I did the sound for this project, mainly focusing on the idea of working only with the recording of the script I wrote for it. All sounds, other than the white noise, are from the singular take of the recording script that you hear, chopped and manipulated to make the performer's voice into all the instruments.
Something I'd love to do:
Slauson Malone's work is something I would describe as a sort of genre-less way of expressing an acknowledgement of and a fighting against the apocalypse, and his work with others, such as Taphari in this song, evokes a feeling of togetherness as the world seems to continue to crumble and doesn't get better. They seem to be on the same in a world where every page is soon to burn.
I think sampling audio and dramatically changing it can make a strong artistic statement. When doing so, you use the edits of the audio in order to affect the meaning of the original work. I know this is slightly related to your work for sophomore studio. It's certainly an intriguing and potentially powerful mode of art.
ReplyDeleteThe white noise project is a great example of a beautiful collaboration between visuals and sound design. The individual in the video almost seems to be in active communication with the script, helping to tell the narrative. It's insane how powerful audio samples are in a world where we're so used to hearing melodic sound. I love this work by Slauson Malone!
ReplyDeleteIt's interesting how parameters can often yield new and exciting things. I find this to be the case with improvisation sometimes (especially with movement). Your project makes me think about lengthening the life span of the script because you've allowed for it to take shape in a different form. I listened a couple times and was drawn to "...sound is something we can save, but only in an altered way."
ReplyDeleteThe amount of automation on the white noise project is impressive. I like the way each visual change is accompanied by a sonic change. Slauson Malone seems like a really unique beat maker, I usually feel like beat makers don't usually "destroy" a sample just manipulate it. This sampling is so manipulated that it feels like a broken tape missing stretches of tape. Super interesting take.
ReplyDeleteOne thing I especially like about your work with To Truly Hear Nothing was that the relationship between the music and the text/poetry was quite different from what I am often exposed to as a voice major. Yet, I still found the musical and visual elements form a cohesive whole.
ReplyDeleteI noticed that one similarity between the example of your work and the Slauson Malone was an expressive use of repetitive distortion (I am sure there must be a name for that I am not aware of) where the sound seems to get "stuck" at specific moments. I like that both examples seemed to develop this quality in a way that escaped the usual allusion of "broken record".
That first piece was crazy! I love collage aesthetics and how relatively few actions in after effects can go such a long way. I really enjoyed the pulsating white noise behind the speaker, and the ideas presented in the video, though it did end up washing over me toward the end. The track you posted is also really rad. I love the abrasive nature and intense digital manipulation was singular and I haven't heard too much music that glitchy.
ReplyDeleteBoth these tracks are so challenging and in such a good way. I love the combination of design, dance and voiceover in the first one. Noise is so interesting because it can be challenging for the listener. Within that space of allowing harsher sounds to enter your ears cam come such a greater appreciation of music.
ReplyDeleteThe arrangement and the script for the video was really well done and reminds me of those really smooth animated cutscenes from video games (and some movies) that use 2D animation to help develop and convey a story.
ReplyDeletei'm really intrigued by the piece you shared and for some reason it reminds me of SebastiAn in the sense that it worked with a lot of manipulated samples. I would check out SebastiAn's album Total if you get a chance! I love creating new rhythms and textures from pitch-shifting, time-stretching, and distorting sounds. I'm about to go down a rabbit hole and check out Slauson Malone.
The first one is very unique and I think it could be really cool to combine the idea of chopping vocals into a protest piece. I also like the degree to which the samples are chopped and morphed into a sound that is completely original and different!
ReplyDeleteThe first video is so visually stimulating, I love your use of colors and movement, really has an awesome psychedelic effect.
ReplyDeleteI love the nod to Cage in the text of the first piece. I was initially disappointed when the steady rhythmic elements were established, and then I was happy that it went away quickly, as if the piece suggested 'this is what we *could* do....but we won't'. The pacing and timing of the whole piece are really wonderful.
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