Tag Archives: radio art

Sarah Tripp/24 Stops

24 Stops Radio Artwork

I was delighted to collaborate on 24 Stops with  Sarah Tripp

“The work is a sequence of hourly chimes, one for each hour of the day. The chimes combine percussion and spoken word to reflect the character of a given hour and mark the passing of the day.

‘24 Stops’ was written and performed by Sarah Tripp
Composed for radio by Nichola Scrutton.
Percussion  was performed by Nichola Scrutton, Fritz Welch and Mark Vernon and recorded by Iain Donnelly.

‘24 Stops’ was developed on the inaugural Radio Writing residency at Camden Arts Centre with the support of University College London Hospital Arts.”

Photos courtesy of Sarah Tripp

 

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Post-Industrial Broadcast #1

Post Industrial Broadcast #1 (9’39) portrays a fictional place or state in a process of transformation. The piece draws from a range of source materials including hydrophone and contact microphone recordings, a radio, the human voice, two-way radios, and an oil radiator and synthesized sounds. Compositionally, the piece unfolds in a wave-like structure. Subtle sounds of water emerge and recede giving a sense of constant flow, while sheets of sound – long, loosely articulated sound gestures – are agitated and interrupted by unpredictable micro-collisions and interference. A sense of forbidding is subtly teased apart by hints of human presence and moments of iridescence.

Post-Industrial Broadcast #1 was awarded the 2013 IAWM Pauline Oliveros Prize for electroacoustic media, US.

Selected Performances

2018
Re-release of Framework Seasonal Issue #7  on Bandcamp
2016
Undae! Electroacoustic Music I + IIThrmnphone netlabel (Spain)
Curated show Glasgow Soundscapes: WebSynRadio (France)
2015
KcEMA Modern Soundscapes concert  (Missouri, US)
‘The Stranger’, AKSC, World Radio Day (Macedonia)
2014
Framework Seasonal Issue #7 CD – featured artist (Estonia)
MUSlab (Mexico)
Undae Radio no.64, Radio Circulo (Spain)
‘The Stranger that is next to me’, Errant Bodies (Berlin)
2013
‘Nuit blanche’, Festival Futura (France)
‘Interzone’, The Whisky Bond (Glasgow)

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Fretwork

Fretwork

Fretwork (fixed medium, 4’48) was inspired by two distinct concepts of its title: instrumental – using fretted guitar as sound source; and architectural – the ornamental carved or inlaid wood decoration traditionally associated with eaves and balustrades, a decorative detail also applied, on a much smaller scale, to the guitar.

Fretwork draws its compositional language from the intimate physical gestures associated with playing the guitar – the act of plucking becomes transformed metaphorically into a range of percussive attacks, pops and clicks. While the piece unfolds as an abstract sound collage, fragments of recognisable guitar sounds emerge and recede amidst more decorative falsely extended vibrations and resonances.

Selected Performances

Acoustic Frontiers, CKCU 93.1, Canada
Last Friday Listening Room, Enter the Octagon, UC San Diego, US
Sweet Thunder Festival of EA Music, Listening Room, San Francisco
Radio Circulo FM100.4  Madrid
NoiseFloor Festival, Stafford, UK
Featured on Thrmnphone Netlabel Album, Spain
New York City Electroacoustic Music Festival, US
Undae Project, Madrid, Spain
Lights Out Listening, The Old Hairdresser’s, Glasgow

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Hold Your Breath

Hold Your Breath 5


Hold Your Breath was a large-scale visual/sound art project set up to improve the entrances/exits to the Clyde Tunnel, with the participation of the Whiteinch and Linthouse communities at each end of the tunnel.

I composed the various contributions of source sound and music into one large 40-minute work, which was to be projected by radio into the cars traveling through the Clyde Tunnel.

Various groups were involved in creating sound/music source materials for the soundscape: Paragon Ensemble working with St Jerome’s and Whiteinch Primary Schools; Art Form with Bryan Tolland; Tigerstyle and Dhol Infusion drummers; and the MacAlpine Family all contributed. I worked with Paragon Ensemble in the schools, gathering up sounds/songs from the children, the playground and surrounding streets, and recorded songs at the MacAlpine’s (four generation) family party

(photos courtesy of Kathy Friend)

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