forthcoming / recent

commissions:

soundtrack installation for Burberry's 'Here we are' photography exhibition - sept-oct 2017

scores for listening / collaborative recording trip - Malmo, Sweden, Oct 2017

one minute of listening - educational pack featuring several recordings 2017

'dissolve (korea) - sound piece app & live performance at British Ceramics Biennial, Stoke - September 2017

'icelandic dissolve' - sound piece for 'Benthic Caress', Plymouth, September 2017

lectures / talks at:

Lincoln Uni, UK - October 2017

Leeds Uni (film) - October 2017

talk + sound walk - Copenhagen Culture House - November 2017

Leeds Uni (fine art) - November 2017

Leeds college of Music - tbc

installations / exhibitions:

'Here we are' installation / soundtrack for Burberry's photographic exhibition - sept-oct 2017

various 'scores for listening' exhibited as part of Sound & Music's 'graphic scores' exhibition to celebrate the British Music Collection's 50th anniversary

teleferica - Japan, tbc.

performances:

Punkt festival, Norway - September 2017

'ceramic dissolves' - performance with Pheobe riley Law at Made in Korea exhibition as part of the British Ceramics Biennial, Stoke, UK - September 2017

residencies:

paradise air, japan - april 2018

workshops:

murmuration - Glenshee, Scotland (June 2017)

Norfolk (Dec 2017)

Copenhagen (tbc) (Nov 2017)

Leeds Uni (fine art) (Nov 2017)

Norfolk (Nov 2017)

murmuration

4th - 10th June 2018

with

Chris Watson

Jez riley French

and special guests inc. Heather Ross, Stephanie John +

a quiet position / northern sound, in association with Wildeye, are pleased to announce our 2018 trip, a Scottish gathering of listeners in an area of stunning habitats from Munros (mountains over 3000 feet) to Loch’s, rivers and glens.

The trip promises to be not only a rich source of inspiration, listening and recording possibilities but a chance to discuss and share knowledge around the subjects of located sound, acoustic ecology and contemporary sound practice in its varied forms.

cost: £795 per person

which includes 6 nights full board accommodation in Glenshee, on the edge of the Cairngorms

Monday 4th June to Sunday 10th June, 2018

to secure your place please email Jez here

(see below for booking terms & conditions)

The week is intended for those with some experience of working with located sound / field recording & other areas of experiential site-specific work as it will be in the format of a field trip / gathering rather than a series of formal, instructional steps for beginners. That said we of course welcome participants at all stages of experience and both Jez & Chris will be on hand throughout to offer guidance, support and deliver talks on various aspects of the act & art of listening. These will be scheduled on site to fit in with the weather and with the interests of those attending, but will include discussion of subjects such as:

. ambisonic recording

. extended field recording techniques (contact microphones, hydrophones, coils, ultrasonics, geophones & infrasound)

. sound diffusion

. the history of field recording & of contemporary sound practices (sound art, sound design, location sound)

. the ecological ear & environmental sonic concerns

. microphone & recorder choice / listening through the technology

. the psychology of listening

Apart from the always varied and interesting participants who will be coming from a wide range of sound based backgrounds Jez & Chris have extensive experience of located sound recording, sound art, sound ecology, sound design, response to locales and related areas, so whatever your connection to sound or a sense of place there will be plenty of information and ideas to share and explore. We’ll also be inviting some guests to join us, to assist, share their insights, give talks, share work and lead sound walks. full details will follow shortly.

location

Accommodation for this unique trip will be at Gulabin Lodge in Glenshee, Highland Perthshire. We have booked the entire site, including the house, to ensure we can come & go as we please at all hours.

As mentioned, the accommodation is fairly remote and so the nearest train station is either Pitlochry or Dundee, some 45 - 60 mins away by car.

The nearest airports are Edinburgh and Aberdeen, both around 2hrs away or Glasgow which is 2hrs 15mins away.

once all places on the trip are filled we’ll email you all allowing you to connect with each other & discuss car sharing options, lifts to & from the station etc.

