This is the stereo reduction of Clay Gold's 5.1 audio piece 'Airtight Orange Plastic Coffin' which was presented in a completely dark cinema environment at the Walter Reade Theater / Film Society of Lincoln Center in New York City, as part of 'UNSOUND', a festival of experimental music and sound art, 2011. The piece was commissioned by ((audience)) with a theme of 'HORROR'


'Airtight Orange Plastic Coffin' (Stereo Reduction)

Part of the Input/Output Workshop with Clay Gold and MUSARC Choir, Spring 2014

Clay Gold - Input Output Workshop With MUSARC

The choir MUSARC performance of 'BIAS' by Clay Gold at Christ Church, Spitalfields, December 2014. Percussionist Jonas Gustafsson is at the Typewriter.

More information here: https://sites.google.com/site/claygoldrecording/bias

'BIAS'

Clay Gold SHPENK 0321 Edit

From 'Clay Mining' by Clay Gold, featuring Peter Stavrum Nielsen on percussion recorded and mixed live in Lisbon. Recycled and manipulated in Macau. Completed in Canterbury.
Download the whole album at http://threelegsduck.bandcamp.com/album/clay-mining

Clay Mining 02 'What Baby Gets'

Clay Mining 01 'See You Tomorrow'

This track is almost 20 years old. 1993. Was made using a Tascam 388 plus Boss and Bel delays as "samplers", triggered by audio signals. Those were the days. I didn't have a computer and swore I'd never use one!

July 8th 1947

Words and music by Clay Gold, and featuring Maddy Sakakini as the Voice in the Attic. First written for 'Touching the Void' exhibition at Crate Space, part of Margate Festival 2017.

Between The Attic And The Basement

Water is the great eroding force of nature, defining not only the shape of countries, but also the societies which have settled in their most fertile regions and around their sculptured riverbanks and coastlines. Water is the genesis of life and threatens to be its nemesis, as polar caps melt, oceans rise, islands vanish and continents shrink. As with an ice age, water again offers encouragement to evolution.

'A Furious Devout Drench' takes inspiration and its title from a line in the poem 'Water' by Philip Larkin and uses field recordings from across Europe and ethereal piano to compose a soundscape evoking movement and erosion. The music is closely related to the field recordings, in that it takes its rhythm from Nature. There are in fact two compositions here: the field recordings act as an audible score for the piano and percussion, a feature common in much of my recorded work.

A Furious Devout Drench

'Float Dance' - Clay Gold Remix

A single improvised electric bass guitar recording which has been processed with granular synthesis techniques, using a narrative score and further operated on through a 1970's MasterRoom spring reverb unit.

Where My Wings and My Tail Used to Be - Clay Gold

Clay Gold's 30 minute improvised piece 'Breathing to Death' is available by following the link.&#13;
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The mini-LP 'Clay Mining' can be downloaded from <a href="http://threelegsduck.bandcamp.com/album/clay-mining" rel="nofollow" target="_blank">http://threelegsduck.bandcamp.com/album/clay-mining</a> and includes a 6 page booklet in pdf format.&#13;
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Clay Gold's album 'The Slow Light Down', presented here in full, combines auto-improvisation, music concrete and electroacoustic non-repetitive real-world rhythm. The title track is a live manipulation of various microphones feeding-back through the digital effects of a Yamaha M7CL mixing desk. Other tracks use unedited field recordings as a percussion track and rhythm template. Subtle piano, synth and drums complete an album to be enjoyed at room temperature, such that the listener will be unsure as to what is real, recorded or imagined. You can download by following the link above.&#13;
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Clay Gold's activity as a recording artist has heard him contribute work in stereo, quadraphonic and 5.1 for European Acoustic Heritage, SoundFjord Gallery in London, Sonic Art Oxford and Dragonfly Festival in Sweden.&#13;
His 5.1 audio piece 'Airtight Orange Plastic Coffin' was presented in a completely dark cinema environment at the Walter Reade Theater / Film Society of Lincoln Center in New York City, alongside works by Raime, Demdike Stare and Felix Kubin as part of 'UNSOUND', a festival of experimental music and sound art, in March 2011 and continues to tour theatres in the U.S. as part of ((audience2)) http://au.dience.org/&#13;
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www.claygold.co.uk

Clay Gold

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