"For Side Down, Tom White offers up two contrasting sides of ear debris culled from a recent performance (the last before our new reality set in) and a collaborative dance work. ‘No script on set’ is a deft re-imagining of a piece originally made for 8-channels. Losing none of its space or atmosphere as sounds zip around the stereo field, the composition conjures different architectures as a metallic glistening sounds out in tightly wound space, then mutates into a cavernous echo. Field recordings emerge, familiar yet hard to pin down, place names held back as electronic tones thread through water drops to breathe a sigh of relief. ‘Behind the face of a rock, throwing stones (Rehearsal Music)’ is part of an ongoing project with the dance company Surface Area (choreographed by Nicole Vivien Watson), a collective project comprised of deaf and hearing artists. The project explores British Sign Language, D/deaf culture, Japanese culture and Butoh. The music is sensitive to the collaboration - playing with heard and felt sensation, working with sounds’ potential for moving the body. The sonic palette is more paired back than the first piece, it pulses and builds, creating space in which both deaf and hearing bodies can respond to the sonic textures and chattering objects, or the non-cochlear resonances that can be felt in the body. "
Glasgow, August 2020
released November 8, 2020
SIDE A: 16:08
No script on set.
Part 1 - 80 Hours
Part 2 - Lachman
Part 3 - Dedication (Puglia, July 2011)
8 channel composition premiered at Café OTO, London March 3rd 2020
Recordings from 2011-2020
Edited and mixed January/February 2020
Mixed from 8 channel to stereo March 2020
SIDE B: 16:48
Behind the face of a rock, throwing stones
Rehearsal music for forthcoming dance production Behind the face of a rock, throwing stones choreographed by Nicole Vivien Watson/Surface Area.
Recording and mixing 2018-2020
Thanks to Nicole Vivien Watson, Andrea Kearney, Renato Grieco, Gunther Valentine, Mark Vernon. x`
Mastered by Renato Grieco
The palette and pacing of this release is superb, referencing some of the tropes in his previous work, but advancing by locking in new play within rhythmic irregularities. Every frequency finds a complimentary one, every time your shoulders tense you are awarded a release. Wonderful loud or quiet. A wonderful marker in a new chapter of material construction and deconstruction. PLoffices