Accommodation is in shared rooms, most of which have between 2 and 9 beds. The lodge can sleep a total of 37 people however to ensure we have space to spread out and for a good group size places available for participants are limited to well below capacity. Bed lined is provided but you do need to bring your own towels.

We’ll have full catering consisting breakfast, packed lunches (or soup / sandwiches at the lodge if we’re not out & about) & evening meal. All dietary needs will be accommodated of course.

Itinerary:

Monday 4th June: arrive after 3pm, with our evening meal planned for 7:30pm followed by an introductory meeting

Tues - Saturday: daily activities exploring the area + evening talks & playback / review sessions to be scheduled according to the good old Scottish weather - if its fine we’ll be out exploring no doubt !

Given the location & the wealth of environments nearby it is advised that participants have their own transport & are prepared to spend some time during the week working independently or in smaller groups. We will attempt to car share for exploring further afield once there & in the run up to the course we’ll connect all participants so that any car sharing / lifts to & from the accommodation can also be arranged. There are plenty of locations nearby, including several Munro’s & renowned walking routes, for those who want to explore on foot of course. Jez & Chris will of course be on hand to assist and guide people who wish to learn more about the techniques they use or simply to join in their explorations.

some of the locations nearby include:

. 21 Munros within a 15 mile radius inc. Glas Maol, Tolmount, Cairnwell, Can a Gheoildh & Ben Gulabin

. Glenshee Glen , Glen Lochsie & Glen Tairneach

. The Cateran trail - a walking path used by 15th century cattle rustlers

. several Loch’s inc. Loch Vrotachan, Loch Beanie, Auchintaple Loch & Loch Muick

. Corrie Fee National Nature Reserve

. Mar Lodge Estate, home to BBC’s Winterwatch

. several water courses of various sizes inc. Allta Ghlinne Bhig, Alt Coolah & Shee water + small glen pools that should be rich with aquatic flora & fauna.

. during the week we’ll hold screenings of films with a strong connection to located sound including Emily Richardson’s ‘Cobra Mist’ (soundtrack by Chris Watson & Benedict Drew), Amanda Belantara’s ‘Sonotoki’ capturing simple moments of daily life in a Japanese village, Heather Ross' 'Domestic Dawn Chorus' & a rare UK screening of Christopher Thompson’s documentary ‘The New Wild’ on how human use of remote natural spaces is changing.

Sunday 10th June: depart after breakfast by 11am.

Gulabin Lodge also has on site mountain bike rental which is available for an additional charge payable directly to the lodge owners (£20 per day / £60 for 5 days).

We will be based some distance from the nearest town, Blairgowrie which is approx 35 mins by car, so it is advised that you arrive with any additional supplies you might need for the week, though i’m sure we’ll be making at least one trip to restock.

Although we are going to be in a stunning part of Scotland we would advise that there might well be different sonic elements audible in some of our surroundings; walkers, flights overhead, road hum in the distance in some locations at certain times. Aspects of the reality of environmental sound will be discussed during the trip, including whether expectation might serve to separate us from the reality of a planet in constant flux.

Following the trip participants will be welcome to contribute recordings or pieces stemming from the trip to a special edition of Framework (Resonance FM) curated & compiled by Jez & Pheobe, along similar lines to the ‘a quiet position - orford ness’ edition, which can be found here: a quiet position - orford ness

Above all the trip will be a chance for us to gather together & spend several days listening, recording, sharing our experience and generally having a great time meeting good folks. So do join us & be part of this murmuration of listeners !

