen.
Everything about aural documents #1 is clean and exact; a precise negotiation of noise, time, space and silence, architecturally arranged into a structure of symmetry, right angles and impeccable counterbalance. The hand of the composer is barely present, intervening at the behest of necessity rather than preference, instigating switches in polarity rather than nudges of increment. Vivid and irrefutable.
The latest issue of University of Huddersfield’s CeReNeM journal is out! It takes the form of a website, and I’ve written an article on how I use my synaesthesia to compose music and audio/visual work. It also features articles by postgraduate colleagues, including Pia Palme, Beavan Flanagan, Eleanor Cully, Daniel Portelli, Alex Grimes, David Pocknee, and Michael Baldwin.