Come Splice With Me / Come OST: Special Prizes For 2015 Resonance FM Fundraiser

It’s #FundRaisingWeek once again at Resonance FM, which means another seven days of special broadcasts, one-off events and lots and lots of highly desirable items up for grabs in this year’s Ebay auction, with all money raised helping to keep the greatest radio station in the world on air for yet another year. And in these straitened times they need your help more than ever. So, what’s up for grabs in 2015? Here’s my own contribution:

Howlround tape tangle

‘A Howl-To Guide’: A Day Of Tape-Loop Creation With Robin The Fog

“A glorious morning spent searching for extraordinary noises in ordinary places in the company of sound artist and composer Robin The Fog, followed by an instructive afternoon dubbing those sounds onto magnetic tape and creating and editing wondrous tape loop compositions, with the results to be broadcast on Resonance FM at a later date. Recording and editing equipment, including tape machines and razor blades, will be provided and the lucky winner(s) will be sent home with a tape spool of their handiwork”.

Speaking personally, a day spent doing this sort of thing is my idea of heaven, and I’m hoping lots of you will agree at least enough to make a decent bid. Further details (including an important disclaimer against razor-related loss of thumbs or other injuries) plus innumerable other delightful items available at the Special Resonance FM Fundraising website here. But the vast majority of you who require no more persuading to support this worthiest of causes can simply whizz straight over to the item’s Ebay page and BID NOW!

Please make the bids nice and high, because 100% of the money raised goes straight to Resonance, and of course because playing with tape is tremendous fun and I’m reliably informed that I’m reasonably affable company. If this workshop ends up being even half as profitable as last year’s ‘Howlround Haunts Your Home’ project, the lucky winner is in for a very enjoyable experience indeed:

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Another item currently up for grabs is an old favourite – ‘Play OST For Me‘, in which the highest bidder wins the chance to present their very own bespoke edition of The OST Show, with all their favourite soundtracks and every whim indulged by that redoubtable broadcaster, smutty raconteur and general man of letters Jonny Trunk, who has promised to be on his very best behaviour for the occasion. This item always proves surprisingly popular, so GET BIDDING QUICKLY! I shall be popping up on this Saturday’s show to promote both this and the aforementioned tape editing workshop, plus we’re also expecting a visit from the brilliant Pete ‘Monsterism’ Fowler; who has very kindly donated this completely awesome original work to the cause:

Pete Fowler - Fires

My sources tell me there may also be a four-year-old guest on the show, but he is purely there for entertainment value and most certainly NOT up for auction. More details on all of this as we get them and I might even be able to shoe-horn in some new tape music by Howlround that’s currently in production. Unless Jonny pulls that face again. You know the one:

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Howlround Opens The Gate: New Album Out Now

Howlround are hereby deeply proud and very excited to be officially announcing the release of our third album Torridon Gate on cult blog and record label A Year In The Country! Today’s post is in entirely black and white in tribute to their stark and arresting sense of aesthetics – and arrives only a full week after the album actually came out, but I think you’re about ready by now.

So, Torridon Gate, then. I’ve been told it sounds like the title of a lost novel by Philip K. Dick. But as it happens the thinking behind that title is actually rather prosaic – all of the music on this new album was created from a single recording of a suburban garden gate on Torridon Road, Hither Green, London. And that’s it. We attached a contact microphone to the metalwork of the gate and recorded as it opened and shut and moved in the wind. These sounds were then processed, looped and edited on three reel-to-reel tape machines with all electronic effects or artificial reverb strictly forbidden. Despite such restrictions and the limited sound palette in comparison to our previous work, we like to think the results are as haunting and beguiling as anything from our other albums, shifting from ethereal tone-patterns to demonic scrunches and back again. It’s certainly a long journey from the pleasant suburban street where it all began. Who would have thought a single ‘common or garden’ gate (pun intended) could offer such hidden wealth? Well, perhaps these two had an inkling:

Gate Owners Tony & Kath with the Torridon Sessions master tape. We actually recorded almost an hour of new material – including around the house – but it’s only fair they should have SOME exclusive work for themselves!

