Huw Robert‘s album Where Moss Grows (released under the name Hidden Rivers) has an introductory text that sounds like the beginning of a story. He said he was very conscious of narrative arcs in his music – even at the early stages of creating an album. Oliver’s graphic novel The Nucklelavee is almost like reading one of his albums. For him, the two bleed into each other with some of his story ideas cropping up in Petrels tracks. Oliver Barret ( Petrels) actually writes stories as well as makes beautifully descriptive music. You can read some of their responses below. As part of the process of selecting the music I also asked some of the musicians for their thoughts about narrative in their work, whether this was something they consciously thought about and if they thought their albums told stories. There is also a selection of music that directly or indirectly seems to have a strong narrative. I’ve included pieces from artists who spoke at Sound of Story and a couple of other pieces – such as the sound design from the ‘tunnel sequence’ in Tarkovsky‘s Solaris – that I’ve always thought worked as brilliantly on their own as they do in their original context.
To investigate this further I thought I’d try combining these different ‘sound art forms’ into one mix. Sound of Story made me think about the many different connections between (for want of a better word) ambient/experimental music and other types of sound art. It’s well worth visiting the Lighthouse Arts Website and exploring the artists and events further. It was a haunting atmosphere which would have made a beautiful ambient sound piece in its own right. In one example, from the film 45 Years (which deliberately had no musical score,) he created an underscore of layered room noise, wind, ice cracking, a distant plane passing overhead. Film Sound Designer Joakim Sundström talked about sound dramaturgy. For his score to video game ‘ Limbo,’ Martin Stig Anderson took an electro acoustic approach, whereby the game’s natural environmental sound morphed into something more abstract and evocative as the player got into more danger. Magz Hall is a Radio Artists that uses FM radio frequencies to broadcast her work in non conventional settings, including radio transmitting trees at the Yorkshire Sculpture Park. Chris Watson’s work probably needs no introduction and he gave a brilliant production breakdown of his soundscape for Constable’s ‘ The Cornfield‘ for the National Gallery.
It featured some brilliant and highly respected artists including Chris Watson, Joakim Sundström, Magz Hall and Martin Stig Anderson, with each artist offering a unique perspective and approach to dealing with sound and narrative.Īlthough there’s not the space to write about the entire event here, there were many highlights.
#DEAR ESTHER I HAVE BEGUN MY ASCENT LYRICS SERIES#
This mix came about after I attended Sound of Story, a series of workshops and seminars run by Lighthouse Arts in Brighton (UK.) The event, held over two days in November, investigated the role of sound in narrative, covering everything from film sound design, game and film scores, sound art and location recording.
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