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 sound experience and by mediating the listening process, I invite my audience to consider the world through close attention to sonic details.
My work additionally explores the similarities 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.