The project started life as a prize on Resonance FM‘s most recent annual fundraiser, but quickly spiralled upwards and outwards. Perhaps you remember our ‘Howlround’s Home Haunting‘ auction item back in February, where we offered to provide a unique sonic portrait of the dwelling place of the highest bidder? Well, our thanks and gratitude must go to gate-owners Tony Alpe and Kathryn Everett, not only for a very generous winning bid (every penny of which went towards keeping Resonance on air, of course), but also for allowing us to share the results! ‘The gate was one of the things that attracted us to the house in the first place!’ says Tony, and hopefully after listening to this album you’ll join me in fully concurring with this statement!

Actually, there’s been a fair amount of concurrage (as it were) already, and I’ve included below a couple of extracts from my favourites so far (click on the link to read the whole review), In fact, feel free to send in some feedback of your own – if it’s particularly obsequious I’ll share it!! 😉

“The result – a modern piece of musique concrete – is extraordinary, like the soundtrack of an old horror movie of the 50s, a fog of sounds in sepia tones that seem to emanate from another time” (trans.) – Rui Migel Abreu, 33-45.org

“Is it a portal to other worlds, a site of ghostly hauntings which follow on from the car crashes which resulted from not paying attention to all the road safety films… or perhaps the passageway between the galaxies that Quatermass must pass through in streaks of video feedback and ominous lighting effects in order to save London from a fate worse than Edward Heath?” – Richard Fontenoy, Freq

“I think the world inside a mirror would be very interested in you”BBC Cantonese

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EXCITING TORRIDON GATE QUIZ:

Now for the fun part. Written below are three statements, each as inherently plausible and theoretically sound as the other. And yet only ONE of them is factually accurate. Can YOU, dear reader, separate the wheat of truth from the chaff of falsehood? Read on:

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  1. The widely-reported appearance of a giant dirigible emblazoned with Howlround’s distinctive logo above London’s fashionable Hither Green district was the first indication that an album of earth-shattering significance was, as they say, ‘about to drop’. And the hiss of escaping air caused by a leaky valve some twenty minutes later was the first indication that life was about to imitate art. Profuse apologies if that was your greenhouse.
  2. Secret solid gold copies of ‘Torridon Gate were hidden in Ironmongeries in five major cities across the world (including Barrow-in-Furness). Each copy contained two or three different numbers scratched directly onto the disc, and it is rumoured that when combined in the correct order, the full set of these numbers would allow the finder to make nuisance calls to Howlround member Chris Weaver. Luckily for him, only two have surfaced to date, one of which recently sold online for well over $1,000.
  3. The album was mastered by the brilliant James Edward Barker of Veneration Music, recording engineer, genius musician and the composer of the soundtrack to the notoriously unwatchable and completely-banned-forever video nasty Human Centipede 2.  He was paid for his superb mastering efforts by having a large consignment of Butterscotch Flavour Angel Delight delivered to his house.
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James enjoys his JUST DESSERTS (artist impression)

I admit, it’s tricky – they all just sound so entirely likely, don’t they?

Don’t they, James?

Answers on a postcard, please….

So, after months of labouring away in secret, here it is. Available now in a series of four beautiful limited editions from A Year In The Country, the label and blog that has developed a cult following through its continuous ‘searching for an expression of an underlying unsettledness to the English bucolic countryside dream’. Each edition – Night, Day, Dawn and Dusk – comes with a selection of unique hand-finished artwork and packaging, while the Night edition also includes a selection of badges, sections of the original tape loops used to make the album and more. All are available now from AYITC’s ‘Artefacts Shop’ with a download also available for those who no longer meddle with discs. We’re really proud of this one and hope you’ll like it too!

The World Service Gets The Horn

I know I’ve been harping on about the Denman Exponential Horn installation at the Science Museum quite a bit here and on the social networking of late, but the fact is it’s just an amazing object that has to be both seen and heard in-situ to be believed. However, with this report produced for BBC World Service and broadcast last week, I’m hoping I’ve finally got the whole thing out of my system. You’ll hear Aleksander Kolkowski, the audio historian responsible for restoring Roderick Denman’s magnificent creation explaining both the past and present of the horn, accompanied by a selection of sound effects from the BBC archive, selected and mixed by my Foggy self. Those of you who heard my OST Horn Special a month or so ago will find many of these sounds familiar, including the fabulous historical recording of Tutankhamun’s Horn that opens the piece; but given the response I’ve had so far, I can’t imagine repeating this ‘glorious cacophony’ will cause too much upset. And just to clarify, that recording of Tutankhamun’s horn actually dates from 1939, as no original 13th Century BC recordings are thought to exist. I do hope this revelation will not impair your enjoyment too greatly.

