MOOTCAST005 : BLONDE MEAT | NEIL QUIGLEY (BPTHU!) MIX.

Sunday, 16th Of November, 2014

The latest of our MOOTcasts 'Blonde Meat' a mix by Neil Quigley.

In our latest Mootcast Composer and Sound Artist Neil Quigley puts together a mix of eclectic styles ranging from Post Punk, Experimental Electronic to Vietnamese Pop, Jazz and Techno creating a strange concoction that leads the way to a surreal bright and alert soundscape. Enjoy.

DOWNLOAD HERE

Tracklist:

1. -Mathias Spahlinger - Störung
2. -Jim O'Rourke - I'm Happy
3. -Stockhausen - Struktur VI
4. -Basil Kirchin - Heart of the North
5. -Ivor Cutler - Egg Meat
6. -Daphne Oram - Studio Experiment No.1
7. -Hanatarash - My No. is 9999999999
8. -Five Go Down To The Sea - Jumping Joley
9. -Polar Bear - The King of Aberdeen
10. -Tim Blechmann - 無題長音 (Wuti Zhangyin) (Excerpt)
11. -David Tudor - Pulsers
12. -This Heat - 24 track loop
13. -Dettinger - Blond
14. -Chris Watson - Los Mochis
15. -Naang Naang - aue tueng pi aay mi yu laue
16. -Esplendor Geométrico - Criba Mecánica
17. -Otomo Yoshihide's New Jazz Quintet - Flutter (Modulation for High -Tone)
18. -Units - High Pressure Days
19. -Daphne Oram - In a Jazz Style
20. -Yellow Magic Orchestra - Lotus Love
21. -Spin Marvel - Black Dogs Company
22. -Myles Manly - Dog
23. -Kunaicho Gakubu - Oshikicho Choshi (Fragment)
24. -Arthur Russell - Let's Go Swimming
25. -Matthew Herbert - October
26. -Lakker - Kleure
27. -Hanatarash - Space is Meat

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neilquigley.org

themootartgallery.org

Noise, Texture & Conversion

Wednesday, 5th Of November, 2014

In early September 2014 Composer/Sound Artist Neil Quigley collaborated with Stephen Morton at Loveclots Publications on a project that brought together 20 individual screenprints with 20 unique tracks on his new album 'Noise, Texture and Conversion'. The following is a reflection on the project between the two.

ON THE ORIGINS OF THE PROJECT:

Stephen : Neil came to me with the idea of doing a print and audio collaboration. I was open to experimenting with something different to the work i had been making with Loveclots which was mainly graphic and figurative imagery, Neil's idea was more abstract and conceptual, so was intrigued to see how it would go and see what i could learn in the process.

Neil Quigley : The project started out as two separate ideas and over time the ideas informed each other so much so that they became a single project.

The fist idea was to create a series of digital images that consisted of patterns, data maps, noise and glitches. Then to apply or convert these images to a tactile medium like screenprinting, I thought that it would be an interesting way of illustrating artifacts of both mediums and how they relate to each other.

The second idea was to develop a way of creating and releasing music that would make it exclusive to each listener. I wanted to create a piece that was specific to each user/customer but also have it devoid of any sense of tailoring towards them, which was an idea that comes as a reaction to having targeted “content” advertised to me online. I would rather not remember that I spent two hours watching videos about the Ultimate Warrior last night but my what to watch suggestions won't let me forget, it becomes part of my temporary identity, my recent interests to be capitalised on.

Eventually these ideas melded together as both explore using artifacts of conversion and the perceptual phenomena to do with noise and texture, both sonically and visually.

ON THE PROCESS:

Stephen: For the project i just worked from a purely technical stand point to help facilitate Neil's ideas and also try some new techniques. I was interested in experimentation with gradients when printing so the project allowed me to do that. The image itself was also the largest screen-print i've yet to make so that was pretty new also. The whole process of printing it was trial and error and pretty chaotic but with screen-printing you can become pretty chaotic and expressive within the process and still get some very controlled results. 

Neil: When I brought the idea to Steve he was quite enthusiastic about the projects and was very helpful with the technical aspects of screen-printing, which is a medium I haven't worked with. The process of printing and the fact that we embraced the singularity of each print heavily influence the writing of the music. As the series of prints progressed we tweaked aspects of each printing, which is an idea that I took for the randomly generated track on the album. Each version of the randomly generated tracks over the 20 versions of the album has slightly tweaked parameters.

ON THE COMPLETION OF THE WORK:

Stephen: The most difficult part was in contextualising the finished art piece with the music. The outcome here is not common place, this is always a difficult thing to overcome, your dealing with peoples expectations of how art and music should come together, conventionally art is used to decorate and package the music. With this project it was not the intention,  there is more of an even balance in place with the print and the digital download, the print isnt there to decorate the music but is instead an intrinsic part of the piece itself, its a print to be hung on wall in a space and the music is to be downloaded and listened to, the unique recording on the album shares its characteristics with the print and in this moment you are experiencing something that is completely unique, their siblings arent direct mass produced duplicates but individual things, i think this is a very nice thing to experience. Its good that people try break down these fairly uniform conventions of how these two mediums work together, it will lead to more new and exciting things.

Neil: When we finished the piece we didn't know what it was, there is no real hierarchy of value between the print and the music, both are too connected, too informed by each other. This makes the project hard to contextualise into a specific medium, which in turn makes them difficult to market, so at least there's only 20 of them. The work itself is essentially an in depth demonstration of certain aspects of Noise, Texture and Conversion and what each of these words or concepts mean and the difference of their meaning when applied to both sonic and visual art.

NOISE, TEXTURE AND CONVERSION IS AVAILABLE FROM LOVECLOTS PUBLICATIONS HERE

NEIL QUIGLEYS WEBSITE IS HERE

STEPHEN MORTON'S WEBSITE IS HERE