I've been using deepseek to code webpages to be used as dynamic scores for performance. this piece is called red light, green light. inspired by Squid Game. simply play on green, rest on red.
Durations can be altered in settings. With less performers its best to set a higher green:red ratio. The default settings are very sparse.
Republishing an exercise in deep listening from 2016. Recorded at the time of doing an assignment for my bachelor of nursing undergraduate in 2016.
Originally I just put out the long quiet work simply titled 'library'. (listen).
I found another recording from the same day which I had forgotten about. It's a different listening headspace entirely, recorded in the library common floor rather than private study room. Sounds of other students can be heard. I wasn't particularly interested in the result of this other recording at the time but on revisiting it I think it has its own thing to offer.
Another deep cut from the archives. This time from a session in 2017 at my
then residence in Campsie with Michael visiting from Melbourne.
The personnel here is:
Nick Dan: probably subtle modular synth additions. Peter Farrar:
honestly not sure. Michael McNab: microscopic percussive
gesticulations. Jasper Powrie: a saxophone was in his hand at some
point in time. sonic intaglio obscura. Axel Powrie: bass guitar.
I'm very excited to be sharing this new net-release by Afterpay, a project with my
friend, John Wilton. This was recorded all the way back in 2018. I rediscovered
the recording recently and we decided we wanted to put it out there.
I played bass guitar on this recording. For me this was significant as bass was my original instrument but I had put it down for quite a few years in favour of pursuing other instruments and musical approaches.
An important aspect of this music for me was that the bass was in tune and in standard tuning.
While this might seem strange to mention, much of the experimental music I was listening to and playing at the time had eschewed traditional concepts of pitch and so doing so felt somewhat transgressive. On a purely personal level there was an element of satire or humour to the use of this instrument (which at one point I was very adept at playing) in the most normal configuration.
5th fret capo placed.
cards A,2,3,4,5,6 trigger respective strings on guitar,
other cards are rests.
if red card from A to 6 is drawn, the next card is drawn as well.
if both cards are 'playable' then both strings are struck simultaneously, otherwise just the first card is played.
the deck is played through once, 54 cards.
The rules of this piece were as follows:
Take a deck of cards
Assign a sound/motif to 2 or 3 suits, leaving 1 or 2 suits for rests.
Draw cards from the deck one by one.
Number values of the cards represent duration with suits designating sound to be played.
Each player has their own deck and draws at their own pace.
Andrew Fedorovitch: walnuts, harmonica, saxophone, drill
Axel Powrie: fife, metal chime & allen key
Results from experimenting with approaches to the keyboard interface.
Various patches involving (from my memory) Roland VK-7 organ, Korg Minilogue xd, video game samples, other software.
'background radiation'. - January 2021.
12 June 2021
proto-afterpay \ J. Wilton \ A. Powrie - September 2017