Gig at Glad Cafe supporting Miki Yui

 

 
The Glad Cafe, Glasgow
Tuesday, 15th May, 7:30 PM

Tickets £7 in advance

Following her performance at London’s Cafe Oto the previous day I will be playing the support slot for Tokyo/Dusseldorf based artist Miki Yui as part of the Southside Fringe Festival.

Miki Yui creates sonic landscapes emerging out of delicate noises, samples, electronic sounds, and field recordings. Her unique minimalist and organic approach towards sound balances between subtle nuances, industrial hums and turbulent hooks. In her live concerts she invites listeners to take part in mesmerinzing in the acoustic spaces, rich of abstract and narrative sound circulation.

She has released her solo albums from 12K /LINE(N.Y.) and Hören (Osaka). Her 5th solo album “Oscilla” was released in October 2015, on her own imprint MY. New album Mills on Cusp Editions is out this month.

Tectonics Sound Sessions

The Sound Sessions are a series of six improvised performances over the Tectonics Festival weekend with a rotating line up of musicians including Mark Vernon, Kim Moore, Ohad Fishof, Alicia Mathews and Barry Burns.

Sound Sessions take place in the Recital Hall at the following times:

Saturday, 5th May
15.30 (15 mins)
17.30 (15 mins)
20.00 (15 mins)

Sunday, 6th May
14.30 (15 mins)
17.00 (15 mins)
20.00 (30 mins)

 

Tectonics Festival, City Halls, 5th-6th May
Festival passes – £28/£20 concession
Day passes – £18/£14 concession

More details here: http://www.tectonicsfestival.com/glasgow/

An evening with Vernon & Burns…

The Old Hairdressers
20 – 28 Renfield Lane,
Glasgow,
G2 6PH
Tickets £5 Adv, £7 Door

As part of the Old Hairdresser’s programme for the Glasgow International Festival of Visual Art 2018 Vernon & Burns present a night of performance, music and film:

50Hz or thereabouts: Calum Stirling’s 2015 film, made in collaboration with Barry Burns and shot on location in a decommissioned nuclear bunker in the East Neuk of Fife, has been re-edited by Viltė Vaitkutė for this special one-off expanded screening with a live soundtrack by Vernon & Burns.
“We’ve got a new man interested in isolation”.

Toi-so, Christina Dunwoodie and Tony Morris. Two performers coming from wildly different musical backgrounds, collaborating in the deconstruction of the old, reinventing it in a dark, diverse, sinister and sensual world with voice and electronic music.
“Like Nick Cave and Kylie Minogue with a lobotomy or two.” Nick Currie (Momus)

Marta Adamowicz will create a live version of Poludnica – a part soundscape, part drone music performance that illustrates an attack by a mythical summer demon from Slavic folklore.

For more details visit: https://www.facebook.com/events/849874765213624/

PDF of full Old Hair programme available HERE:
https://drive.google.com/file/d/1FGGk6R54DvR3RYCcJ9l0F9PqMVQxyjHJ/view

Old Hair programme is supported by Glasgow International Festival of Visual Art 2018.

Dead Air Spaces

A live radio work created for Radio Revolten. Recorded at the Radio Revolten Club on Tuesday, 25th October 2016.

‘Dead Air Spaces’ is a new radio work that explores one of the most basic but vital of our bodily functions – breathing. It includes interviews with diving instructors, a singer, an organist and a yoga teacher and recordings of breathing exercises, snoring, pneumatic tube systems, purring cats, suction units and scuba-divers along with mechanical processes analogous to the human respiratory system such as church organs, bellows and hospital ventilators. The piece also incorporates the use of bi-nasal microphones, a balloon repurposed as an artificial lung and variety of pipes, tubes, whistles and other apparatus played live.

A ‘dead air space’ in diving terminology, refers to air that doesn’t play a part in the gas exchange with the lungs; air left over in the snorkel, regulator or even the throat containing greater levels of carbon dioxide.

Atom Town

Atom Town: life after technology – a film by Gair Dunlop (UK, 2011)

“Dounreay Atomic Research Establishment is a sprawling monument to solidity, optimism and analogue engineering. The intangible alchemies and sense of romantic science at its heart are trapped like amber in archive film and in its colossal structures. Over the last two years, unprecedented access to the facility and to the UKAEA Archive at Harwell have allowed Gair Dunlop to explore the dream and the consequences of high science in a remote community”.

Sound design and original music by Mark Vernon.
Sound post production by Zoe Irvine.

Duration: 22min

http://www.atomtown.org.uk/

Horse Box Orchestra

For a series of performances at the Centre for Contemporary Arts in Glasgow in 2008, Sarah Kenchington put together a number of different permutations of her ‘Horse Box Orchestra’. On this occasion the line up was:

Martine H. Crispo (Montreal) circuit bent toys and laptop.
Mark Vernon (Glasgow) mic’d up objects, electronics, field recordings and laptop.
Sarah Kenchington (Balfron) home made mechanical orchestra.

Recorded live at the CCA, Glasgow, 13th December, 2008.

Tape-Sponding

Many tape recording club members also belonged to ‘tape-sponding’ circles or triangles. The term ‘tape-sponding’ means, quite literally, correspondence by tape. As tape recorders became more widely available there developed a trend for communication by tape. Special 3″ reels were produced with designs that featured slogans like ‘Links Absent Friends’ or ‘Voice Letter’. They included space for an address and a stamp on the box like a postcard. It was an excellent way for families and friends separated by great distances to keep in touch. These ‘letters on tape’ were sent all over the world. There is something far more personal about hearing the actual voices of loved ones, the subtle nuances, inflections and idiosyncrasies of the voice that a pen and paper couldn’t begin to emulate. For a time there were also ‘tape-sponding’ clubs – people who had never met would record messages to each other sending them around the country like pen-pals. Sometimes these tapes would be sent around a circle, each person adding their message as the tape was passed along.

Since the first tape message I discovered at Paddies Market twenty years ago I have been collecting these found recordings and incorporating them into my own compositions.


Location recordings by East Midlands tape recording clubs (1959-1978)

Framework Seasonal: Issue #5 Summer 2013

The summer 2013 edition of the Framework seasonal CD series is a compilation of location recordings from East Midlands tape recording clubs edited and compiled by Mark Vernon. This collection is a follow up to a radio show by the same name produced for Framework:afield in 2012.

The CD is available for a €20 donation. All proceeds go towards the running and upkeep of Framework. Click here to order a copy.


Reviews:

“An audio periodical accompanying the Framework radio show, this issue compiled by Mr Vernon and subtitled ‘Location recordings by East Midlands tape recording clubs (1959-1978)’. On it, we have an outline of an unusual UK phenomenon from a time when enthused amateurs would make their own tape recordings, armed with portable battery-operated tape recorders, and did it in a semi-organised way by joining local “tape clubs”. Two such clubs – I had no idea these things even existed – are represented here, the Leicester Tape Recording Club and the Derby Tape Recording Club, and hence we have 40 aural snapshots and field recordings of life in the UK as captured by their roving set-ups and questing microphones, and now lovingly preserved in Vernon’s personal collection.

Unlike today’s field recording types who are mostly self-styled artists in search of some sort of mystical or aesthetic experience, these tape recording club members were simply interested in documenting things around them, much like any 20th century Brit who owned a Polaroid or Instamatic camera. They taped fairgrounds, factories, zoos, markets, trips to the beach, sports events, dances, parties, and – since it’s probably fair to say this activity isn’t too far away from the harmless pursuit of the gentle trainspotter – railway stations and trains. Some of the recordings have added live commentary from the members, an unobtrusive audio caption just to put it in context. What we hear is like a low-key form of Radio Four, except all the material is generated by the public instead of by the so-called experts, and – despite the apparent banality you might expect – it’s absolutely fascinating and a compelling listen. Given the current interest in audio recordings of under-appreciated urban sounds previously held to be too “commonplace” for our attention (The London Sound Survey is the place to start with that), this release is a timely gem.

Another dimension which Vernon calls attention to is the sound quality itself: the tapes “bear many traces of their age and origin: tape hiss and distortion, harsh pause button edits, wow and flutter.” Vernon correctly identifies these characteristics as an inherent part of the integrity of the records, and, implying that we should appreciate and enjoy these aural qualities, has done nothing to correct them or clean up the tape quality. Come to that, there is nothing in the way of editorialising or commentary in his strictly factual description of the collection, nor in the arrangement of the tracks; he has adopted a correct archival approach of objectivity in the arrangement and the presentation. That said, the collection has obviously been curated with a lot of loving care; after all, the material comes from his personal collection, and he allows the warmth and idiosyncratic personalities of these tape clubbers to shine. This is an understated release, but also an unalloyed joy”.
Ed Pinsent, Sound Projector, July 27, 2014.


“Thank God for the nerds! The Framework Seasonal series continues with an amazing set of archival recordings from the Derby Tape Recording Club and the Leicester Tape Recording Club. Yeah, you read that right. Tape Recording Clubs! These represented two regional clubs which operated in this little known phenomenon that reached a peak in the late ’60s and early ’70s with commercial grade technology becoming readily available. Many of these clubs would actually record onto reel-to-reel tape, organizing outings upon which the participants would pool resources in order to collect primitive field recordings of motorcycle races, the howler monkeys from the Paignton Zoo, bowling tournaments, a guided tour from a power turbine… and yeah, there’s a recorded example of trainspotting with a young man reading off the line and make of a particular train to the heart of England. Many of these recordings show their age with lots of tape hiss, compressed frequencies, clunky hard-stop edits, and a few bits of blown-out microphone distortion; but, really when is that a criticism here at aQuarius? But the charms of these recordings are not just found in the patina of crackle and flutter; the documented sounds themselves are often accompanied by narration from the various club members. One of our favorite field recordings is the bicycle ride of Leicester’s John Buckler, who huffs and puffs his way through traffic noting the fish and chips shop to his left and how out of shape he is from a two minute bike ride uphill. There’s a couple extracts from the Derby club’s Christmas Party including a spirited round of musical chairs; and another gem is the radio advertisement from the Derby club complete with Derbyshire-ish bleepity electronics and an earnest call to join the club. Library Music enthusiasts will be rapt with joy over these antiquated sounds! What a gem of an album!”
Aquarius Records


“Sound artist and composer Mark Vernon compiled recordings made by Tape Recordings Clubs during the 60′s and 70′s in the UK and published them as part of the Framework Seasonal series. The result is a collection of captures that transports the listener 40 and 50 years ago to times when things sounded different to what they sound now: cars sounded different, popular music sounded different, people spoke differently…and recorders recorded differently too.
Sometimes pleasant results arise when artists convert a research process in a creative publishing process, resulting on an actual release like it happened on this case.
On a first listen what interested me the most are the subjects of these amateur recordings. Cars, bikes, circus fairs, markets, shops, alarms, ballroom parties, birds, children singing…quotidian stuff that the members of these recording clubs believed relevant or simply fun to record.

But it is not necessarily any car, any bike, any circus or any children what we listen. On many of these recordings we hear environments, objects and people who had an emotional personal connection with the recordists. For us as listeners they just become random and impersonal things and people.

On many of these recordings we can listen to the recordists making some sort of verbal introduction to the recordings, usually talking about the subject that they were recording. It is like they felt that the sound alone was not illustrative enough unlike it would happen with photo or video.

They are also many dialogues between the recordist and the people subject of many of these captures. Seems to me like most of the recordists of these clubs were primarily interested in the subject and the action of recording it than in the sound per se. Their quest was documental within their own ‘amateur’ approach. It was the possibility of leaving a trace of the people and things that mattered then and preserve it on time what was important for them. People disappear but photos, film and recordings might not.

To me the main value and interest of ‘Framework Seasonal -Issue #5 Summer 2013’ is its potency to activate the listener imagination in terms of not only depicting environments, objects and people, but also depicting them on a different moment in history that many listeners didn’t happen to experience and can only relate to via archive media and spoken word.

All the descriptions from our parents and grandparents, all the photos and footage from that time that we have seen are now activated by the sounds on ’Framework Seasonal – Issue #5 Summer 2013-’ in a rewarding and stimulant listening exercise that, as a listener, I largely enjoy.”
David Vélez, The Field Reporter.

Location recordings by East Midlands tape recording clubs (1959-1978)

Framework Seasonal: Issue #5 Summer 2013

The summer 2013 edition of the Framework seasonal CD series is a compilation of location recordings from East Midlands tape recording clubs edited and compiled by Mark Vernon. This collection is a follow up to a radio show by the same name produced for Framework:afield in 2012.

The CD is available for a €20 donation. All proceeds go towards the running and upkeep of Framework. Click here to order a copy.


Reviews:

“An audio periodical accompanying the Framework radio show, this issue compiled by Mr Vernon and subtitled ‘Location recordings by East Midlands tape recording clubs (1959-1978)’. On it, we have an outline of an unusual UK phenomenon from a time when enthused amateurs would make their own tape recordings, armed with portable battery-operated tape recorders, and did it in a semi-organised way by joining local “tape clubs”. Two such clubs – I had no idea these things even existed – are represented here, the Leicester Tape Recording Club and the Derby Tape Recording Club, and hence we have 40 aural snapshots and field recordings of life in the UK as captured by their roving set-ups and questing microphones, and now lovingly preserved in Vernon’s personal collection.

Unlike today’s field recording types who are mostly self-styled artists in search of some sort of mystical or aesthetic experience, these tape recording club members were simply interested in documenting things around them, much like any 20th century Brit who owned a Polaroid or Instamatic camera. They taped fairgrounds, factories, zoos, markets, trips to the beach, sports events, dances, parties, and – since it’s probably fair to say this activity isn’t too far away from the harmless pursuit of the gentle trainspotter – railway stations and trains. Some of the recordings have added live commentary from the members, an unobtrusive audio caption just to put it in context. What we hear is like a low-key form of Radio Four, except all the material is generated by the public instead of by the so-called experts, and – despite the apparent banality you might expect – it’s absolutely fascinating and a compelling listen. Given the current interest in audio recordings of under-appreciated urban sounds previously held to be too “commonplace” for our attention (The London Sound Survey is the place to start with that), this release is a timely gem.

Another dimension which Vernon calls attention to is the sound quality itself: the tapes “bear many traces of their age and origin: tape hiss and distortion, harsh pause button edits, wow and flutter.” Vernon correctly identifies these characteristics as an inherent part of the integrity of the records, and, implying that we should appreciate and enjoy these aural qualities, has done nothing to correct them or clean up the tape quality. Come to that, there is nothing in the way of editorialising or commentary in his strictly factual description of the collection, nor in the arrangement of the tracks; he has adopted a correct archival approach of objectivity in the arrangement and the presentation. That said, the collection has obviously been curated with a lot of loving care; after all, the material comes from his personal collection, and he allows the warmth and idiosyncratic personalities of these tape clubbers to shine. This is an understated release, but also an unalloyed joy”.
Ed Pinsent, Sound Projector, July 27, 2014.


“Thank God for the nerds! The Framework Seasonal series continues with an amazing set of archival recordings from the Derby Tape Recording Club and the Leicester Tape Recording Club. Yeah, you read that right. Tape Recording Clubs! These represented two regional clubs which operated in this little known phenomenon that reached a peak in the late ’60s and early ’70s with commercial grade technology becoming readily available. Many of these clubs would actually record onto reel-to-reel tape, organizing outings upon which the participants would pool resources in order to collect primitive field recordings of motorcycle races, the howler monkeys from the Paignton Zoo, bowling tournaments, a guided tour from a power turbine… and yeah, there’s a recorded example of trainspotting with a young man reading off the line and make of a particular train to the heart of England. Many of these recordings show their age with lots of tape hiss, compressed frequencies, clunky hard-stop edits, and a few bits of blown-out microphone distortion; but, really when is that a criticism here at aQuarius? But the charms of these recordings are not just found in the patina of crackle and flutter; the documented sounds themselves are often accompanied by narration from the various club members. One of our favorite field recordings is the bicycle ride of Leicester’s John Buckler, who huffs and puffs his way through traffic noting the fish and chips shop to his left and how out of shape he is from a two minute bike ride uphill. There’s a couple extracts from the Derby club’s Christmas Party including a spirited round of musical chairs; and another gem is the radio advertisement from the Derby club complete with Derbyshire-ish bleepity electronics and an earnest call to join the club. Library Music enthusiasts will be rapt with joy over these antiquated sounds! What a gem of an album!”
Aquarius Records


“Sound artist and composer Mark Vernon compiled recordings made by Tape Recordings Clubs during the 60′s and 70′s in the UK and published them as part of the Framework Seasonal series. The result is a collection of captures that transports the listener 40 and 50 years ago to times when things sounded different to what they sound now: cars sounded different, popular music sounded different, people spoke differently…and recorders recorded differently too.
Sometimes pleasant results arise when artists convert a research process in a creative publishing process, resulting on an actual release like it happened on this case.
On a first listen what interested me the most are the subjects of these amateur recordings. Cars, bikes, circus fairs, markets, shops, alarms, ballroom parties, birds, children singing…quotidian stuff that the members of these recording clubs believed relevant or simply fun to record.

