DOCSLIB.ORG

Matthew Herbert Discography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Matthew Herbert Discography Matthew Herbert: Discography Album “One Club”, 2010, Label: Accidental “Mahler Symphony 10”, 2010, Label: Deutsche Grammophon “One One”, 2010, Label: Accidental “There`s Me and There`s You”, 2008, Label: K7 / Accidental, as The Matthew Herbert Big Band “Agahthe Clery”, 2008, OST: Matthew Herbert, Label: Milan (Warner Music Switzerland) “Score”, 2007, Label: K7 / Accidental “Vida y Color”, 2006, OST: Matthew Herbert, Label: Import “Scale”, 2006, Label: K7 / Accidental, as Herbert “Plat du Jour”, 2005, Label: Accidental “The Unnecessary History of Doctor Rockit”, 2004, Label: Accidental, as Doctor Rockit “Goodbye Swingtime”, 2003, Label: Accidental, as The Matthew Herbert Big Band “Le Défi”, 2002, OST: Matthew Herbert, Label: Universal Music International Div. “Bodily Functions”, 2001, Label: K7 / Soundslike (re-released 2010 Accidental), as Herbert “The Mechanics of Destruction”, 2001, Label: Accidental, as Radio Boy “Indoor Fireworks”, 2000, Label: Lifelike, as Doctor Rockit “Lets All Make Mistakes”, 2000, Label: Tresor “Human Traffic”, 1999, OST: Matthew Herbert, Label: Import “Around The House”, 1998, Label: Phonography (re-released 2002 K7; re-released 2010 Accidental), as Herbert “Wishmountain is Dead – Long Live Radio Boy”, 1998, Label: Antiphon, as Wishmountain “Live Long Radio Boy”, 1997, Label: Antiphon, as Radio Boy “100lbs”, 1996, Label: Phono (re-released 2006 K7/ Accidental), as Herbert “The Music of Sound”, 1996, Label: Clear, as Doctor Rockit “Ready To Rockit”, 1995, Label: Clear, as Doctor Rockit Producer Rowdy Superstars “Battery”, 2010, Producer: Matthew Herbert, Vocals: Rowdy Superstar, Label: Accidental Barbera Panthers “tbc”, 2010, Producer: Matthew Herbert, Vovals: Barbera Panther, Label: City Slang Eskas “English Skies”, 2010, Producer: Matthew Herbert, Vocals: Eska, Label: Accidental Patrick Wolfs “Who Will”, 2009, Produzent: Matthew Herbert, Vocals: Patrick Wolf, Label: Bloody Chamber Music Micachu & The Shapes “Jewellery”, 2008, Producer: Matthew Herbert, Vocals: Micachu, Label: Rough Trade Finn Peters “Butterflies”, 2008, Producer: Matthew Herbert, Vocals: Finn Peters, Label: Accidental The Invisibles “The Invisible”, 2008, Producer: Matthew Herbert, Vocals: The Invisible, Label: Accidental Róisín Murphys “Ruby Blue”, 2005, Producer: Matthew Herbert, Vocals:Róisín Murphy, Label: Echo Björks “Vespertime”, 2001, Producer: Matthew Herbert, Vocals:Björk, Label: One Little Indian Remixes (Selection) Björks “Declare Independence”, 2007, Producer: Herbert, Vocals: Björk, Label: One Little Indian Björks “Wanderlust”, 2007, Producer: Herbert, Vocals: Björk, Label: One Little Indian Yoko Onos “I’m Not Getting Enough”, 2003, Producer: Herbert, Vocals: Yoko Ono Molokos “Forever More”, 2003, Producer: Herbert, Vocals: Moloko, Label: Echo R.E.M.s “I’ve been High”, 2002, Producer: Herbert, Vocals: R.E.M., Label: R.E.M. / Athens Björks “Pagan Poetry”, 2001, Producer: Herbert, Vocals: Björk, Label: One Little Indian Mr.Oizos “Last Night a DJ Killed my Dog”, 2000, Producer: Herbet, Vocals: Mr.Oizo, Label: F Communications.
Load more

Recommended publications
  • DVD Program Notes
    DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design.
