First Braemar Residency with Alasdair Roberts

On the 6th April, I arrived in Braemar to begin the first of four week-long residencies with musician and songwriter Alasdair Roberts.  I was only vaguely familiar with Alasdair’s work – a friend had introduced me to his album The Amber Gatherers which I’d enjoyed a great deal.  I’d also had the opportunity to hear him perform live at 17 on Belmont Street in Aberdeen last November.  Other than that, though, I only had a rudimentary awareness of his work.

Our initial residency was very much about getting to know about each other’s practices and working styles.  For me, it has certainly been a learning process and I feel a greater appreciation for traditional music as a result.  The biggest challenge, perhaps for both of us, is to find a common ground between our musical approaches.  I was very conscious of  bringing something to the table that wasn’t just an electronic accompaniment to the songs that we rehearsed, but instead something that might offer a new angle; a response to a style that is, to a certain degree, foreign to me.

I grew up listening to the folk-tinged albums of Van Morrison (Veedon Fleece), Joni Mitchell (Blue) and Nanci Griffith (various), and later became obsessed with alt-country bands and solo artists who fell close to that genre (Uncle Tupelo, Wilco, Sun Kil Moon, Sparklehorse, Mazzy Star and many others), and I admired what I regarded as their abstraction of folk, traditional and country music – to me, it made those genres somehow more legitimate or palatable.  I’ve often been cynical of traditional open mic sessions.  In the past I’ve found them to be slightly exclusive and wary, if not a touch hostile, towards other genres.  On reflection, this has probably had as much to do with my own prejudices as it has with those performing in those sessions.

On the Wednesday evening, Alasdair and I attended an open mic folk session at the Aberdeen Arms in Tarland and we had the opportunity to meet and hear the fiddler Paul Anderson performing.  It was deeply inspiring to hear Paul’s stories about the local history as well as his work as a composer and I greatly admired his interaction with the other musicians.  The session reminded me of the very strong communal aspect of musical performance that is, I believe, an essential element of traditional music – an element I feel that is sometimes lacking in contemporary classical music and certain sub-genres of electronic music.

church

Our first rehearsal took place in the semi-derelict St Margaret’s Church.  I began playing a slightly melancholic chord progression on one of the church’s two harmoniums while Alasdair sang what I would later learn was a traditional song titled The Seasons.  Alasdair repeated the song’s two verses, often allowing the melody to fall independently of the chords.  I moved things even further out of sync by processing Alasdair’s voice through my laptop with delay and looping effects.  It felt like a very strong start to the project.

harmonium

Back in our accommodation – a church which had been converted into flats – we continued to experiment with other improvised material.  Using a piano sound, I put together a progression which fell somewhere between E flat major and C minor – I’ve always been interested in using one hand crossed over the other on the keyboard to produce ambiguous tonalities.  The result was a slightly pastoral effect.  Alasdair began singing the melody of the ballad, Cruel Mother.  The macabre lyrical content seemed to give the music a very uneasy edge to it – an edge which I tried to accentuate by drawing out the more minor harmonies of the arpeggiated patterns I was playing.

It had been a long time since I had improvised using acoustic instruments with another musician and it would have been very easy and comfortable for me to have solely used the harmonium and piano (albeit a virtual piano).  However, this, in a way, went against our remit of “new approaches to traditional music”, and I felt that Alasdair was keen to explore the digital possibilities, including ways of manipulating his voice.  So, on the third day of the residency I decided to make a selection of field recordings around Braemar.  Among the sounds I collected were the misleadingly titled “ringing stone” in front of St Margaret’s church, the rusty squeaking and banging of the church’s door handle, crows cawing in the nearby rookery and the rope of a flagpole slapping in the wind.  I felt that it would be interesting to use some of these sounds as a percussive and rhythmic basis for a song.  After some manipulations, I’d created a drum loop of sorts which became the backing for Alasdair’s arrangement of Billy Taylor - the origins of which Alasdair describes in a previous post.

door

A great deal of our time, outside of practicing, was spent discussing our own musical backgrounds and interests, the potential of using a venue’s space and dimensions to diffuse sounds, and initial thoughts of the overall shape our final performance (later this year) might take.  We also did a lot of walking.  Morrone Birkwood, a nature reserve just outside Braemar was a particularly inspiring area in which to observe the local landscape.

birkwood

I feel that we produced a considerable amount of material in our first residency.  Whether or not all that material will be revisited in the future remains to be seen.  However, it feels like a very strong start.  We both agreed that during our next residency, it would be beneficial to become more familiar with the local area, its people and history.  There may even be the opportunity to incorporate interviews with local people, as well as archival recordings of songs, in the work that we continue to produce and develop.

In some ways, the time between residencies will be as important as the residencies themselves.  It’s a period to reflect on the material we’ve produced, to further research the other’s practice and to consider how we might develop the material produced in the early stages.

Ross Whyte

April 2014

Aberdeen

Cruel @ The Barn

Cruel and Unusual – a work exploring cutting-edge research using experimental music, film and spoken word in various languages - will have its second performance next month following the success at last year’s University of Aberdeen May Festival.  It will be held at Woodend Barn, Banchory on the 24th April.  Further details and ticket booking can be found here: www.woodendbarn.com/whats-on/.