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to purchase click here

first edition (150 copies)

saddle stitched A5 photobook

with download code to 350+ minutes of sound documenting realisations (listening and performed)

+ initial copies come with a separate limited edition booklet for 'score for listening # 80' prepared for two performances by Nordic Affect in Iceland (at Mengi 2016 & Harpa 2017)

'Jez riley French’s photographic scores series is a compelling intervention in this sea of images. They invite the viewer to see them as conduits, representations, translations or spurs for sound – and this remediation has the effect of reversing some of the effects of our image- saturated culture. Where time in the age of the digital photograph is produced by gliding from one image to the next, French’s photos attempt to bring temporality into the experience of viewing. The images manufacture an experience of time through the visual evocation of sound and soundscapes....By introducing the experience of duration into our consumption of images, via the mediation of phonography, they invite us to attend seriously to our mediated environment and consider our contribution to it'
- Haworth (Source Journal of Photography - spring 2016'

the Icelandic ensemble, Nordic Affect have commissioned me for a new photographic score & the result is 'score for listening # 80 - four variations.

Nordic Affect will premiere their unique realisation of the complete score at Mengi, Reykjavik on October 26th,2016

Halla from the ensemble also included elements of the text based score from myself & Pheobe riley Law in her installation at Nordic Music Days, Reykjavik recently & also at Transistor, Malmo, Sweden

H e (a) r Soundscape connected to ecology, acoustics and embodiment; drawing on encounters and what happens in the connection. Performers are Carina Ehrenholm, Angela Rawlings, Halla Steinunn Stefánsdóttir and Liv Kaastrup Vesterskov. Text score extracted from writings and digital works by Angela Rawlings (In Memory: Jökull*, Jöklar) as well as by Pauline Oliveros, R. Murray Schafer, David Suzuki, Halla Steinunn Stefánsdóttir, Jez Riley French, Phoebe Riley French, Bernhard Leitner, Heidi Fast and Roni Horn. H e (a) r was directed and composed by Halla Steinunn Stefánsdóttir and mixed by Kent Olofsson at Inter Arts Center in Malmö, Sweden.

pleased to announce that I will be collaborating with Opera North, Jan Bang, Eivind Aarset and Arve Henriksen on Ten Worlds - a new piece that blends field recordings of the bridge itself (inside, outside & its locale - recorded by myself for this project) with orchestra, choir, electronics, guitar and trumpet, as part of Hull's Capital of Culture 2017 year. This major new commission will involve an interactive timed, performed realisation and a longer term sound walk along the bridge.

https://www.operanorth.co.uk/news/two-opera-north-commissions-for-hull-2017-uk-city-of-culture

recording of 'waiting / compact (score for listening # 78) realisation by Philip Thomas and Matthew Bourne recorded at Bank Street Arts, Sheffield 30th June 2016

movere | soundtrack for an unfocused image # 1

my piece for the fascinating Acoustic Camera's project is now online.

the soundtrack for a live webcam feed from Iceland is based on recordings of marsh fences, lava dissolving, the ultrasonics of a glacier lagoon and weather events in the ionosphere. this particular webcam has become clouded and hopefully will remain so. as with the listening watching the image involves time - it changes constantly, but subtly - at certain times the sun light creates angular glares or at night car lights spin globe shaped reflections into the camera.

http://www.acousticcameras.org/playlist/jez-riley-french/

whilst you're there you can also find pieces by Chicaloyoh, Sylvain Chauveau, Jarboe, Lionel Marchetti, Simon Fisher Turner, That Summer and more (with more being added)

pleased to announce the release of 'portable music' on Touch's Touchline series - three pieces based on structural resonances, close listening to locales and geothermal ultrasonics from Iceland - featuring myself, Pheobe Law, Sofia Miorelli, Maria Silvano, Maddalena Carta, Michele Spanghero, Sandro Carta, Gabriella Ferrari, Antonio Della Marina, the audience & villages at Topolo & its locale....

https://touchshop.org//product_info.php?products_id=726

the new issue of Source Photographic review is a fascinating survey of the links between sound and photography including Eve Forrest, writing about the 1980s LPs that make up the 'Photographers' gallery of music and sound', an article on recent books that include sound recordings and portfolios of work by Joséphine Michel who has been photographing birds as sound emitting objects, & myself (Jez riley French) whose photographs are designed as 'scores for listening' and Paul Gaffney whose work is a direct response to a piece of music. 

