Lost in the DarknessLatest release Lost in the Darkness commissioned by Alicia Crossley for her latest album
Bass Instincts. Available for purchase on: Spotify Apple Music or on CD at Australian Music Centre |
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Lost in the Darkness was initially inspired by a poem in a Women’s Art Zine published by the Refugee Art Project #6.
The poem is written by Maryem, who at the time of publishing was 19 years old and had been in detention for two years with her younger sister. The piece aims to sonically capture aspects of the poem through musical devices, for example the scalic passages that become gradually more frenzied represent ‘searching for light’ and ‘running like a blind bird’, vocal counting references ‘counting her steps’ and the idea of ‘searching through the darkness’ is represented by motives which continually try to move but ultimately never really get anywhere.
The electronic aspect of this work has enabled me to make use of often inaudible sounds which enhance the micro detail of the instrument. Finding the sonic idiosyncrasies, in this instance of a hollow tube expertly crafted from maple wood, inspired much of the compositional material. Through a series of workshops with Alicia Crossley I was able to home in on details which I felt lent themselves to the story telling of the piece, in this case breath, rattling, low beating drones, gurgling and sudden registral leaps. Through the use of long reverbs, spatialisation and delays I am able to temporally extend sounds and layer material not traditionally possible in an acoustic setting.
The opportunity to work collaboratively with virtuosic artists uncovering the sonic possibilities of an instrument is such an exciting prospect as a composer. Thankyou Alicia.
The poem is written by Maryem, who at the time of publishing was 19 years old and had been in detention for two years with her younger sister. The piece aims to sonically capture aspects of the poem through musical devices, for example the scalic passages that become gradually more frenzied represent ‘searching for light’ and ‘running like a blind bird’, vocal counting references ‘counting her steps’ and the idea of ‘searching through the darkness’ is represented by motives which continually try to move but ultimately never really get anywhere.
The electronic aspect of this work has enabled me to make use of often inaudible sounds which enhance the micro detail of the instrument. Finding the sonic idiosyncrasies, in this instance of a hollow tube expertly crafted from maple wood, inspired much of the compositional material. Through a series of workshops with Alicia Crossley I was able to home in on details which I felt lent themselves to the story telling of the piece, in this case breath, rattling, low beating drones, gurgling and sudden registral leaps. Through the use of long reverbs, spatialisation and delays I am able to temporally extend sounds and layer material not traditionally possible in an acoustic setting.
The opportunity to work collaboratively with virtuosic artists uncovering the sonic possibilities of an instrument is such an exciting prospect as a composer. Thankyou Alicia.
