Following the release Rising Water, I performed the piece in-the-round at KEPK, an arts warehouse and studio space.
The last few years I’ve been interested in collapsing the space between audience and performer. At times I’ve invited sound contributions by the audience, and used randomising systems so the music is new for us all, in that moment. But for this show, the feature was removal of a sonic boundary. I set the space with 4 loudspeakers facing the centre. With both audience and performer within the sound-field, we all experienced the music in the same way. I asked them to move in close. Despite their discomfort, they obliged, and we were all better off for it. It’s this performance photographed by Thomas Oliver for the album booklet included with your download.
Set against new concert animations, Rising Water’s live incarnation expands the album with inclusion of non-water-derived sounds. But like the album, the performance is about resonance. As I create and trigger multiple drones, I’m chasing the moment at which the waves align in a “superposition”, pushing many times their volume through a chain of considerable saturation. You know it when you hear it. And it’s glorious.
The piece was also performed in a different way in the same venue a fortnight later. Joseph Burgess installed an enormous sheer screen across the stage, effectively splitting and doubling the projections. This is the show captured by Ethan Bourke for the concert film, and the performance you’re hearing here.
You can watch the concert film on You Tube, here:
youtu.be/9PAbU41Wrho