Each of the five pipes in this instrument is named according to their sound character (of various animals and insects) and playing qualities. These are: ‘Knat’, ‘KHVK’, ‘Speaks’, ‘Cluck’ and ‘Smooth’. These names help me to identify individual pipes and their characters for the written score (see below). Together, they generate liquid clashing beats teetering on the brink of chaos inside one tubular body. To sustain playing of this instrument as one person it takes a lot of physical effort and air, the gaps in playing are where I regain my breath.
This one single surface has an incorporated cyclical score that involves audience participation. This was developed as part of my ongoing series of responses to Karlheinz Stockhausen’s Mikrophonie 1, 1966. Reference to the 1966 film here.
Performance at The Bomb Factory, London in July 2019 with audience members. Video editing, Rita Evans. Live Sound Engineer Phoebe Robinson. Sound Post Production Francine Perry.
As part of Archway Sound Symposium curated by Phill Wilson-Perkin and Hannah Dargavel-Leafe.
Live Sound Engineer Phoebe Robinson. Sound Post Production Francine Perry.