    [Show full text]
  • Lucid Dream-Pop
    MUSIC TRACK IT DOWN The only tunes you need this March p.130 HOCUS OPUS The month’s most spellbinding albums p.152 COMPETITIVE COMPILATIONS Key comps and mixes reviewed p.156 LU C I D DREAM-POP Kelly Lee Owens breaks the mould with her stunning, self-titled debut album... p.152 djmag.com 129 HOUSE BEN ARNOLD James Hadfield and Danny Linton. With its tribal howls, Soak skirts the right side of QUICKIES 'world music' without being Phil Weeks wanky — always a perilous Raw Instrumental Vol. 2 [email protected] tightrope act. Instead, it's PW/Robsoul Recordings wonky and wonderful. Man 8.0 Power himself drops in a moody, Phil Weeks is clearly never visited with writer's acidic re-rub, while Axel Boman block. This eight-track EP being rather sturdy wallops yet another remix out evidence of this, a collection of weaponised into the bleachers, dropping house music to damage dancefloors. Bravo. the four-four in favour of a new genre, Balearic garage (which Justin Cudmore has just been coined here, this Forget It EP very moment). The Bunker New York 8.5 Oh yes. This blisteringly acidic four-tracker for MICHAEL ZAHNSCHIRM & THERESA LIPP ZAHNSCHIRM MICHAEL Jamie Lidell/Matthew The Bunker New York had us at hello. 'New Jack Pic: Herbert MONEY Lidell/Herbert The House' is a deeply classy slab, while 'Forget Moony Me SHOT! Accidental Jnr It' is machine music par excellence. Contemplatin' EP 9.0 Klamauk Lidell and Herbert have been 9.5 muckers for donkey's years, MIA LUCCI KINDISCH Thoroughly arresting house but this bootleg of the former's music here from German/ track 'When I Come Back Venezuelan/Austrian, Around' from his majestic 2005 Eduardo A.
    [Show full text]
  • Konkrete Pop-Musik. Zum Einfluss Stockhausens Und Schaeffers Auf Björk, Matthew Herbert Und Matmos
    Ausdruck aus: Samples. Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung. 2. 2003. (www.aspm-online.de) RALF VON APPEN Konkrete Pop-Musik. Zum Einfluss Stockhausens und Schaeffers auf Björk, Matthew Herbert und Matmos Wer sich mit der isländischen Musikerin Björk befasst, stößt bei der Lektüre von Interviews oder sonstiger Berichterstattung in der Musikpresse schnell auch auf den Na- men Karlheinz Stockhausen, den Björk häufig als Gleichgesinnten und wichtigen Einfluss beschreibt.1 Eine solche Bezugnahme auf den deutschen Avantgarde-Komponisten ist in der Popwelt keineswegs selten. Größen wie John Lennon und Paul McCartney, Pete Townshend, Kraftwerk, Holger Czukay von Can, Grateful Dead, Jefferson Airplane, Aphex Twin oder Miles Davis und Charles Mingus erklären, von Stockhausen inspiriert worden zu sein.2 Ob und wie sich ein solcher Einfluss tatsächlich nachvollziehen lässt, soll im Fol- genden am Beispiel Björks untersucht werden. Daran anknüpfend lohnt auch der Blick auf die Musiker Matthew Herbert sowie das Duo Matmos, Vertreter des am Laptop produzierten Clicks’n’Cuts-Techno aus San Francisco, die alle an der Entstehung von Björks aktuellem Studioalbum Vespertine (One Little Indian, 2001) beteiligt waren. Auch in ihrer Musik ist die Kenntnis der musikalischen Avantgarde des 20. Jahrhunderts, insbesondere der musique concrète Pierre Schaeffers, zu erkennen. Das Interesse des Beitrags richtet sich auf die Frage, wo und mit welcher Motivation sich Popmusiker auf die klassisch gewordene Avantgarde beziehen und wie esoterische Techniken der Mo- derne3 in einer postmodernen, auf die Überschreitung der Grenzen von „high” und „low art” bedachten Popmusik fortgeführt und verwandelt werden. Durch die historischen Bezüge lassen sich neue Verständnisebenen für die beschriebene Musik aufdecken.
    [Show full text]
  • BEAUTIFUL NOISE Directions in Electronic Music
    BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.
