Calling Cards Publishing / CCP007 LP (2021)
New limited edition Sound Effects Library LP released by Calling Cards Publishing.
Mark Vernon presents the second volume of his Sonograph Sound Effects Series – the follow up to the unexpectedly popular ‘Sounds of the Modern Hospital’ LP. This time the focus is on sounds of plumbing and sanitation: drainpipes, plugholes, leaks, squeaky taps and cisterns.
Vernon has recorded many of the sounds from unusual perspectives, in extreme close-up scenarios, using contact mics or small binaural microphones to get into tiny inaccessible spaces. There is also a particular focus on plumbing on-board vehicles and vessels in motion. The intention here is to reveal the marvellous within the most mundane and every day of sounds.
The record masquerades as a collection of generic archetypal sounds whilst in actuality it revels in the specific and unique – some of the most idiosyncratic and characterful instances of such sounds. No two gurgles are alike.
As an avid collector of sound effects records these obsolete discs have gradually taken on new meaning for Vernon as unintended audio time capsules. As their use value has decreased their value as historical audio documents has grown. To produce a sound effects LP in the age of digital audio libraries is an anachronistic gesture intended to elevate what purports to be a generic collection of recordings intended for functional use to the level of an artwork.
The album is in part a homage to classic ranges of sound effects albums such as the BBC Sound Effects Library – even down to the utilitarian design and functional descriptions of the sounds (a key aspect of this release). Such generic collections of sounds were intended to fulfil the needs of professional and amateur broadcasters, filmmakers and theatre producers. However, through careful selection and sequencing it is also intended that this record works as a linear sound composition.
>>> Utilitarian Unsounds for Undisclosed Purposes <<<
“…as the pieces begin to pass in quick succession, they start to wriggle free of meaning like a word repeated until it feels like just a collection of uttered sounds. Rather than take you out of the experience, this dislocation becomes hypnotic and compelling… creating the soundscape to somewhere new and bewildering.”
Spenser Tomson, The Wire magazine