The keen eyed will notice that this is my second reference to Dol Tor. I had been messing with Korg Gadet noises and DMX1 drum tracks around the same time that I took the road trip a couple of weeks ago. It made sense to connect them.
Within the song notion was an intention to use the flowing drone and tidal wave of Korg Gadget noise and a fast, almost drum’n’bass rhythm element. This came through with some degree of satisfaction fairly easily. The trip to Dol Tor bought to mind the connection between that ancient landscape appreciation of environment, natural space, transient sky and a tribal community spirit of absorption in the previous, joined with a not insignificant degree of hedonism and party spirit.
I’ve tried to blur the disparity of the two main sound elements in the track using some additional rhythmic elements and three pieces of guitar noise made with Ebow, one of which is reversed and echoed. It’s very much like drawing with two media – say charcoal & watercolour – and then using your thumb to soften the edges. In relation to some of the previous sound projects I’ve made it’s fairly sparse in tracks.
The final element which is only subtly present is a piece of ‘field recording’.
Recently Cousin Silas questioned the use of field recording or more accurately the definition of this. In many cases it might be a texture, a sonic layer with direct and illustrative reference, waves, thunder, rain, chattering voices. I would say there is a difference between a sound effect whether self sourced or researched, and a piece of content used for its particular connection to the piece. In this piece some where in the first and third minute there is a slight fluttering sound. Whilst it runs through the whole track it’s only barely noticeable but, it being the sound of the wind in leaves at the time the video was made – in that time and place – I hope it ties the audio to the theme, a voodoo hair in the hand of the shaman.
The video elements are made on iPhone using the iSupa8 app in HD. I’ve used all but two pieces of film and worked them chronologically. It’s come out as a kind of archeological scrapping of the site or a forensic investigation of events – a Will Graham mind palace of association – looking for clues and getting into the consciousness of the previous inhabitants.
The most recent users of the site most likely had a similar respect for the environment and expressed a connection to the architect ancestors. They have left small tokens and signs of their activity including crystals, Ojibwe, ribbons and the evidence of fire.
The pictures that accompany this are multi-exposed analog 120 film shots from a Holga camera. Using the constraint of the film I tried to form four specific sequences, joined by over exposure. I enjoy the high level of chance in this process and have yet to be disappointed by the out come.
Given a greater freedom of time to construct these pieces I might be more focused on the amount of content and material I create and more selective in the elements that I use. Every element is a roll of the dice and thus far I have been lucky with the numbers facing up.
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