fausted

why are you laughing
it's barely 3am
we howl depraved
who's gassing at this hour?
who's unafraid?
there's a million ways to stay the same
and we own them
why are you smiling
your lip is all warp
smirk and all talk
you're still hostile
no you haven't really changed at all
wherever your blood flows

Guessing (demo)

"I like it, for it is double. It is here and elsewhere."
Camus, The Fall

Too late, too far is part of a larger work entitled The Fall, composed between 2012 and 2014. The compositional process began during a residency at STEIM in December 2011: Amsterdam was the source from which I collected the materials for this piece.

I think now of the unwitting owners of actions contained herein: the cyclists and joggers of Vondelpark, the man on a bridge who offered a bike for a cigarette, the swans calling across the Red Light District, the choir of Sint-Nicolassbasiliek, and the countless others, long since dispersed but not forgotten: shouting, singing, laughing, swearing, clapping. I think also of the creaks and rhythms of rocking boats, of passing trams, the ubiquitous bells and horns, the rain, wind and lapping water, and the 5am fireworks on New Year's Day. I consider these materials as fragments of sound, but also, now, as fragments of time. Sometimes their shimmering light is obscured, sometimes it is revealed. 

This work, "peopled by bad dreams" (and the occasional good one), balances somewhere between loss and hope: after more than two years of work, this is its final character.

Too late, too far (2014)

Pines

Fibreboard

Microsound composition for 8-channel speaker array. Premiered at 'Electronic Music Studios Concert', Sonic Immersive Media Lab (SIML) - St James Church, 21 March 2015

Shelter - Stereo Mix

dream (bobby dylan cover)

Recorded in pinsapo (Spanish fir) forest in the Sierra de las Nieves National Park, near Ronda Spain.  The birdlife was particularly active this cool spring morning, with many species moving around close by the microphones. You can here some very light rain blow in during the second half of this sample.

Bird species recorded on this track include Tawny Owl, Eurasian Jay, Common Wood Pigeon, Iberian Green Woodpecker, Crested Tit, European Robin, Short-toed Treecreeper, Eurasian Siskin, Chaffinch, Hawfinch and  Red Crossbill.

Spring in the Andalucian Mountains

Spring in the Andalucian Mountains - Recorded near Ronda, Spain

EVP (Electronic Voice Phenomenon) describes the deliberate or inadvertent capturing of the voices of ghosts on electronic media such as tape recorders, video or radio. Around the world many thousands of people participate in projects to investigate spectral presences in haunted spaces by recording and then painstakingly analysing recordings. Whether this is a real phenomenon or an example of mental pattern recognition—finding structures in random data, like an aural Rorschach Test—is a matter of opinion. In this work, a collage is generated from a number of EVP recordings. The performers emulate the sounds with extended techniques on their instruments with the aid of a scrolling score that shows relative the pitch, duration and dynamics of the EVP samples in real-time. For reasons that are not entirely clear to me this is my the third recent work, following Ghosts of Departed Quantities (2010) and The Talking Board (2011), to explore the supernatural.
Also listen at: http://lindsayvickery.bandcamp.com/album/questions-written-on-sheets-of-glass-chamber-music-ix-2011-2012

EVP (2012)

“Perec’s Inventory” (2006-2012).  Bil Smith Composer

For Violin Octet and Audio Engineer;  String Quintet (2 Violins; Viola, Cello, Bass Viol) and Audio Engineer; and Solo Cello.

Recorded May 5, 2013 at The Winter Garden Theater.

About the Violin Octet:

The VIOLIN OCTET is a 20th Century development of a consort of eight finely matched instruments in a series of sizes and tunings to cover the range of written music, starting at the bottom with the oversized large bass tuned as a double bass and finishing at the top with the tiny treble violin tuned one octave above the violin.

This family of instruments represents the results of research into violin acoustics that started with the work of the well known physicist, Frederick A. Saunders as far back as 1937. The object was to establish - through tests made on a series of excellent violins - some of the acoustic characteristics found in violins of excellent tone. These tests were followed by ten years of experiment and development in the dimensions, fittings, and resonances of a large number of instruments. This work was accomplished by Dr. Carleen Hutchins and over 100 associates in the Catgut Acoustical Society.

From these experiments it has become possible, for the first time in string history since the viols, to create a whole family of acoustically matched instruments with violin tone qualities. The VIOLIN OCTET differs from the existing violin family of violin, viola, cello, and bass in which their chief acoustic characteristics are not only different from the violin but from each other.





“Perec’s Inventory” (2006-2012).  Bil Smith Composer

https://www.facebook.com/pages/Lindsay-Vickery-Composer/281159362263?ref=hl
http://lindsayvickery.bandcamp.com/
http://lrvickery.tumblr.com/
http://www.youtube.com/user/entropology?feature=mhee

EVP (2012)

lindsayvickery

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