Noises # Chris Mann# In the Shadow of the Sun
1. How would you describe this « noise »?
In the shadow of the sun is the third part of a series of works I made in 2012. The piece documents the ideas and experiments that arose following a week in May spent walking the costal path in Cornwall.
The audio was recorded and mixed between 11/06/2012 and 20/06/2012 and is built from recordings of a number of improvised sessions using bowed cymbals, prayer bowls, field recordings, cello, voice, plastic bottle, bamboo whistle and autoharp. The recordings from the sessions were then subjected to extensive digital sound processing to create the final piece.
The accompanying video and images are built from film clips and photographs taken during the week in Cornwall.
2. Is there a relevant concept in your sound or musical work? Why?
Rather than being purely experimental my music and video work attempts to create something beautiful and human with out resort to the standard tropes used in modern music. Of course other than in the most sterile and contrived situations human is rarely beautiful in the conventional sense. It is this other form of beauty that I am trying to capture, using noise to open emotional spaces not available to conventional instrumentation. In these spaces I aim to express stillness, awe, chaos, love and hate – to suspend time and create alternate worlds.
The fact that I rarely succeed is what makes the goal worth pursuing.
3. Do you think the future of music is in noise?
No – There is room for all types of music including noise. Even after over 40 years of listening to music a simple pop song can take me to places that more experimental music cannot. Having said that nowadays making music is easy, perhaps too easy, and while the advent of easily available digital tools means that music making has been opened up to all regardless of technical skill, the challenge of creating something with emotional resonance has not changed.
Noise has played its part in this for the last 100 years and will continue to do so in the future. The danger is that as noise gains wider acceptance it is becoming absorbed into mainstream culture, which strips it of its ability to be used as a gateway to other worlds. Will we still be able to be transported by something as visceral as a Merzbow track once it has been used in a car advert?cjmann is based in Cambridge, UK. He is a musician, producer and visual artist. Over the last 30 years he has made music with bands ranging in style from rock through to techno, folk, noise and industrial ambient. He has had over 30 releases for labels such as Sabres of Paradise, Emissions Audio Output and Iris Light, has had music used for the BBC, and runs the prods in the dark and silent place labels which are an outlet for his own work and that of other likeminded souls. website : www.prodsinthedark.co.uk