Making for Radio is part-hoerspiel, part-performance, part-documentary about DIY electronic music culture. The making of an impossible and ‘real’ electronic instrument circuit become the starting points for the work. Processes, tools and their relationship to makers/musicians are crossed examined through short, humorous sketches and radio curios. Fact and fiction co-exist. There are musical interludes. The work brings together researchers and musicians from De Montfort University, Leicester, UK, and the Academy of Performing Arts (HAMU), Prague in a collaboration for Czech Radio.

Making for Radio was recorded at the Czech Radio, Prague 24 November 2017, and broadcast Czech Radio 3 - Vltava, 6 December 2017. Performers: Anna Björn, Bruno Cunha, Matouš Hejl, Katie-Jane Howard, Monika Jagerova, Steve Jones, Nick Luscombe (voice recording), Luigi Marino, Johana Ožvold, Martin Ožvold, Amit Patel, Michal Rataj, John Richards, Samantha Topley, Maya Verlaak, Max Wainwright, et al.

Making for Radio

Henry Purcell’s classic funeral march from 1695
arranged, played and recorded by #hiljef 
@ #berlintune studio in early May 2022

Queens Funeral Music

Disruption, intervention, transference, halfway-ness, violation — the conversion of data/sound from one medium to another results in a new material phenomena, transmedia, found in the hidden corners of esoteric technological processes. Violations is an extended event that includes the construction of a specially commissioned Dirty Electronics printed circuit board artwork/sound object, rehearsal and a large-group performance. A feedback system is designed where audio of a sequenced pattern is used to re-program itself. The event further explores how sound and/or code can collectively coalesce and gravitate or not towards a mean. The artwork for the printed circuit board takes inspiration from Arjun Appadurai's book The Social Life of Things, and the exploded-view illustrations of fifteenth century artist-engineer Mariano Taccolafound in his De ingeneis (Concerning Engines) and De machinis (Concerning Machines).

Violations III

A voltage controlled digital noise Eurorack module ... with unique characters and chaotic behaviours 

We’ve created 32 new programs for the Radical22 second edition (64 in total). 

Each program is made from core wavetables and algorithms and can produce many, many sounds! 

All sounds from the Radical22 (second edition) un-processed. This is a small sample only from the 32 new programs.

Radical22 (second edition)
Cores
1. stanbard dog [0:00 - 1:17]
2. swine [1:20 - 3:01]
3. 1 wing [3:04 - 4:14]
4. an-yooouuuu [4:16 - 5:42]

More info at: https://www.dirtyelectronics.org and https://noise.technology

Radical 22 (second edition)

Radical22 (second edition)

Dirty Electronics will be joined by long-term collaborator Nicholas Bullen (Napalm Death/Scorn) for a set at Supersonic 2015 featuring works from Dirty Electronics’ synth/album released on Mute Records, and pieces for the Supersonic commissioned Horn & Bells sound object. Over the last decade, John Richards (Dirty Electronics) and Bullen have worked together on numerous projects from releasing music as Black Galaxy to co-organising Fluxus events. Bullen has also written several performance pieces for the Dirty Electronics Ensemble.

Dirty Electronics feat. Nicholas Bullen

MORE ROAR! is an entropic synthesiser and degenerative artwork. 
 
The more you play it, the more its sounds degrade, become re-ordered. Every restart, a different rate of degradation. ‘Raw’ sound weathered into noise and silence. 
 
MORE ROAR! is a collaboration between Dirty Electronics and Agnes Cameron with printed circuit board artwork by Tellamont.

All sounds from MORE ROAR! Excerpts and overdubs.

More info at: www.dirtyelectronics.org


MORE ROAR! Excerpts

Work In Progress (2018 - Ongoing)

Created from a discrete sound source (a single note played on the trombone), ‘Signal Residuals’ inquires into the potential inherent in a finite volume of concrete sound material.

A series of non-linear perceptions of a sound object are explored through the re-presentation and combination of concrete material and its transmutations, expanding equivalences and oppositions.

Interpenetrating and cyclical elements fold and arc as active gestures fragment and extend the material into new forms, recalling the pulsation of breath and the ocean, the fragmentary gesture and the extended moment.

Signal Residuals (2018 - Ongoing)

Claron McFadden - voice
Hilary Jeffery - composition

a sound space of phonetic sounds projected into a space in which a singer moves and freely associates

a series of short samples of Claron McFadden’s voice speaking and singing vowels, consonants, phonemes and syllables were recorded and assembled to create a sound space filled language elements – a moving sound collage, a sea of potential language

during a performance of this piece the singer moves through this continuously shifting sea of potential language and attempts to find words emerging from out of the sound collage – she might find already existing words, new words or words in a language she does not know – the emergent language of new words, known words, unknown words, cut-up words and semi-formed sentences provide clues and keys to her thoughts and associations

Linguistic Music

Language Sea

Points of Failure was a five-date tour which took place at various art/music spaces across the UK in early 2020. The tour was a collaboration between John Richards and Tim Shaw. The idea was to explore the sonic possibilities of objects and materials through live making, failure and improvisation. We took a basic set up that would allow us to perform with a diversity of materials and objects. This included mixing desks, DIY synthesisers, a collection of microphones (hydrophones, contact microphones), speakers, bowls, metal objects and scrap materials. This tour focused on building an interactive environment with the materials we had at hand, episodic structures for performing through and revealing the failures related to making, performing and DIY electronics.

Recorded at IKLECTIK, London, 6/2/20

Iklectik Points of Failure

released on "Solo Trombone and Electronics" (2003)

other titles include:

"Arrival"
"Freedom Fried"
"Oil Hell"
"Strangel"
"FB"
"Hell Oil"

https://www.discogs.com/Hilary-Jeffery-Solo-Trombone-Electronics/release/2502338

Solo Trombone & Electronics

Demonocracy

Nicholas Bullen is an artist and composer based in Birmingham, England.

He has a history of musical composition spanning more than 40 years (including founding the 'extreme' music group Napalm Death, creators of the Grindcore genre). During this period, his compositions have been made available on over 40 releases and he has produced performances of his work in art galleries, theatres, cinemas and through multichannel sound systems including Sonar, Unsound, Art Basel, Eco Madrid, Institute of Contemporary Arts, CBSO Centre and BEAST. 

His work is inter-disciplinary in approach and is developed across a range of media including sound, installation, film, performance, and text. Sound-based works include installations on multichannel systems (Insula, 2012 and Three Elements, 2011) and using vinyl records (Immersions, 2006), documentation of performance actions (Openings: Call Unknown and Channel, 2001 - 2015), and a series of performance works for voice (including Breach, 2006 - ongoing) using the human voice as both material and medium for exploration.

Work has been presented internationally including Tate Britain, Institute of Contemporary Arts, Hayward Gallery, Serpentine Gallery, White Columns, Chisenhale Gallery, Arnolfini Gallery, Schirn Kunsthalle, Casino Luxembourg, Kunsthall Oslo, Vlaams Cultuurhuis de Brakke Grond and Contemporary Art Spaces Tasmania.

Signal Residuals (2018 - Ongoing)

Nicholas Bullen

Related tracks