Here Comes the Sun; 2019

I composed for this piece for Joseph Morgan Schofield

In their words:
“beneath the synthetic terf, we’re looking at deep time baby. this is a QUEER MYTH OF THE ANTHROPOCENE, a stagger thru eco and gender anxiety, a collision of non-binary identity, climate catastrophe and the political potential of excess.

an anthropocene queen rises from a polluted wasteland + the earth groans, hooked on an iv drip they told us was JUST high pressure water + its skin cracks and breaks + that genderquake was a 6.8 on the richter scale + im tired + scared + lonely”

I worked on two different versions of the show, the second of which I think had a more refined and cohesive soundscape. But in both cases there was a focus on creating, and developing methods for creating, sound terrains: rich layered beds of sound that sat uneasily beneath voices, evoking the sedimentation of both soil and time spoken of in the piece. This idea of sound as setting, or most often either sound as terrain, or sound as architecture, has remained central to my practise as a composer for stage.

In specific here, this invovlved granular synthesis, layers of discordant saxaphones (both sampled and synthesised), and generally the slow building of dark detuned layers in the low mids.

For more information and full credits, see HERE.

photo by Jemima Yong