Celebrating Urban Noise
“As an only child, I passed the time by collecting things… and later when my parents bought me my first cassette recorder, I collected sounds.”
(The Family Album, 2005)
A fascination with noises informs all of my work. My practice engages with the contemporary sound world to unpick and reframe the notion of noise as unwanted signal. I define noise simply as “a unique spectrum of the soundscape, devoid of moral or social agency”.
My process begins with listening to and recording everyday sounds. Back in the studio, I work with these sounds in many different ways, depending on context. The end result may be a composition, sound design, installation, soundtrack, podcast or radiophonic work.
I utilise binaural sound recording techniques to capture an immersive sonic experience and through mediating the listening process, I invite my audience to consider what the sound of the world has to tell us about its various social conditions, culture(s) and political geographies.
My work explores the connections between the post-digital era and the early decades of modernism, in the form of sweeping historical movements that challenge and disrupt the fabric of society. I reflect upon this through sonic activism; exploring sites of protest in composition, collage and radiophonic narrative, recycling and repurposing the digital junk of a global marketplace.
My artist alter ego, ‘conceptual politician and crooner’ Giuseppe Marinetti – CEO of the fictional Skinny Vintage Investment Corporation – acknowledges a debt to the Milan Futurists and, in particular, to Luigi Russolo’s Art of Noises manifesto.
Whether recording and reworking the views of the public on democracy in Revolution #10, or adapting the sound of Berlin coffee shops to evoke a “Shoreditchification” of the high street – the simple act of listening can become a revolutionary intervention in our globalised private/public space.