Journal › making music
Nala Sinephro
I adore Nala Sinephro’s 2021 debut, Space 1.8, and this year’s follow-up, Endlessness, is equally captivating. I’ve wanted to see her play live for some time and her mesmerising show at The Barbican didn’t disappoint.
Move
One day with Ableton Move and I’m hooked. It’s way more capable, versatile and intuitive than it looks and suits my workflow (sofa, studio or outdoors) perfectly.
I think carefully before buying new gear, and I researched Move’s scope for two days (I think YouToobers are revealing its abilities better than Ableton’s own material does). I made a long list of I/O and setup scenarios to test and so far, it’s exceeding all expectations. Highlights for me are: immediately sampling anything via internal mic or cable, the 256-step sequencer, transferring projects to Note/Live, and connecting a MIDI keyboard to create a mini-synth.
Tip: if you get one, keep wired earbuds and relevant input/MIDI cables in a little pouch and keep it to hand, ready for anything.
Move won’t suit everyone (it’s received some gleeful criticism, largely from outside Ableton’s user base, for only having four tracks) and it isn’t the most feature-rich stand-alone, but Ableton knows its audience and the device’s constraints suit me.
I’m making detailed notes about interesting ways to use it with tape machines, sequencing other gear, etc., and will probably post a deeper dive soon.
Spinning around
I’m honoured that Tokyo-born, Berlin-based artist Tot Onyx included my song Paper Cranes in her deeply moving Hiroshima/Nagasaki mix, an hour of “Nuclear Age” music remembering the devastating events of August 1945 while also contemplating the present.
Making this mix gave me a quality of time to reflect the ongoing genocide and atrocities that are taking place right now. It proved to me that sometimes music can tell stories better than the language.
It’s also my first play on NTS. Alongside regular shows and guest playlists, the station excels at deep-dives into specialist topics and archive material. But I discovered I’d appeared via Apple Music for Artists’ new Radio Spins feature. Random Shazam spikes always made me curious but the data only offered a broad location (e.g. “Bellingham, USA”). Now, I can cross-reference with a list of stations that’ve played my stuff (mostly college radio, in my case). I’ll look one up, say KUGS 89.3FM, see that it broadcasts from Western Washington Uni — in Bellingham — and satisfy that curiosity.
I do love that something I’ve made can have this free-floating existence outside of my control, occasionally sending back little bits of data about its travels.
I’m releasing a live album
Live at Delia's Third Happening features six fresh arrangements and two new songs and I’m really proud of it. Months of work went into the show and I was unexpectedly happy with everything captured on the night. The recording has been mixed and mastered with great care, and feels like a fitting conclusion to the first chapter of Site Nonsite.
The album will stream everywhere from 6th September. For now, you can pre-order the download or cassette on Bandcamp and hear a sparkling nine-minute, multi-part rendition of Moss Garden.
I played my second show
On Saturday, I played a 45-minute set at Delia’s Third Happening. The audience, which included many friends old and new, was lovely, and the venue was beautiful. I was extremely nervous, but I did it. The recording needs a little work, but sounds good; I hope to release it later this Summer.
Delia’s Third Happening
Not long now, Nottingham! Join us in beautiful St John’s, Carrington, on Saturday 20th July and witness The Young Vanish perform the Lost in Translation OST, preceded by a 45-minute set from me, captivating songs from Eleanor McGregor and considered selections from Van Allen. Tickets.
Outdoor jam
I enjoyed testing my portable setup during our recent stay in Edale, responding directly to the place. Here’s an excerpt from a sketch I like, layering loops over live birdsong, passing traffic and the steady static of the river.
Going portable
I enjoy developing new scenarios for making music. I’ve learned enough over the last few years that now, when I have an idea, I can think it through, gather what I need and make it happen.
Today, I tested a USB-powered DAWless (no computer) setup for imminent field trips. I’m powering four components — synth, 4-track, two pedals — with two bricks and a miscellany of step-up cables (understanding voltage and polarity is vital). It all goes into my old DR-40, which also captures the environment on separate channels. Fingers crossed for some breaks in the rain.
I played my first live show
Yesterday, I performed my music in public for the first time — a 35-minute set at Ambient Witney featuring two new ideas and four fresh arrangements. Many months of hard work paid off, and I left encouraged by the positive response. If you're curious, I rounded up several clips on Instagram.
I can't wait for my next show (in July, to be announced soon) and with luck, there’ll be more shows beyond Summer.
Electronic Sound review
This year’s been full of unexpected challenges, meaning I’ve lost focus in some areas and chosen not to spend energy documenting things. But making music continues to offer a kind of therapy through play, and I’m grateful.
Of course, releasing music feels like throwing your loved ones into a void, making it all the more rewarding when people connect with it. And attracting a review anywhere, let alone in a respected publication, seems impossible for unsupported artists. So, I’ve made an exception to my hiatus because I’m in the latest Electronic Sound, a print magazine I’ve read for years, and that’s worth a post.
Good evening, Wembl... err, Witney!
I’ll be making my live debut alongside Nine Is The Level and A Year’s Rain in Witney (Oxfordshire) on Sunday 12th May, 7:30pm (after that afternoon's Pedal Party). If you're curious, there's an accompanying playlist (Spotify/Apple).