Lisa Collinson, Adam Cresser and I began rehearsals earlier this week.  The session went well, despite the catwalk (pictured below) collapsing on my foot…

rehearsal

Cruel and Unusual asks “what did the bull mean to the ancient inhabitants of the British Isles and Scandinavia?”  The question reveals a strange, and often dark symbolism.

Also performing at The Barn that night is Claire M Singer with a new work for string quartet, guitar and piano, and Bill Thompson who will be performing his latest release, Solace.

This event is the second in the Witching Hour series.  Further details here.

Ellie

elementz

 

On the 29th March 2014, there will be a screening of Ellie – a new dance film by Mhairi Allan and Paul Foy for which I’ve written the score.  The screening is part of an event titled Elementz and Friends and will be held at The Lemon Tree in Aberdeen.  Further details can be found via the link at the bottom of this post.

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Further information and tickets can be found here.

Upcoming Residencies

6-13 April: New Approaches to Traditional Music (Residency #1) with Alasdair Roberts

14-18 April: Temporary Blindness: dance residency with Gabriela Sanchez

5-9 May: dance residency with Aaron Jeffrey, Rob Heaslip and Simon Gall

5-6 June: dance residency with Thania Acarón and Richard White

9-13 June: dance residency with Thania Acarón and Richard White

Some exciting collaborations coming up over the next few months.  The first is an ongoing project with folk musician Alasdair Roberts which is working towards a performance at Woodend Barn, Banchory as part of this year’s Sound Festival.  We will be doing a series of residencies in the Braemar/Cairngorm Park area to explore the history, landscape, folklore and musical heritage of that location; a process of researches which will inform the musical work which we create together.

Immediately following this is a collaboration with the dancer and choreographer Gabriela Sanchez who I’ll be working with for the first time. In May I’ll be working alongside musician Simon Gall and dancers/choreographers Aaron Jeffrey and Rob Heaslip where we’ll be developing material produced during the Fast and Dirty workshops run last November in Aberdeen by Bill Thompson and Ian Spink.

Finally, with the help of Thania Acarón and Richard White, I’ll be bringing my Witching Hour project to life during the course of two residencies (one at Woodend Barn and the other at His Majesty’s Theatre in Aberdeen).  Also contributing their vocal talents is poet John Mackie and Anna Lavigne.

I feel very honoured and excited to be working with so many gifted artists and can’t wait to see/hear the work that we eventually produce.

On a completely unrelated matter, here’s a piece of music that’s been inspiring me over the last week:

Loscil + Talvihorros + Ross Whyte @ The Tunnels

Next month I’ll be supporting the Vancouver-based ambient artist Loscil alongside the Scotland-based Talvihorros, at The Tunnels in Aberdeen.

The gig starts at 8pm on Tuesday 18 February.  Tickets can be booked here.

My set’s instruments include gramophone (with possible inclusion of some Cliff Richards 78 records), a half-destroyed laptop and a violet ray machine.

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Power Posing

This week I was taking part in a dance residency with Thania Acarón and Daniel Irizarry, as well as dancers Katie Armstrong and Mhairi Allan.  I’ve done a few dance residencies but this is the first where I’ve participated entirely via Skype.  It’s a strange way to work – we’d have a “meeting” at the start of each day and then at the end.  In-between, I’d be composing  music based on discussions and rehearsal videos that had been sent to me.  Much of the residency was based on the idea of “finding your feet” and “power posing”.  The latter draws material from a TED talk by Amy Cuddy on body language influencing the mind – the talk begins in an inspiring manner but quickly descends, disappointingly, into slightly bullshit-y sloganeering.  It can be viewed below:

At the risk of being sued, I’ve avoided uploading the music which uses a remix of Amy’s talk.  However, here are two other pieces that were used in the performance:

peacing the pieces

[photo by Sam Tyson]

The Witching Hour Sessions

the witching hour

The Witching Hour is a new series of live events, curated by Ross Whyte, which showcases the best in local ambient electronic music.  Sessions will also include poetry, theatre, dance and film.  The Witching Hour series will take place at Woodend Barn, Banchory.

Session 1 – 27 February, 7.30pm

Fiona Soe Paing

Dead Hand

Session 2 – 24 April, 7.30pm

Bill Thompson and Claire M Singer

Cruel and Unusual

Session 3 – 26 June, 7.30pm

Ross WhyteThe Witching Hour

John Mackie

 £8 full, £6 conc in advance and £10/£8 on the door

ether voices

In the past few weeks I’ve become a bit preoccupied with using recordings of air traffic control transmissions.  I think that there’s something strangely melancholic about these distorted instructions floating about in the ether.  This has been put to great use in movies – particularly sci fi movies.  I always found the final scene of Alien 3 where Ripley’s transmission (recorded two movies back) plays to an empty room, quietly devastating.  In a similar sci-fi vein, here’s a little experiment that combines ambient electronica and ether voices with some NASA footage remixed from Sammy Fontanez’s own found footage remix: