Cosmovisión Registros / CRVA004 Cassette (2017)
New tape ‘Remnant Kings’ released on Cosmovisión Registros Andinos, 2017. Limited edition of 50 copies.
Bits and bobs. Odds and ends. Scraps and leftovers. Remnant Kings takes its name from a Glasgow fabric store that historically dealt in offcuts, end of line textiles and fabric remnants.
The cassette consists of a series of audio collages based around a single found reel to reel tape. On that tape were gathered various home recordings from the 60’s and 70’s in a ‘best of’ compilation spanning a twenty year period – a kind of ‘Greatest Hits’ family album in sound that must have been made for a close relative. The tape included amongst other things; baby talk, a toy railway set, playing and practicing music, bird song, conversation, karaoke style sing-alongs and some home experiments with tape echo, along with popular music of the day.
In addition to the found tape other sound sources include whistling, water droplets on a hot plate, broken ice, creaking gates, an electric fan played with a brush, excerpts from improvised sessions with open reel tape manipulation, feedback and electronics plus various other field recordings.
Artwork by Tian Miller.
Reviews:
“Mark Vernon is the English tape-hoarder genius who remakes the abandoned effluvia of past generations into wonderful and beautiful sound art. He continues his project on Remnant Kings (COSMOVISIÓN REGISTROS ANDINOS CVRA #004), a cassette tape released on a Chilean label. For this instance, he got most of his source material from a single found tape, a reel-to-reel used by a family to document home sounds in the 1960s and 1970s; his shopping list of the contents is “baby talk, a toy railway set, playing and practising music, bird song, conversation, karaoke style sing-alongs and some home experiments with tape echo, along with popular music of the day”. Some other moments of process-noise have been added, one personal favourite being the electric fan played with a toothbrush. Material which in other hands might simply be a boring vision of domesticity is transformed into a compelling listening experience, one which views the past through a cracked lens. What emerges is surreal, threatening, heart-warming and touching; an unsettling take on nostalgic feelings, emotions which clearly are not to be trusted. Our golden ages are likely to turn into monstrous nightmares at the turn of a corner. The name “remnant kings” comes from a specific shop in Glasgow that sold left-over scraps of cloth, but there are many such places in the UK; for Vernon it’s another metaphor for his technique, and one that’s somehow peculiarly English (thrifty, eccentric)…”
Ed Pinsent, The Sound Projector
From the Cable to the Grave
Akashic Records / AKR007 (2017)
‘From the Cable to the Grave’ includes 19 new tracks featuring harmony bombs, erotic grotesque nonsense, frolicsome demon beats, stimulators of vice, confusion ciphers, faster silences, declarations of indulgence, necessary noise, abstract paradises, and excerpts from the minutes from the AGM of the Dream Prognostication Circle & Astral Radiation Trance Club.
In summary: A once in a lifetime’s clinch with gaiety.
Screen printed wrap around sleeve in 2 cover variations (lucky dip which you get). Ivory cassette. Released July 9, 2017.
Artwork by Oliver Pitt
Reviews:
“A creepy, absurd tone bleeds through, as if occupying a weird realm somewhere between a 1960s sci-fi B movie and a warped episode of 80s kids’ programme Button Moon. It gives the impression of cosmic lifeforms being passed through a supermarket checkout or maybe wired up to a beeping life support machine, as muffled ghost songs float around in the background. An out of body experience of bubbling, baffling noises.”
(Claire Sawers, The Wire Magazine)
“A deliciously bewildering journey… one rarely finds such meticulous attention to detail, such gentle and not-inappropriate humour, and such compassion for the foibles of the human race.”
(Ed Pinsent, Sound Projector)
The Light at the End of the Dial
Gagarin Records / GR2023 LP (2010)
“Vernon & Burns hark back to an earlier era of recorded sound, when novelty and comedy acts didn’t reach their use by date after five minutes of fame on the Internet, but managed to produce long-playing vinyl albums. Artefacts that subsequent generations of deejays rescued from thrift store bargain bins before cutting, scratching and manipulating them into new shapes and forms. The Light at the End of the Dial stands alongside with purveyors of a skewed form of electronica such as Stock, Hausen & Walkman, Wevie Stonder and People Like Us.
Vernon & Burns have quite an impressive oeuvre of sound making prior to this release on Felix Kubin’s Gagarin Records label. Starting out in 1999 with Radio Tuesday, an artist-run radio station in Glasgow skirting around the borders of soundscapes, documentaries, poetry and experimental music, they have moved on to enlighten and baffle such cultural institutions as WFMU, Resonance FM and the BBC with their radio plays and kitchen sink dramas.
On The Light at the End of the Dial, ‘Sinister Whimsy’ is a term that kept coming to mind. A case in point is the sad, disembodied voice of a young man that sounds uncannily like Peanuts’ Charlie Brown on Residual Values (It’s a Yes Man’s Life), “All he does is work, all he cares about is money. He doesn’t care about you, me or anyone.” Tip-tapping typewriters, the hum of a busy office, and frantic percussion seem to comment on our current obsessions without passing judgement. In Here Come The Intangibles, a free-jazz outfit stop in to unblock a sink for a distressed neighbour. The Night we Invented Forgetting comes on all loungey, with crooned evocations to a sadly absent loved one, complete with a backing of kid’s xylophone, Martin Denny textures and slamming doors.
The Last Lamppost’s beautifully eerie whistling refrain is slowly fleshed out by found sounds (creaky, of course) and a demented orchestra with only broken instruments to amuse themselves with. Spontaneous Adverse Experience Report reminds me of two grown men fighting over a game of Frogger, only to have Delia Derbyshire and the BBC Radiophonic workshop join in to score the carnage. And if Vernon & Burns really are slighted lovers, no one can help them; as is evidenced by the insanely jealous psychic dis-ease of Naughty Boy.
If your tastes in comedy are dark and resolutely Britsh, and you aren’t averse to mixing that slapstick urge with a distinctly rubbery brand of cod-surrealism, The Light at the End of the Dial may be just that.”
(Oliver Laing, Cyclic Defrost)
“… mini-hörspiels: antique electronics, field recordings, sounds lifted from movies, collages slicing honky-tonk piano with old-school 8-bit video game music, nods to the golden age of musique concrète, etc. …creative madness being the unifying factor. It’s a bit messy, wild, but you can clearly hear a serious artistic process behind the mask of burlesque.
Plunderphonic cabaret concrète! Great stuff.”
(Monsieur de Lire, Journal d’écoute)
“Another delight from these Glaswegian creators whose work I unfailingly enjoy… V&B create short vignettes which are very like surreal radio plays, using fragments of spoken word, music and sound effects and putting them together in ingenious constructions. I always assume that each compacted gem of creation takes weeks of hard work to assemble, producing less than two minutes of sparkling joy, but perhaps I’m wrong. What I always enjoy is that one is never tempted to try and disaggregate their many sources, and instead enjoy these witty and eccentric pieces for what they are, with each surprising combination opening another doorway in their absurdist dolls house. One of my personal favourite moments on this album occurs on “While My Pretty One Sleeps”, where among a series of near-random dreamlike elements one suddenly hears the sound of billiard balls, apparently recorded in a pool hall in Warsaw. It’s a perfect touch, placing V&:B in 1930s Britain, wearing evening dress and sipping sherries while listening to the BBC home service. Somewhere between People Like Us and The Ghost Box label they might lie, but are not as sardonic as the former nor as specific as the other in choosing the targets of their pastiche.
On this particular release, even the packaging is in on the joke (and there aren’t that many records, outside of the early Monty Python LPs, which have pulled this off with any success); the tracks are described on the back cover, then described again on the inner sleeve; each description takes a different tack (one describes the method, the other the content) and they seem to contradict each other in the middle. Of course none of this prose is really serious, and these clipped two-line capsule descriptions (similar to TV program descriptions you may have once read on Ceefax, if you remember that) are compacted, witty and bizarre in ways that match the music. Vernon and Burns would have made ideal contributors to a TV show like Look Around You, but they would have dominated it and walked away with the prize.”
(Ed Pinsent, Sound Projector)
Hubbub
meagre resource / mere011 CDR (2004)
An urban soundscape composition that attempts to reveal the marvellous within the everyday. This piece was made from a series of field recordings gathered in Paris on two separate trips. The overall effect is of an audio journal or travelogue without narration. In the hustle and bustle of a busy metropolis we rarely have time to focus on the sounds that surround us. Many of the most interesting and unusual sounds only became apparent in hindsight through playback of the recordings captured. The recurrence of music and musical phrases provided by busking musicians produces a cinematic quality that was deliberately exaggerated by the edits and the division of the piece into different ‘scenes.’
Hubbub was first broadcast on Resonance FM in 2004 and was selected for ‘Drift’ a festival of sound and radio art in Glasgow in 2003. It was also released as a limited edition CDR on meagre resource records.
Involuntary Auditions for Imaginary Ensembles
meagre resource / mere019 CDR (2004)
A collection of compositions asssembled from samples recorded in musical instrument shops at weekends in Glasgow and Derby. Tuning up, squalling saxophones, musical exercises, erratic percussion, feedback, fragments of half learnt tunes, psychotic drumming, axe solo’s and cheesy pre-set keyboard demo’s all play a part in the unique ambience of the instrument shop. These sounds are playful, sometimes naive and often very unselfconscious as there is no intended audience – there’s always the odd show-off though. The recordings have been combined and rearranged – used as source material to create imaginary bands and groups. Through this process many unwitting musicians have become involved in unlikely collaborations with one another.
This piece was first aired on Resonance FM’s Clear Spot in 2004. It was also released as a limited edition CDR run of 20 copies on meagre resource records.
Thirteenth Colony Sound
meagre resource / mere020 CDR (2005)
This piece was composed from field recordings made in Savannah, Georgia in the summer of 2004. Different ‘species’ of sounds were grouped into ‘families’; resonant metallic sounds, engines and machines, bangs, intermittent repetitive strikes, constant broadband noise, etc. These sounds with superficial similarities were then processed, blended and carefully interwoven to create the final piece. Although many sounds are still recognizable, the fusion of sound sources blur the listeners ability to distinguish between specific components whilst amplifying and hybridizing some of their common characteristics. I looked on the process as a way of ‘breeding’ new sounds.
Released as a limited CDR edition of 50 copies on meagre resource records in 2005.
Notes on a Re-run
meagre resource / mere022 CDR (2005)
This piece was completed during a residency at Recyclart in 2005, a multi-functional arts space and venue in Brussels. The majority of the complex is situated beneath the arches of an active train station. As well as housing artists studios, gallery spaces, a cafe, wood and metal workshops, offices and a skate park, it is also a music venue that hosts gigs and club nights. The work was designed to play over the 6-speaker stereo system installed in the pedestrian subway that leads to the train platforms. By a series of sliding interlocking doors a modular space can be created in the subway. The same tiled floor that busy commuters rush over to get to work in the week becomes a dance floor for clubbers at weekends. I made it my goal to integrate as many aspects of this busy, versatile space as possible into the final work. Sounds collected range from the clatter of skateboards, spray cans and the rumble of trains to church bells, clubbers at night-time, construction work and fictional news stories from local children.
All recordings made by Mark Vernon at Recyclart, Brussels, Belgium, April to May 2005.
The piece was originally presented as a sound installation for ‘Kleur Station Couleur’ an exhibition curated by Komplot. ‘Notes on a re-run’ was aired on Radio Panik, Brussels and Resonance FM, London in 2006 and during ASCR’s Radiophonic Festival in 2007. An extract also appears on ‘Vollevox: Voice in Contemporary Art’, a book and double CD produced by Komplot. The recordings are also gathered together as a limited edition CDR on meagre resource records.
Found Sound Bulletin #1
Originally conceived as a synchronized sound composition designed to be played simultaneously on audio-cassette tape and compact disc, the Found Sound Bulletin is an archive of lost voices, audio letters, home sing-alongs and phone conversations created for the Art Lending Library as part of Glasgow International Festival of Visual Art in 2012.
Drawn from a collection of found recordings unearthed from many years of sifting through car boot sales, second hand shops and flea markets, this compilation allows a brief glimpse into the everyday lives of others. These discarded recordings, rescued from the sea of cultural flotsam & jetsam are windows on another world, inadvertently captured for posterity on magnetic tape.
The piece was designed as a listening experience in two parts. Some recordings had previously been edited, arranged and mixed with sound effects and music to create a type of radiophonic micro-drama. For this edition these carefully composed sound pieces were prised apart and the voice elements put back onto cassette, allowing the listener to experience them as they were first discovered – on magnetic tape. The composed elements were compiled on accompanying CD. Following the spoken instructions on the tape the user could synchronise playback of these disparate elements for a unique listening experience.
Separating the compositions into their constituent parts throws into contrast the low-grade audio of the taped voices and the comparative high fidelity of the musical backdrops. It also serves to highlight the gulf between analogue and digital, found and composed material.
This piece was re-imagined as a radio broadcast for Resonance 104.4 FM in 2013 as part of the series ‘Data for the Doubtful’.
X-Ray Records
meagre resource / mere026 8″ Lathe-cut flexi (2014)
An edition of 20 unique lathe-cut X-ray records inspired by Russian “roentgenizdat” records from the 1950’s (home made bootlegs of banned Western pop music pressed onto discarded X-rays) – these playable 8” records each feature a different X-ray image and a composed sound work made from recordings taken in Forth Valley Royal’s radiology department including sounds of X-ray machines, CAT scans and the MRI scanner.
The X-ray records were exhibited on medical light boxes as part of a launch event for the ‘Sounds of the Modern Hospital’ LP at Forth Valley Hospital, Larbert and the Centre for Contemporary Arts, Glasgow in March 2014.
This project was supported by Creative Scotland and NHS Forth Valley.
Static Cinema
Entr’acte / E126 CD (2012)
Static Cinema is the result of a series of musical improvisations using household objects combined with both treated and un-treated field recordings made in Scotland, Germany and Norway between 2008 and 2010. An audio drama missing its lead actors, Static Cinema explores several evocative spaces with the roaming ear of the micro-phone — capturing and interrogating them for meaning. Dramatic perspective shifts equate to different scenes
or cuts with long shots, close-ups, pans and zooms. The different recording locations function as spontaneous mise-en-scène waiting in suspense for an event yet to occur, or an actor still to make their entrance.
A radio version of Static Cinema appeared as an edition of Framework:afield for the Framework radio show in 2011. A definitive version of the piece was released as a limited edition of 200 compact discs on the Entr’acte label in 2012.
Reviews
“…an aural equivalent of sunlit dust motes in an empty, creaky house.”
William Hutson, The Wire.
“…His elliptical approach is brilliant, and his understated imagination never falls asleep for a minute, completely transcending the technique.”
Ed Pinsent, The Sound Projector.
“…it just doesn’t sound in any way generic, and there is something refreshingly, oddly original about how it is all put together…”
Richard Pinnell, The Watchful Ear
“… a thought provoking, intimate piece of sound composition… Film noir for the ears.”
Chris Whitehead, The Field Reporter.