Remixed
A dream project has come to fruition. Last year, I invited several artists to rework music from my Japan EPs, and all agreed. I am indebted to 99LETTERS, Justin Von Strasburg, Karen Vogt, Lardkid, Paul Cousins, Pushkins Prefers, Veryan and Xylander and I can’t wait to share their interpretations. Remixed also includes a new song and will be available next month.
Flying Air Canada with a guitar
We just travelled from Newfoundland to Nottingham (car, cabs, train, tube and two flights) with an expensive and much-loved acoustic guitar. Geri’s owned a few guitars and has an electric here. I’ve long neglected a cheap studenty Yamaha, but during our latest stay with the in-laws, I picked up her Tanglewood Sundance acoustic for the first time and fell in love with it.
We decided to bring it to the UK and bought a modest hard case. But researching pros and cons unearthed nothing but naysayers and abuse about Air Canada’s attitude and track record.
Thankfully, it all worked out, and I’m posting this positive note so that someone else might find it and feel encouraged. We found everyone involved at every step to be very considerate. We were allowed to gate-check the guitar, leaving it at the door when boarding each flight and collecting it on leaving. The case shows no signs of scrapes or drops. Oh, and we boarded early with all the parents.
Of course, we packed the guitar very carefully. We loosened the strings and took care to support the neck and head as jolts can snap the wood. The case allowed enough room to ‘float’ the body with bubble wrap. We tagged the handle with flight info and put personal contacts and an AirTag in the case.
A day trip to Witney
We made a last-minute decision to drive to Witney in Oxfordshire for a few reasons: we needed a day out; I could finally meet Doug Tolley who was hosting his second Witney Pedal Party (my chance to play with those impressive Chase Bliss machines); we could pop into Truck for a rummage; we could enjoy a long overdue catchup with the lovely Jon and Leigh Hicks. We did all of those things. It was a fab day, and after a long drive home, we slept like logs.
Angel Stain
The second preview song from Tokyo is streaming everywhere. Angel Stain recalls hazy mornings in characterful neighbourhoods like Shimokita and Kichijoji, and the title honours Bear Pond’s famous espresso shot that embraces imperfection and finds beauty in bitterness.
On our first trip, we spent a little time with owner Katsuyuki Tanaka, and I love the photo (the taking of which he instigated) because it disproves the myth that he’s unfriendly — it’s more likely that he doesn’t tolerate arseholes. During our second trip, I attempted to write about that incomparable espresso.
You can pre-order Tokyo on Bandcamp, and I’ll be hosting a Listening Party on Wednesday 4th October at 8:30pm GMT+1. RSVP here.
Insights and Sounds interview
I was interviewed by electronic musician Veryan for the third issue of her Insights and Sounds magazine. We enjoyed an in-depth discussion covering how I capture sounds and make music, why I’m compelled to document places in such detail, the beauty of Japan, the influence of land art, and a few clues as to what might happen next.
Along with the magazine, the download includes three excellent tracks that Veryan made with field recordings provided by myself and the other interviewees, Jilk and Everyday Dust.
In related news, Caravan Tokyo was featured on the latest episode of Electronic Odyssey, and you can listen back on Mixcloud.
Tokyo pre-order
The fourth and final EP in my Japanese Cities series is here. Tokyo paints the city from multiple angles, portraying a welcoming, intimate and culturally ebullient metropolis with leafy neighbourhoods that feel more hushed than hurried.
The first preview track, Caravan Tokyo, is streaming everywhere. The song remembers the start of our first trip, living out of a custom-built caravan in Omotesando. It recalls the disorienting wooziness of arriving in an unfamiliar place and the rush of excitement as apprehension becomes awe.
The digital and cassette editions are available for pre-order on Bandcamp, and the entire EP with supporting documents arrives on 6th October. Tapes will ship the following day, along with any Kyoto, Osaka and Hiroshima 2nd edition orders (I still have a few copies of each).
Oh, and I’m a big fan of Bandcamp’s new Listening Parties, so I’ll be hosting one for Tokyo on Wednesday 4th October at 8:30pm GMT+1. RSVP here.
EP4 is ready
The fourth and final EP in my Japanese Cities series is done and distributed. It’ll be available for pre-order on Friday, 1st September, along with the first preview single.
It’s been a long and industrious journey with the steepest learning curve, and I’ll write about everything in more detail once the entire EP is out and all cassette orders have been assembled and shipped. But for now, I’m quietly very proud of myself for publicly committing to this series and seeing it through. Site Nonsite is an essential creative outlet for me, and impressing others is not a priority, but I’m delighted that it’s resonated with lots of people and very grateful for the support I’ve received.
I’m developing a live set and already researching two album-length projects, but there’s no rush. I want to spend a few months playing music for fun without the pressure of releasing anything new soon.
TP–7 field recorder
Teenage Engineering’s products are gorgeous, but I haven’t truly craved anything (not even the OP-1) until now. I’ve been thinking about the new TP–7 field recorder for days. It’s like they made it for me.
But no, of course, I can’t justify the price. And my trusty DR-40 works just fine, although something of an antique by comparison. I also have the excellent Tape It, app on my phone.
But still, the TP–7 is dreeaaamy...
Shipping
After several printing obstacles and a lot of scoring, folding and sticking, Osaka special edition cassettes finally shipped today. I only have myself to blame for the ridiculous cost and effort in bringing these projects to life, but it sure is satisfying to see the collection building on my shelf.
