“At the back of the salvage yard is a huge concrete tower, which would seem to be a water tower, but with several radio attachments at the top, which emits warm, full, pulsing drones out into the air. The tower of drones is like something from a mundane, Oxford-based version of War of the Worlds.”
“I was mesmerized by the speed the game was played and the sound of the dice and stones. At that time, the call for prayer sounded, and the players were not even bothered to look up or listen. I can imagine they wouldn’t, the call for prayer sounds five times a day and for them it is not as special as to me.”
“I recorded a single track, listening to the original, commenting on what I heard. After that, I didn’t listen to the original again, but built everything on top of the commentary (and looking at the waveform of the original. I tried voice-acting some of the atmosphere, added more comments (some of which were inspired by reviews of St Patrick’s Park found online) and thought a lot of early Frank Zappa montages while doing it. “
An album of highlights from our current Oblique Strategies sound project is released today. A selection of tracks that work together particularly well musically and and complement each other as part of an album, there’s everything from pounding dub and beautiful piano pieces to early Pink Floyd-style ambient washes and vocal reconstructions of field recordings.
“For me, a drone is a “safe part” of a piece. I use drones in my music as a foundational element: they’re the glue hold my tracks together. The drone in this piece is both the safe part and the anchor that creates a world out of and around the original recording.”