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Drop Element - Covert Communication

A few months ago we had the opportunity to introduce you to Geisha with the "Pegasus Tornado" EP. We announced that this work was only a brief introduction to their world of sound. Now we bring you a full album,"The Delirium Introduction", 11 tracks that introduce us to a delirious parallel universe, a magical and organic musical world beyond compare, an album full of melody and harmony, ranging from organic sounds to some of the most psychedelic and experimental electronica being created today.
Since the debut album "The Sounds Of Geisha" in 2007, Geisha have shown a profound sense of musical exploration. The new album is evidence of the development of this adventurous and explorational talent. With a combination of electronics, effects, loops, guitars, percussion, strings and perhaps any musical element which may have been available to the creators, this album shows how far it is possible, through sound, to alter the surrounding reality. 
This is a wonderfully experimental album, yet discreet enough to produce a warm, pleasant environment for the listener to sink into. There is no better way to introduce you to this world than the sound itself ... welcome to The Delirium Introduction.

[TBM004] Geisha - You Are Nowhere Until You Are Somewhere

Crystal is nearly 40 minutes long. It has been written for 5.1 DVD as a commission for Diamond Light Source. On the 20th of October it was  performed live in the space of the electron storage ring. 

''Work and process'' 
It is a sound work composed directly from frequencies generated by the electron storage ring, a particle accelerator. The work also uses binaural recording from locations inside Diamond’s experimental hall, storage ring and beamlines. Writing this work, my imagination was sparked from the start and my aim was to write a work of substantial length which reflected both the actual content of the spectrum of the space and also the metaphorical content of the sounds.

The Diamond synchrotron is a rich multi-spectral sonic environment, with a cacophony of sounds generated by machines which hiss pure nitrogen, pump air from vacuum chambers and cool high-powered magnets. There is never one time where any sound is exactly the same. It is a large space, circular; extremely reverberative, vibrating complex tones from the electro-magnetic and mechanical interfaces which generate the electron beam which travels at near the speed of light. The actual physical space of the synchrotron seems to capture pure human intelligence, concentration and the ability to look beyond what is currently possible. It is light, futuristic and like nothing I have ever seen before.

Most of the sounds you hear in this work are the sounds of electron injections into the particle accelerator at certain times of the day. This happens on a regular basis every 10 minutes; it is predicable and ever present. The sonic content of the injections is grainy and dry. I choose to listen to the micro tonalities captured in
the streams of injections developing detailed micro melodies which appear and disappear not unlike the atom injections. The injections are heard in full at the end of the work.  I also took binaural field recordings from points in the synchrotron area and I used a selection of these within the work.


Crystal is designed both for concentrated listening and also for installation. One can walk into the work at any time and capture phrases “injections of a sonic palette” or simply sit down and listen to the whole work. It captures my experience of listening in on the inner workings of the synchrotron. The space itself captures a sense of timelessness, and my aim was to reflect this in the form of the music.
The work was commissioned and published by Diamond Light Source, composed in the Electro-acoustic Studios of the University of Wales Bangor, with support from a research grant from the University of East London. Many thanks to all involved in making the work.
 
Jo Thomas, London October 2011


Crystal Diamond Light Source

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10th May 17 - Please note that 'death' in the URL refers to this track's original title when uploaded in late 2016/early 2017. The name seemed distasteful and was changed following Miles' sad and untimely passing in May 2017.

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