The exhibition runs until 27th July and I urge you to pay a visit before the horn falls silent again!

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PS In hindsight I could probably have chosen a more dignified title for this blog post. Doesn’t really chime with the usual shroud of mystique in which I smother my work…

The Fog Gets The Horn

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Aleksander Kolkowski and the Denman exponential horn, with the Resonance FM studio in the background

Presented for your approval, here is last Sunday’s OST Show Denman Horn Special, recorded live at the Science Museum and broadcast, depending on your geographical location, either down a colossal 27-foot exponential horn or on Resonance 104.4FM. Regular host Jonny Trunk was off down the seaside, doubtless trying to bag himself a coconut, or treat the family to some retro donkey-riding action; so once again I was charged with the task of steering Resonance FM’s soundtrack / library music programme through the choppy arts radio waters.

I’ve presented the OST show on numerous occasions, but never before had a 27-foot horn to play with, so I was determined that this special edition of the programme should have a bespoke playlist specifically designed to best honour Roderick Denman’s enduring legacy; not forgetting the efforts of Aleks Kolkowski and his team in bringing it back to life. The resulting hour is perhaps a little more ambient and drifty in nature than the usual groovy titillation, but features some quite marvellous new releases from Public Information and Arc Light Editions; as well as some classic radiophonic obscurities. Best appreciated on headphones if you don’t have a great big horn of your very own. As it were.

Or you can download it if you’re in a hurry. Here’s that horny tracklisting in full:

? – Tutankhamen’s Horn (archive recording from 1939 – source BBC)

Delia Derbyshire – Theme From Tutankhamen’s Egypt (The Music Of Africa, BBC Records, 1971)

Ingram Marshall – Fog Tropes (Fog Tropes / Gradual Requiem, rec 1984, Arc Light Editions, 2014)

Evelyn Glennie –  The Seaside / In The Womb (Touch The Sound OST, Normal, 2004)

BBC Sound Effects – Fog and Ship’s Horn Montage (various, mixed by Robin The Fog)

Dick Mills – Seascape (The Soundhouse: Music From The BBC Radiophonic Workshop, 1983)

Howlroundнеизвежбан (Secret Songs Of Savamala, The Fog Signals, 2013)

Selections from Happy Machine: Standard Music Library 1970-2010, (Public Information, 2014):

– Brian Hodgson – The Craters Of Mars

– Brian Hodgson & Reginald D. Lewis – Song Of The Wilderness

– Elliot Ireland, Allessandro Rizzo & Tom Greenwood – Sonus Soul

Selections from Tod DockstaderRecorded Music For Film, Radio & Television: Electronic Vol.2 (Boosey and Hawkes, 1981 – reissue Mordant Music, 2013):

 – Silver Float

 – Stardrift In Two

 – Snowbell Waltz

David Vorhaus – Sea Of Tranquility (A/B) ((The Vorhaus Sound Experiments, KPM, 1980)

Bill Fontana – Landscape Sculpture With Fog Horns, Live Radio Version, 1982 (KQED-FM, 1982)

As a bonus treat and an attempt to recreate a little of the magic of standing in front of the horn during the programme, here’s a recording of the above BBC Sound Effects montage made using a simple hand-held hard-disk recorder and sitting in the front row, approximately seven feet from that cavernous black mouth. This was made by sneaking out of the studio and grabbing a front-row seat, thereby simultaneously becoming both  host and audience. Nothing can truly recapture the magic of hearing this recording while standing in front of a 27 foot horn, but until I can afford a big enough studio to build one of my own, it’s not a bad start:

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The horn in it’s orginial position, image stolen from the Science Museum’s blog.

Resonance continues to broadcast on-site until the end of the month, while the Exponential Horn exhibition ‘In Search Of Perfect Sound‘ continues until the end of July. I urge you to visit if you haven’t already, as nothing can truly replicate the experience of standing in front of the horn. No microphone will do it justice, it’s a full aural immersion, go and hear it while you can!