An unedited track from the forthcoming album 'Please Take... [Extracts]'.

What Once Was

Drone create via a tape loop. I'm not sure of the source - I have lots of tape lying around on my desk at the moment, and it was the first that came to hand.

Get behind me, Jesus

A live, improvised performance I did on Sonica FM on 11th February 2015, which was my contribution to a special Gwaith Sŵn show. Two radios - one a beautiful 1960s EKCO PT378 transistor radio generously donated by my auntie, and the other a less charming 1990s Sony Walkman-Radio - going through a small Behringer mixer and a Behringer delay pedal. Despite being at the mercy of reception in the basement of the Hundred Years gallery, I'm pretty happy with how it turned out.

Radios On The Radio [Performance on Sonica FM, 11/02/15]

Excerpt from live performance.
Kevin Ka Wei Chan - tape loops, effects.
Dan Linn-Pearl - voice, effects.

Kevin Ka Wei Chan & Dan Linn-Pearl - Live Excerpt

http://img402.imageshack.us/img402/9646/scorezm.jpg

Chance Movements

This was recorded in 2002 for an album of the same name, which remained uncompleted.

Absent As The Angel

This composition experiments with a score based around Mozart’s dice game. Field recordings were made inside the Whispering Gallery in St Paul’s Cathedral and from outside amongst the Occupy London campsite. These recordings represented point A and point B, and a literal interpretation of movement between two points. To introduce a chance operation, a recording of a simple acoustic guitar line was cut up into sections, and the six slices reassembled according to the role of a dice. 

The result is a soundscape that gives a sense of the two distinct spaces, with their respective characters highlighted by the treated acoustic guitar as a fixed point of reference between the two. When combined with the interior recordings, the acoustic guitar seems to accentuate the intimate atmosphere captured in the space. Yet, as a backdrop to the recordings from the campsite and a heated discussion around how the decision-making process for the Occupy movement could be structured, the guitar seems somewhat out of place. This provides an example of how, even in what is a partially random organisation of sound, dictated by chance, patterns and coherence form as the human mind perceives a kind of order, even when it is notionally absent.

Due To Circumstances Beyond Our Control

Is the beginning is the end is the beginning is the end.

Through The Years

‘Weiss Ghosts’ is a soundscape based around Allen S. Weiss’s ‘Ten Theses To Subvert A Work (A Manifesto)’ (2006). It takes a recording of Weiss, made at his Sound Practitioners lecture at the London College of Communication in October 2011, reciting his ten instructions for subverting theatre, and applies interpretations of them onto some of my own sound work – a combination of field recordings, composition, synthesis and tape manipulation – and the recording of Weiss's voice itself, to create a new piece that is a subversion of the original intentions and character of its constituent parts.

Weiss Ghosts

I am a 'musician' and/or 'composer' based in 'London'.