    [Show full text]
  • FOR IMMEDIATE RELEASE London – Phillips De Pury & Company Is
    MUSIC: PHILLIPS de PURY & COMPANY PRESENTS A UNIQUE COLLABORATION BETWEEN MUSICIAN MATTHEW HERBERT AND PHILLIPS DE PURY’S CHAIRMAN AND HEAD AUCTIONEER SIMON DE PURY AT THE MUSIC THEME SALE ON NOVEMBER 21, 2009 AT 5 PM AUCTION: 21 NOVEMBER 2009 5 PM VIEWING: 9 – 21 NOVEMBER 2009 FOR IMMEDIATE RELEASE London – Phillips de Pury & Company is proud to present the first auction ever to be held with live music, with acclaimed musician Matthew Herbert creating a “sound carpet” to accompany the MUSIC auction on November 21, 2009 at 5 pm conducted by Simon de Pury . Simon de Pury, Chairman and Chief Auctioneer of Phillips de Pury & Company has been the heart and brains behind Phillips de Pury’s unique approach to the auction market. Simon is one of the art world's leading figures, renowned for his legendary performance on the auction podium and for his deep and long-standing knowledge of the global marketplace. His creative drive alongside his passion for art and music has created a platform upon which Matthew Herbert and he have come together to collaborate on a unique performance in celebration of art and music. Matthew Herbert, a British electronic musician, began his career by experimenting with aleatoric processes while studying drama at Exeter University in the early 1990s. In the mid 90s he traveled to San Francisco where he began to develop his avant-garde electronic work. As one of electronic music’s most versatile and dynamic artists, Matthew Herbert, who has recorded under his own name as well as Doctor Rockit, Wishmountain, Radio Boy and others, reached number 20 on Billboard's electronic music album chart with Scale in 2006.
    [Show full text]
  • Thématique : ARTS, CREATIONS, CULTURES QUAND LE BONHEUR C’EST D’AVOIR Comment Les Artistes Expriment-Ils Leur Mécontentement Face À La Société De Consommation ?
    HISTOIRE DES ARTS – DNB 2013 Thématique : ARTS, CREATIONS, CULTURES QUAND LE BONHEUR C’EST D’AVOIR Comment les artistes expriment-ils leur mécontentement face à la société de consommation ? I. INTRODUCTION Après la seconde Guerre mondiale la consommation de masse qui est née aux Etats-Unis, s’étend au monde entier. Cette société de consommation impose la standardisation des modes de vie, elle favorise la surproduction, entraine la multiplication des déchets et du gaspillage. Cette société et ses dérives vont inspirer les artistes qui, le plus souvent, critiquent et dénoncent la surconsommation. PROBLEMATIQUE : Nous nous interrogerons sur la façon dont l’artiste exprime son mécontentement face à la société de consommation de la deuxième moitié du XX° siècle. ŒUVRES : Notre objet d'étude portera sur l’étude de deux œuvres engagées proposées à l’oral d’histoire des arts du DNB : une chanson française et une œuvre de musique concrète. ENGAGEMENT PAR LES PAROLES ENGAGEMENT PAR LA MUSIQUE La complainte du progrès (1956) The mechanics of destruction (2001) de Boris Vian de Matthew Herbert II. LA SOCIETE DE CONSOMMATION Les Trente glorieuses est le nom de la période donnée aux trente années de faste économique 1945 à 1975 en France. Période marquée par l’entrée dans l’ère de la société de consommation devenant de plus en plus une culture de masse (= destinée au plus grand monde.) Forte croissance économique : La population gagne assez d’argent (ou peut emprunter grâce à l’apparition du crédit) pour acheter en grande quantité des biens qu’elle ne connait pas ou qu’elle ne pouvait s’offrir.
    [Show full text]
  • The Sampler As Compositional Tool and Recording Dislocation
    Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i2.3en Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation Paul Harkins Edinburgh Napier University University of Edinburgh [email protected] [email protected] Abstract Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh musicians called Found who successfully combine the writing of pop songs with the sampling of found sounds. The core song-writing partnership share an art school background and I was keen to discover if they use the sampler and other tools to sculpt sound in a similar way to how they draw or paint. Much of the academic literature on digital sampling within popular music studies has been skewed towards its disruptive consequences for copyright law and, while legal and moral questions are still relevant, I am keen to concentrate on the processes of music making and the aesthetic choices made by composers and producers in the studio. Recent ethnographic work by Joseph Schloss has centred on these questions in relation to hip-hop and it is important to examine and understand how the sampler continues to be used by musicians and producers in a variety of genres. Keywords: art; digital sampling; hip-hop; pop; recording studio; technology.
    [Show full text]
  • Matthew Herbert – One One
    Matthew Herbert – One One Motor.de - Geli Megyesi Vö: 23.04.2010 Multitalent Matthew Herbert veröffentlicht den ersten Teil der "One"-Trilogie und beweist wieder einmal seine Experimentierfreudigkeit. Matthew Herbert gehört zu den Menschen, denen mit großer Wahrscheinlichkeit nie die Ideen ausgehen werden – das kann man aufgrund seiner unglaublich vielen Pseudonyme und noch mehr Veröffentlichungen ohne Zweifel behaupten. Der Avantgarde-Electroniker aus dem Vereinigten Königreich ist unter sechs verschiedenen Namen unterwegs: Herbert, Doctor Rockit, Radio Boy, Mr. Vertigo, Transformer und Wishmountain. Dabei ist sein Sound besonders durch Musique Concrète beeinflusst. Das heißt, es werden Klänge beispielsweise aus der Natur und Technik mit einem Mikrofon aufgenommen und anschließend durch Montage, Tapeloops und anderen technischen Möglichkeiten elektronisch verfremdet. So kam es, dass der 37-Jährige 1995 als Wishmountain auftrat und als Instrument eine Tüte Chips oder nur einen Pfeffertopf benutzte. Mit dem 1998er Album "Around The House" mischte er unter dem Namen Herbert Alltagsdinge aus der Küche mit Dance Beats. Außerdem remixte er Tracks für Künstler wie Moloko, Alter Ego, R.E.M. und Björk. Zuzuordnen ist Herbert eigentlich dem Micro bzw. Deep House. Doch vielseitig wie er ist, kann man ihn nicht nur auf ein Genre reduzieren. So erschien 2003 mit "Goodtime Swingtime" ein Album, dass sich von seiner bisherigen Arbeit absolut unterschied. Ein weiteres Swing-Album folgte 2006 mit dem Titel "There's Me and There's You". Mit einer Big Band, bestehend aus 16 Musiker aus der britischen Jazz-Szene und seiner Lebensgefährtin, der amerikanischen Jazz- Sängerin Dani Siciliano, wie auch Jamie Lidell, ging er auf Tour und verzauberte das Publikum mit seiner speziellen Performance.
    [Show full text]
  • Herbert Bodily Functions Mp3, Flac, Wma
    Herbert Bodily Functions mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Bodily Functions Country: Europe Released: 2001 Style: Deep House, Downtempo, Experimental MP3 version RAR size: 1693 mb FLAC version RAR size: 1540 mb WMA version RAR size: 1197 mb Rating: 4.4 Votes: 368 Other Formats: MP1 APE AIFF AU AHX MPC DMF Tracklist Hide Credits You're Unknown To Me 1 Bass Clarinet, Arranged By [Wind] – Peter WraightPercussion – Sunray StarPiano – 2:13 Matthew HerbertViolin – John MatthiasVocals, Lyrics By – Dani Siciliano It's Only 2 Arranged By [Horns], Flugelhorn, Flute, Trumpet – Peter WraightArranged By [Horns], 7:21 Violin – Matthew HerbertVocals – Dani SicilianoVocals [Samples] – Shingai Shoniwa Foreign Bodies Percussion [Blood] – Martin SchmidtPercussion [Kindly Donated Bodily Function Sounds] – Achim Brauweiler, Andrei Dubinin, Jeff Klein, John Wraight, Mario Simeunovic, Mark 3 5:37 Cremins, Olly Fay, Ricky Antolini, Robert De La Gauthier*, Sasha Kane, Scott Stone, Simon Angel, The 202 Owl, Wayne Stronell, Zero Recorded By [Blood] – MatmosVocals, Performer [Digestion], Lyrics By – Dani Siciliano Suddenly 4 Bass – Dave GreenPiano – Phil ParnellVocals, Lyrics By [Based On An Idea By] – Dani 6:29 Siciliano I Know Arranged By – Matthew HerbertArranged By, Piano – Phil ParnellBass – Dave GreenDrums 5 4:24 – Paul ClarvisEngineer – Facundo Rodriguez*Engineer [Assistant] – Louis Read*Trumpet, Flute – Peter Wraight Leave Me Now 6 6:36 Bass – Matthew HerbertPiano – Phil ParnellVocals – Dani Siciliano The Last Beat
    [Show full text]
  • Konkrete Pop-Musik. Zum Einfluss Stockhausens Und Schaeffers Auf Björk, Matthew Herbert Und Matmos
    Ausdruck aus: Samples. Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung. 2. 2003. (www.aspm-online.de) RALF VON APPEN Konkrete Pop-Musik. Zum Einfluss Stockhausens und Schaeffers auf Björk, Matthew Herbert und Matmos Wer sich mit der isländischen Musikerin Björk befasst, stößt bei der Lektüre von Interviews oder sonstiger Berichterstattung in der Musikpresse schnell auch auf den Na- men Karlheinz Stockhausen, den Björk häufig als Gleichgesinnten und wichtigen Einfluss beschreibt.1 Eine solche Bezugnahme auf den deutschen Avantgarde-Komponisten ist in der Popwelt keineswegs selten. Größen wie John Lennon und Paul McCartney, Pete Townshend, Kraftwerk, Holger Czukay von Can, Grateful Dead, Jefferson Airplane, Aphex Twin oder Miles Davis und Charles Mingus erklären, von Stockhausen inspiriert worden zu sein.2 Ob und wie