Elie Gregory
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Onliest Overlap
Onliest Overlap is a piece and series of pieces that exists only through performance with a live input. Most suitable for a large multi-channel setup, its structure is in two distinct sections and the audio material consists of short repeated pockets of sound which are created through recording and looping of a live input. In the first section, each looped recording has a path through a variation of speakers until it reaches it’s destination, and this process is repeated until every speaker available has an individual recording on it. The second section has predetermined notes that are recorded and played back directly without first taking a path. Each recorded note consists of three to four short recordings which are are then played back at different lengths, creating a pulsing effect, creating an ensemble of rhythmic and harmonic material.
Eurocentrism
This 8-Channel piece was both inspired by and structured around the meaning of the word ‘eurocentrism’. The majority of the material for the piece was created by using various digital processing techniques on a field recording of some distant church bells. For the text, the wikipedia definition of the word ‘eurocentrism’ was used: ‘Eurocentrism is the practice of viewing the world from a European perspective and with an implied belief, consciously or subconsciously, in the pre-eminence of European culture.” Also linked to the title of the piece is the structure - a spin off from the classic, and all too familiar, sonata form, exploring what shape this classical structure could take in contemporary electroacoustic music. This piece also focuses much on foreground and background, often with multiple layers coinciding at one time. For this reason, the 8 channels are crucial to distinguish the parts from each other, give space to it’s density and to support movement, which is instrumental to clarifying and emphasising this version of sonata form.
Peilikuvat
A Sonata for Fairlight Samples and Publison Peilikuvat is a piece about the fluctuation of reflections and mirrors. The four channels explore reflectivity of sound, both within the physical space of the performance, as well as through the Publison Infernal Machine effects unit. The musical material (fixed media) was composed using the Fairlight CMI as a sampler, with it's embedded digitalsampling synthesizer. The four output speakers are intentionally placed, each pointing in a different direction, in order to utilise the varying reflectivity of the space and therefore creating a contrast between each of the four channels of the piece. The live performance involves sending selected material from each channel to the Publison and then controlling the resulting output back into the space.
TRAIN
This electroacoustic piece uses both samples from programmed pulse train synthesisis and field recordings from a tunnel under a train track in Lichtenberg. The contradicting materials both acoustic and synthesised meet and find common ground through shared momentum.
Contact
Performance with Laurent Bruttin, 19.07.15 A piece for Clarinet and the 'Berlin Lautsprecher Orchester' diffusing samples I recorded from a kickboxing gym. Berliner Lautsprecherorchester is an assembly of different loudspeakers that become independent players and produce sound. The loudspeaker orchestra is "conducted" via a console, an apparatus or an interface that allows the individual loudspeakers to be controlled. Electroacoustic music is "devirtualized", it is given a body in which it can be actualized in the performance in the first place.
I created this piece using samples I took whilst playing a circuit-bent Speak & Spell.
L.M.
L.M. (Ladies Man) is the meaning of the word Squarepusher. In my final year of my bachelors degree I decided to manipulate a drum track sample and recordings of a bass guitar and dedicated to the artist who first made me really interested in electronic music.
Translucent
My main objective with this piece was to create an electroacoustic piece that was suitable for specialisation in a contemporary setting, hiding a nugget of music in the middle. (Skip to 03:35) you can hear what I'm talking about.
Momentary
I created this piece after an improvisation session with fellow cellist Lucia Capellaro.
11 4 5 11
11 4 5 11 is a representation of the audio environment in Britain on the 5th of November 2008. It was the day after Barack Obama was elected as president of the United States of America. The atmosphere was electric, with the international excitement of this particularly significant president being elected flowing through televisions, radio's, and the internet whilst the historical anual day of celebration in the UK took place creating its usual array of loud and energetic fireworks, adding to the excitement even further. It seemed almost uncanny that these two countries should be celebrating almost simultaneously. The ensemble, performed by members of the Birmingham Symphony Orchestra can also be heard to mimic fireworks.