But it is not necessarily any car, any bike, any circus or any children what we listen. On many of these recordings we hear environments, objects and people who had an emotional personal connection with the recordists. For us as listeners they just become random and impersonal things and people.

On many of these recordings we can listen to the recordists making some sort of verbal introduction to the recordings, usually talking about the subject that they were recording. It is like they felt that the sound alone was not illustrative enough unlike it would happen with photo or video.

They are also many dialogues between the recordist and the people subject of many of these captures. Seems to me like most of the recordists of these clubs were primarily interested in the subject and the action of recording it than in the sound per se. Their quest was documental within their own ‘amateur’ approach. It was the possibility of leaving a trace of the people and things that mattered then and preserve it on time what was important for them. People disappear but photos, film and recordings might not.

To me the main value and interest of ‘Framework Seasonal -Issue #5 Summer 2013’ is its potency to activate the listener imagination in terms of not only depicting environments, objects and people, but also depicting them on a different moment in history that many listeners didn’t happen to experience and can only relate to via archive media and spoken word.

All the descriptions from our parents and grandparents, all the photos and footage from that time that we have seen are now activated by the sounds on ’Framework Seasonal – Issue #5 Summer 2013-’ in a rewarding and stimulant listening exercise that, as a listener, I largely enjoy.”
David Vélez, The Field Reporter.

Community RSL Stations

Working across four communities in Plymouth Nowhere Island Radio was a six day radio project broadcasting on 107.9FM. It was created by community arts project Take a Part to compliment the London 2012 Cultural Olympiad project Nowhereisland. The station was conceived by sound artist’s Mark Vernon and Neil Rose who were also responsible for content and programming. Live broadcasts took place in four separate locations in Plymouth, Devon between the 8th and 13th of August.

click here for full text


Efford FM was a community radio station initiated as part of the Take A Part programme in 2010. Artists Sophie Hope, Neil Rose and Mark Vernon were commissioned to create a one-day community radio broadcast working with local people and community groups to generate content for the station. This included soundscape workshops with local schools, interviews with community figures and local historians, voxpops, audio tours of the area, sound portraits of people and their homes and a radio play developed with ‘Headspace’, an afterschool group and performed by a local amateur dramatics group. Many local characters were trained up as radio presenters taking charge of their own shows and the song requests came in thick and fast. In June 2011 Efford FM returned as a live webcast for ‘Take a Party’ – a community celebration of recent art and regeneration projects in the area.


The audio featured here is from a live audio-visual mix of material from the archives of both Nowhere Island Radio and Efford FM by Mark Vernon and Neil Rose, two of the artists behind the stations. They spent many hours sifting through the archives of these community based radio art projects, re-working selected elements to create a one-off live performance at the Plymouth Arts Centre on Saturday 24th November, 2012. Nowhere Island Radio and Efford FM are both initiatives of Take A Part


In 2001 Radio Tuesday undertook a residency in North Glasgow as part of the Royston Road Regeneration Project, initiated by the Centre. In an area rife with sectarianism, drug and alcohol problems and with significant levels of social depravation there were many challenges to face.

Their response to this unique situation was to set up an RSL community radio station to be run by local volunteers. They worked closely with young people from ‘The Moving on Project’, (a youth club set up by Molendinar Drugs Services) to create content for the broadcasts.

Volunteers with no prior broadcasting experience were trained up as DJ’s and presenters. The modest studio was a broom cupboard in St. Pauls church hall that also housed the water tank for the building. The sound of dripping water could be heard quite clearly on air in some of the quieter moments, especially if someone flushed the toilet. Despite this the ten-day broadcast was a huge success that gained momentum (and new listeners) daily.

At the end of the its first run the station was handed over to a board selected from the volunteers with the hope that it would continue on into the future. From these humble origins Bolt FM has gone from strength to strength and is still on air more than 17 years later.