I have been creating audio works for over 30 years and am largely inspired by the explorations of the early electronic musicians of the 1950s-1970s. My work begins with the sounds themselves, not with a preconceived notion, such as a score, and they are composed by working directly with the recording technology as instrument.
These albums contain works that use Musique Concréte and electronic techniques that explore the relationships between electronic and concrete sounds. Sources include field recordings, invented instruments, common household utensils, concrete and electronics.
Phonography is the act of listening outside of the notion of identification. There is an interest in listening to sounds for an intrinsic value that does not have to relate to an understanding of the source. This is the primary difference between phonographers and field recordists, nature enthusiasts and radio journalists. There is a lack of concern for what the intent of the “object” is, the interest is in what it reveals to me as the observer. The connection to the source is not outlawed by any means but it is not of primary concern. (Read More)
Excerpts from the Seattle Phonographers Union.
SPU website: https://seapho.org/