There are two recordings here, made many months apart and then superimposed on one another. For me, each would qualify as play—as both scenarios only involved turning on a recorder in a particular space, without any intention of producing a proper piece. More than anything, each was straight documentation.
In the first—made in upstate New York—I activated a large concrete grain silo with sticks, voice, and whistling. I leaned my microphones into a portal on the edge of this silo and sang into it, singing overtones related to the pitches I heard inside.
The second is a stereo recording made while rehearsing at Phill Niblock's loft. I don't play synthesizers live and was trying out a performance setup that I never ended up using. I sustained separate tones from different speakers, resonating the room. The choice of pitches was arbitrary, probably just reactions to the rattles in Phill's congested space.[ Read More ]