sich ein solcher Einfluss tatsächlich nachvollziehen lässt, soll im Fol- genden am Beispiel Björks untersucht werden. Daran anknüpfend lohnt auch der Blick auf die Musiker Matthew Herbert sowie das Duo Matmos, Vertreter des am Laptop produzierten Clicks’n’Cuts-Techno aus San Francisco, die alle an der Entstehung von Björks aktuellem Studioalbum Vespertine (One Little Indian, 2001) beteiligt waren. Auch in ihrer Musik ist die Kenntnis der musikalischen Avantgarde des 20. Jahrhunderts, insbesondere der musique concrète Pierre Schaeffers, zu erkennen. Das Interesse des Beitrags richtet sich auf die Frage, wo und mit welcher Motivation sich Popmusiker auf die klassisch gewordene Avantgarde beziehen und wie esoterische Techniken der Mo- derne3 in einer postmodernen, auf die Überschreitung der Grenzen von „high” und „low art” bedachten Popmusik fortgeführt und verwandelt werden. Durch die historischen Bezüge lassen sich neue Verständnisebenen für die beschriebene Musik aufdecken.
    [Show full text]
  • Matthew Herbert
    Listen while you work: negotiating power and meaning in post-concrete music. by Matthew Herbert Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2019 Contents Index to Portfolio - P.4 Abstract - P.6 A shift in materials - P.7 Music, narrative and documentary - P.11 Remixing context - P.15 Ethics - P.19 Hearing each other - P.24 New ways of hearing - P.27 Reference list - P.36 2 With thanks to Matt Wright, Andy Birtwistle, Dan Pollard, John Wraight, Judith James, Neil Badmington, Clare Birchall, Hugh Jones, Karen Sutton, Mike Gillespie, Wendy Cunningham, Pete Stollery, Dominic Murcott, Sheila Wright, Simon Platz, Tony Ageh, Lenka Clayton and all those who have commissioned work, collaborated or played around with sound with me these last few years. 3 Index to portfolio 1. 20 Pianos ​(Herbert, M 2014) ​For historical piano samples and keyboard.​ For The piece uses 20 phrases as the basis for improvisation and a very basic score of those are included. Instructions for the original performer along with the audio extract played at the start of every performance and a recording of a version of the piece performed by Sam Beste are also included. 2. A Nude ​(Herbert, M 2016) ​For one or more naked bodies and fixed electronics. ​A copy of the album is included but this is a commercially available album. 3. A Week in the Life of a Tree ​(Herbert, M 2019) ​For Black Pine tree and forest.​ An extract is included as an audio file here but the full audio is available to stream on Apple music.
    [Show full text]
  • Matthew Herbert's Accidental Records To
    MATTHEW HERBERT’S ACCIDENTAL RECORDS TO LAUNCH ART AND THEATRE FOCUSED IMPRINT ACCIDENTAL EDITIONS WITH 12” VINYL RELEASE FROM MARIA FUSCO First releases planned with National Theatre Wales, Manchester International Festival, Royal Court Theatre, Guggenheim New York and Fashion Space Gallery Matthew Herbert's Accidental Records today announces its new art and theatre focused imprint, Accidental Editions will launch on 5th June its first releases in partnership with National Theatre Wales, and Manchester International Festival. The new special imprint will work with some of the art world’s most prestigious institutions to produce limited edition physical releases of their projects. The first two releases from Accidental Editions will be Maria Fusco’s black comedy ECZEMA! In conjunction with National Theatre Wales which will tour nationally this year and Matthew Herbert’s The Machines Our Buildings Used to Hear developed in in partnership with Manchester International Festival. Currently there are further releases being planned in collaboration with the Royal Court Theatre, Guggenheim New York and Fashion Space Gallery. Matthew Herbert says “We want this new Accidental Editions imprint to be a platform to champion accomplished and progressive audio works commissioned in other areas of the arts, including theatres, galleries, museums and festivals and release them as independent musical works in their own right.” Maria Fusco says “Just like Rilke's 'primal sound' the incessant itching of eczema is perfectly embodied in red vinyl. The process of making the score for this vinyl, recording my own scratching, stretching it, playing it back through a mighty pipe organ's MIDI is activated through sunken grooves, cyclical returns and a soul chomping commitment to obsessive attention.
    [Show full text]