Hidden Sounds

Hidden Sounds Review

Sometimes when people are trying to create music using a physical medium such as circuit bending it can be hard to get inspiration, not only with what sounds to create but with what hardware to create them with. With that in mind, a show like Basic FM’s Hidden Sounds is a veritable goldmine of ideas and inspiration.

Broadcasting twice a month, every second Thursday at 7.00pm as well as repeats every Sunday at 4.00pm, Hidden Sounds features ambient/experimental circuit bending music from a variety of artists; from known exponents of the genre to new artists looking for a platform to showcase their work to a wider audience.

The show is relatively new and as such it would be best to keep in mind that as each episode goes by the host of Hidden Sounds grows into the role, with his occasional interjections and artist introductions becoming more and more polished and natural as time goes by.

So whether you’re looking for inspiration, a new platform to showcase some of your circuit bending electronica or just want something off the beaten track to listen to of a Thursday evening, Hidden Sounds really is an invaluable tool for artists and a truly enjoyable hour of music for casual listeners to boot.

Old episodes of Hidden Sounds are located at http://www.mixcloud.com/TheHiddenSounds and Basic FM have a free app available for download in both the Google Play Store and the Apple App Store should you wish to check the show out for yourselves.

Happy listening!


Nicolas Collins Interview

A while back we at Maker.ie sat down with Nicolas Collins the man who quite literally wrote the book on sound manipulation with regards to electronic music. Collins’ 2006 book Handmade Electronic Music: The Art of Hardware Hacking has proved to be extremely popular with hobbyists, electronica music enthusiasts and sound artists themselves alike. As well as this, Mr Collins has proven through this book that not only is he very knowledgeable in his field (and with good reason given his list of accomplishments, which include a myriad of contemporary compositions and the fact that in many ways he is a pioneer of this particular music genre) but also that he can convey his ideas and designs in such a manner as not to be daunting or confusing to those who may have a more base level of understanding of electronic circuitry or indeed music theory/sound manipulation in general.

In this interview we discuss with Mr Collins the pros and cons of software vs. hardware, how and why he started to tinker and toy with circuitry, who influenced him throughout his career and what he thinks lies ahead with the hacker scene in the future.
We hope you enjoy watching this interview as much as we enjoyed sitting down and talking to the man in person.

Hard Working Class Heroes Weekend Review

This month saw the Hard Working Class Heroes annual celebration of Irish music return all across the city and as usual it did not disappoint. Taking place in a variety of venues, some well versed in housing independent artists, HWCH once again proved that this country is home to a large number of talented and diverse musicians.

The weekend kicked off for us at The Workman’s Club where, despite the horrific weather outside, a good crowd had gathered to witness the various bands ply their trade. Stand outs of the night included Princess a four-piece band with, among others, progressive rock and indie sensibilities, but these guys are anything but a simple rehash of old ideas. This band is loud, but in the best possible way, with catchy multi-layered songs all held together by the constant and varying beats being laid down by the immensely talented drummer. Be sure to keep an eye out for their new single which should be released in the near future as well as the already available EP Black Cat.

Next up was Cave Ghosts, another four piece band but this time one with a more vocally led sound. Singer Jen Connell has a hauntingly beautiful voice and uses it to great effect; juxtaposing it against lively and instantly likeable 1960’s pop influenced efforts. Honestly HWCH was already a success in our eyes for having included this band in the line up, they really are an act that everyone should catch if given the chance, and considering the fact that the song No one loves you like I do which the group debuted during the show has been rattling through our brains ever since we heard it, it’s safe to say this group has the potential to go from strength to strength.

Next up was Meeting House Square to see the much vaunted Ana Gog; a band making some serious waves at the moment and it doesn’t take long to see why. The vocals possess warmth and sincerity rarely heard nowadays where overly produced music abounds, not to mention that the musicianship on display when they take the stage is top class. Ana Gog list influences such as Radiohead and Bjork and they could broadly be described as an alternative offering; to do so however would be a great disservice, as they cannot be pigeonholed into one specific genre or category. Ana Gog regularly play all around Dublin and indeed the country and have recently announced a two week tour of India so be sure to try and see them before they set off.

Saturday was a tricky proposition as we had to cover several venues for the purposes of this review; first up was Bad Bob’s, a venue that has had more name changes than Prince but one which still serves up a decent atmosphere for a live show to see Let’s Set Sail. This group originally started out as a three piece but over time have expanded to five members and feature a male/female vocal partnership that works beautifully. Unfortunately technical issues cut the set short but what we did manage to see was suitably impressive to make us want to catch another show in the near future.

