FOLKTALES 1: LAVE [2001/2002]
Format: CD [on Folktales 1]
Released by: Crouton
Running time: [Crouton version]: 19.57
Running time: [Resonance FM version]: 22.43
About the project
The following text is transcribed from my narration of the mini-documentary about Lave that was broadcast on the Sonic Arts Network's series The Houyhnhnm Tales on London's Resonance FM, 6 November 2002
"Lave" is a 22-minute electroacoustic piece which deals with the narrative aspects of sound and performance. Somewhat inspired by Charles and Ray Eames' seminal film "Powers of Ten" along with my interests in eastern philosophy, "Lave" presents a sonic narrative structure based on the notion of the interconnectedness of nature. "Lave" uses manipulated field recordings, sampled short wave frequencies, bass guitar and synthesizers in a contemplative representation of a theoretical journey: that of a trip from the depths of space down to the earth's surface and finally arriving at the microscopic level.
Containing four distinct movements and a coda specially prepared for this broadcast, each movement represents a seperate portion of the journey while the coda is a rapid restatement in reverse of the themes presented in the four movements. Composed of several sound loops of differing duration, there is a certain amount of randomness involved; loops are played off against each other so that their relationships continuously change. You could call it an "assisted generative composition."
The first movement represents the beginning of the journey, in the depths of space. The first burst of static heard is actually the main musical theme of the piece, which is restated once during every movement. This sound was created by manipulating some shortwave radio static along with some synthesized noise. Once this theme has been stated fully at the beginning, more layers of static and radio signals are layered on top of each other along with sounds of wind, creating a sense of passing through the Earth's atmosphere.
Eventually the signals die away and are replaced by the sound of rushing water, bringing the piece down to the surface of the earth for the piece's second movement.
Built around a repetitive bass guitar theme, the third movement brings the listener to the level of a solitary human being. At first the sound is undeniably that of a bass guitar, but as the repetition builds it also suggests a pulse or heartbeat. It's at this point that the piece transitions down to the microscopic.
Primarily synthesized, the clicks, pops and beeps of the final movement represent the electrical charges of microsopic organisms. The static builds to a crescendo as the radio signal theme is once again restated, and now the listener is forcibly flung backwards through the previous 20 minutes' journey by a short coda, ending where the piece began.
Production notes
Original version composed and recorded January 2001
Coda composed September 2002
Instruments: Manipulated short wave radio signals, field recordings, bass guitar and synthesis