David Prior
Descent
Boomkat Product Review:
Veteran British sound artist and academic David Prior has two decades of work collected on this wide-reaching anthology for SN Variations.
In the mid-'90s, when Prior was in his final year of studies at the University of Wales, he won a Prix de Residence at the 1996 Bourges International Electroacoustic Music Competition. A year later he scored a residence at Iannis Xenakkis' UPIC studio in Paris, which is where the inspiration for 'Butade's Daughter' emerged. Prior used an early granular synthesis tool developed by Curtis Roads at the same studio, using a bass guitar to augment its digital glitches and hiccups.
'Descent' is a varied set of experiments, which is to be expected from an artist as experienced as Prior. His sound art has developed over the years from the musique concréte-indebted British acousmatic scene, but pulled away from the French school in various ways. Not as haphazardly cut-and-paste or sculptural as the work from his friends across the Channel, Prior's compositions and recordings were born from his interest in sonic reverence, or the delight in sounds and their relation to one another.
This particularity is evident in 'Narcissus', a part of the 'Sixteen Shadows' suite he developed in Berlin using a Bontempi reed organ hooked up to a broken amplifier and feedback loops. Smudging the sound into alluring drones that climb from blissful ambience to eardrum-punishing feedback, then dive into the undergrowth, it's an examination of tonality and texture that celebrates its sources. 'Another Poisonous Sunset' is completely different, simulating a musical performance with edited recordings of an ensemble that were initially piped through six stereo pairs of loudspeakers in an concert hall where the players would normally sit. Even without that visual accompaniment, it's still a challenging and rewarding experiment.
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Boomkat Product Review:
Veteran British sound artist and academic David Prior has two decades of work collected on this wide-reaching anthology for SN Variations.
In the mid-'90s, when Prior was in his final year of studies at the University of Wales, he won a Prix de Residence at the 1996 Bourges International Electroacoustic Music Competition. A year later he scored a residence at Iannis Xenakkis' UPIC studio in Paris, which is where the inspiration for 'Butade's Daughter' emerged. Prior used an early granular synthesis tool developed by Curtis Roads at the same studio, using a bass guitar to augment its digital glitches and hiccups.
'Descent' is a varied set of experiments, which is to be expected from an artist as experienced as Prior. His sound art has developed over the years from the musique concréte-indebted British acousmatic scene, but pulled away from the French school in various ways. Not as haphazardly cut-and-paste or sculptural as the work from his friends across the Channel, Prior's compositions and recordings were born from his interest in sonic reverence, or the delight in sounds and their relation to one another.
This particularity is evident in 'Narcissus', a part of the 'Sixteen Shadows' suite he developed in Berlin using a Bontempi reed organ hooked up to a broken amplifier and feedback loops. Smudging the sound into alluring drones that climb from blissful ambience to eardrum-punishing feedback, then dive into the undergrowth, it's an examination of tonality and texture that celebrates its sources. 'Another Poisonous Sunset' is completely different, simulating a musical performance with edited recordings of an ensemble that were initially piped through six stereo pairs of loudspeakers in an concert hall where the players would normally sit. Even without that visual accompaniment, it's still a challenging and rewarding experiment.
Boomkat Product Review:
Veteran British sound artist and academic David Prior has two decades of work collected on this wide-reaching anthology for SN Variations.
In the mid-'90s, when Prior was in his final year of studies at the University of Wales, he won a Prix de Residence at the 1996 Bourges International Electroacoustic Music Competition. A year later he scored a residence at Iannis Xenakkis' UPIC studio in Paris, which is where the inspiration for 'Butade's Daughter' emerged. Prior used an early granular synthesis tool developed by Curtis Roads at the same studio, using a bass guitar to augment its digital glitches and hiccups.
'Descent' is a varied set of experiments, which is to be expected from an artist as experienced as Prior. His sound art has developed over the years from the musique concréte-indebted British acousmatic scene, but pulled away from the French school in various ways. Not as haphazardly cut-and-paste or sculptural as the work from his friends across the Channel, Prior's compositions and recordings were born from his interest in sonic reverence, or the delight in sounds and their relation to one another.
This particularity is evident in 'Narcissus', a part of the 'Sixteen Shadows' suite he developed in Berlin using a Bontempi reed organ hooked up to a broken amplifier and feedback loops. Smudging the sound into alluring drones that climb from blissful ambience to eardrum-punishing feedback, then dive into the undergrowth, it's an examination of tonality and texture that celebrates its sources. 'Another Poisonous Sunset' is completely different, simulating a musical performance with edited recordings of an ensemble that were initially piped through six stereo pairs of loudspeakers in an concert hall where the players would normally sit. Even without that visual accompaniment, it's still a challenging and rewarding experiment.
Boomkat Product Review:
Veteran British sound artist and academic David Prior has two decades of work collected on this wide-reaching anthology for SN Variations.
In the mid-'90s, when Prior was in his final year of studies at the University of Wales, he won a Prix de Residence at the 1996 Bourges International Electroacoustic Music Competition. A year later he scored a residence at Iannis Xenakkis' UPIC studio in Paris, which is where the inspiration for 'Butade's Daughter' emerged. Prior used an early granular synthesis tool developed by Curtis Roads at the same studio, using a bass guitar to augment its digital glitches and hiccups.
'Descent' is a varied set of experiments, which is to be expected from an artist as experienced as Prior. His sound art has developed over the years from the musique concréte-indebted British acousmatic scene, but pulled away from the French school in various ways. Not as haphazardly cut-and-paste or sculptural as the work from his friends across the Channel, Prior's compositions and recordings were born from his interest in sonic reverence, or the delight in sounds and their relation to one another.
This particularity is evident in 'Narcissus', a part of the 'Sixteen Shadows' suite he developed in Berlin using a Bontempi reed organ hooked up to a broken amplifier and feedback loops. Smudging the sound into alluring drones that climb from blissful ambience to eardrum-punishing feedback, then dive into the undergrowth, it's an examination of tonality and texture that celebrates its sources. 'Another Poisonous Sunset' is completely different, simulating a musical performance with edited recordings of an ensemble that were initially piped through six stereo pairs of loudspeakers in an concert hall where the players would normally sit. Even without that visual accompaniment, it's still a challenging and rewarding experiment.
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Boomkat Product Review:
Veteran British sound artist and academic David Prior has two decades of work collected on this wide-reaching anthology for SN Variations.
In the mid-'90s, when Prior was in his final year of studies at the University of Wales, he won a Prix de Residence at the 1996 Bourges International Electroacoustic Music Competition. A year later he scored a residence at Iannis Xenakkis' UPIC studio in Paris, which is where the inspiration for 'Butade's Daughter' emerged. Prior used an early granular synthesis tool developed by Curtis Roads at the same studio, using a bass guitar to augment its digital glitches and hiccups.
'Descent' is a varied set of experiments, which is to be expected from an artist as experienced as Prior. His sound art has developed over the years from the musique concréte-indebted British acousmatic scene, but pulled away from the French school in various ways. Not as haphazardly cut-and-paste or sculptural as the work from his friends across the Channel, Prior's compositions and recordings were born from his interest in sonic reverence, or the delight in sounds and their relation to one another.
This particularity is evident in 'Narcissus', a part of the 'Sixteen Shadows' suite he developed in Berlin using a Bontempi reed organ hooked up to a broken amplifier and feedback loops. Smudging the sound into alluring drones that climb from blissful ambience to eardrum-punishing feedback, then dive into the undergrowth, it's an examination of tonality and texture that celebrates its sources. 'Another Poisonous Sunset' is completely different, simulating a musical performance with edited recordings of an ensemble that were initially piped through six stereo pairs of loudspeakers in an concert hall where the players would normally sit. Even without that visual accompaniment, it's still a challenging and rewarding experiment.
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