Afterwards we hotfooted over to Meeting House Square yet again, a thankfully short journey considering the typically Irish mid-October weather, to catch Sweet Jane a band that has been around for quite a while now and one we’ve seen many times in various locations over the years, this however did in no way dampen our enthusiasm as these lads can seriously play. Made up of four brothers from clan Paxton and an “adopted brother” Sweet Jane or Buffalo Sunn as they are now known are a big, old school guitar band and it comes as no surprise that they have been a regular on the Irish festival scene or that their music has been featured on home grown TV shows such as RTE’s Raw. We hope that the name change does not hinder this band and hopefully their November single release of Seven Seas continues the success that the group have enjoyed in recent times.

Last up on our tour of HWCH was Spies a five-piece indie offering that have been riding high since their single Distant Shoreline’s hit earlier in the year. Spies have a sound reminiscent of The National due to the singer Michael Broderick’s almost baritone voice, but yet again this comparison is only for the sake of giving you a rough idea of what to expect and in no way a full representation of what this group brings to the stage. Be sure to look out for latest single November Sun which has just been released.

Despite our best efforts we were unable to see but a fraction of the music on display, something we hope to rectify next time around, but if the acts we caught were any indication standards were extremely high all throughout the weekend. As usual Hard Working Class Heroes showcased some of the very best young, independent artists that this country has to offer and helps prove once again that Ireland has a thriving and exciting music scene hidden all around us, and we should all remember to try and encourage Irish music year round rather than just big annual events such as HWCH as unless these bands have a livelihood year round these events will eventually disappear from our calendars.

Robert Curgenven Gig Review

Upon first arriving at The Joinery to interview Robert Curgenven and see him perform along with Anthony Kelly and David Stalling, what immediately struck both Thom and I was the magnificent combination of these three artists’ set-up. On either side of Curgenven’s central desk you had Kelly and Stalling’s set-up, a vast array of equipment including a variety of homemade instruments, bug boards and a luminist garden; a dream for anyone interested in DIY-instruments and electronics, and which made Thom in particular giddy with excitement.

In the centre you then had Curgenven’s set-up, two turntables and a mixer; simple, not in any way out of the ordinary, yet positioned in between and in contrast to the two tables of glorious ragbag instruments, there was truly something imposing about it; both a focal and a control point. Listening to Curgenven’s music prior to this evening I was prepared and hoping for something both open-ended and precise; something governed by both utter chance and strict purpose. The glorious set-up of these three artists seemed to suggest just that, and I was not to be disappointed.

First up was an improvisational performance between Anthony Kelly and David Stalling, founders of the Dublin-based sound art label Farpoint Recordings. That these two artists have known each other for many years and have performed together on multiple occasions came as no surprise after witnessing them play, for although the performance was completely improvised, the various layers of sounds that emerged were pulsating, tribal, tactile and at times jarring, yet always managed to seamlessly coalesce into each other. They created a soundscape that to me was most affective in the way that it allowed associations to form and dissolve, for me to find myself singling out a particular sound, to try and ‘work it out’ just as it had escaped me. As they themselves confessed at the end, their sound on this day was significantly dark, resulting in something that was both challenging and brooding, whilst retaining soothing qualities.

Next up was Robert Curgenven. Before starting his performance, he tried to lay out the context of his works with a short spoken introduction. Not something you see often before a show, it felt particularly relevant to Curgenven’s approach to and intention for making the music that he does. As he told me in the interview, there is a distinct dramaturgy involved in making and performing his work, further demonstrated by the very inclusion of an introduction. What stuck out in particular was the overarching question that he raised in relation to the particular compositions he was going to perform for us that evening; how to “encounter the ‘other’ in the desert”. For this, Curgenven recorded some of the most remote parts of the Australian desert, desolate places with nothing for more than 100km in each direction. He then performs these separate resulting field recordings by mixing them together in what he himself referred to as a more “cinematic” way, and through the employment and heavy reliance of bass turns these recordings into something that not only documents vast areas of space, but that also manages to create a shallow space within the listener’s perception. The heavy bass tinges you viscerally, pushing you into your seat, or as Thom put it rather nicely, creates the impression of being “dragged along the floor”, while you still remain free to roam the vast terrain of sound that is being offered to the audience. Curgenven seems to have a true mastery over that difficult process of taking something so wholly contingent and governed by chance as recordings of a desert, and controlling them with such precision as to invest them with something that emerges as a determinable physical sensation.

The heightened smell of overheating dust that stopped the performance short was disappointing, although at the same time strangely rather fitting, in particular because it was not clear at first where the smell came from: was it the amp overheating, as was our first guess; was it the PA dying; or was it just the dust on the walls? The room was ripe with a sense of something almost visceral, but it was difficult to discern which component it was that was achieving this effect.

As a final performance Curgenven, Stalling and Kelly, improvised together; never having collaborated before. Disparate sounds managed to form a crackling harmony full of feedback and bass, with all three artists assuredly adapting to the unforeseeable trajectories of the emerging sounds. It was an impressive ending to an enthralling evening, which on a whole was as defiant as it was consoling; an experience that made one think whilst at the same time warming our chilled hearts cold from the dreary, rainy Dublin outside.