Source have also commissioned a series of films & audio interviews via their website to go along with the print issue, including myself again, Angus Carlyle, Dawn Wilson, Cheryl Tip, Jon Wozencroft, Laura Pannack and Ian Rawes. 

a valuable addition to the resources on this rarely covered subject - £6 + p&p from the website:

http://bit.ly/sonicphot

the 1st Source film on the subject of the links between sound and photography is now online, featuring myself, Dawn Wilson & Angus Carlyle:

interesting programme on BBC Radio Ulster about Jocelyn Bell Burnell - which happens to also include some of my fence recordings

http://bbc.in/20pIeI9

my article on Sami yoik, featuring interviews with Ande Somby & Chris Watson + audio from Ande, Nils-Aslak Valkeapaa, Johan Ander Baer & Ulla Pirttijarvi is now online at Caught By The River. As you can hear / read Yoik is a tradition that remains locked to the environment & some of the most powerful recorded examples were (& still are) recorded in the field:

http://www.caughtbytheriver.net/2016/01/17/yoik-jez-riley-french-chris-watson-field-recording-norway-ande-somby-nils-aslak-valkeapaa-sami-ulla-prittijarvi-johan-anders-baer/

a new interview of the Architect Of Sound website:

https://architectofsound.wordpress.com/2015/08/15/aos-presents-jez-riley-french-field-recordist-artist-and-creator-of-jrf-microphones-qa/

'movere | dolomite paths' - 4 channel field recording piece

as part of:

EMBEDDED FREQUENCIES

is a confluence of sound and materiality. Compositions constructed of field recordings from oil fields, dissolving minerals, sea-life, abandoned space, and cross border travel will play in an atmosphere of nearly complete darkness.

Live performances by Chicago-based artists ambiguously layering the found and constructed.

Compositions Austen Brown Peter Cusack Jez Riley French Alyssa Moxley Martyna Poznańska Jana Winderen

Live Performances Peter Speer Coppice

The locations of contributed recordings include: Bakken (North Dakota), Barents Sea (Norway/Russia), the Dolomites (Italy), Selassia (Greece), Odessa (Ukraine), the Caspian Sea (Azerbaijan).

EMBEDDED FREQUENCIES is curated by Phil Peters and Alyssa Moxley.

LODGE (in service of the dark arts) is a winter project-space organized and curated by Angharad Davies and Phil Peters.

Sited in a former banqueting hall, windowless with partially dilapidated faux-finishings, LODGE presents a series of film screenings and public exhibitions; an arc of dark light to guide us through the winter months.

latest edition of 'the organist' podcast on KCRW, produced by Lawrence Dunn, features contact mic recordings by various folks including myself, John Grzinich & others

http://www.kcrw.com/news-culture/shows/the-organist/episode-44-contact-milk

Location Sound Recording Workshop

University of the West of Scotland

Ayr

19th-23rd January 2015

Me and Chris Watson headed up north, driving along increasingly snow sided roads, to Ayr on the west coast of Scotland following an invitation from Peter Snowdon (lecturer in film making) and Nick Higgins (director of the Creative Media Academy). As part of the Honeycomb - Creative Works project, funded by the EU and aiming to bring leading creative industry professionals to the border counties of Ireland and the western seaboard of Scotland.

A group of 26 participants joined us for the 5 day intensive workshop, taking in field / location recording, extended listening, critical playback and discussions on equipment and techniques.

day one: introductions

through till lunch we spent the time getting to hear about each participant: their practice, aims for the week and what motivates them to work in the field. As always when we do these courses there’s a wide variety of interests; sound art, experimental music, social contexts, film and tv production and wildlife. After lunch Chris talked through various aspects of his approach to sound recording, playing examples to illustrate. I then spoke about my work with a particular focus on creative settings and the use of non-conventional microphones / devices (hydrophones, contact microphones, ultrasonic detectors, coils, geophones, vlf receivers etc). Essential to these talks is that they aren’t lectures - they’re discussions, a sharing of knowledge. The questions and comments from those attending not only provide an essential social element but also allow for everyone to think about aspects they perhaps don’t usually consider. Someone aiming for a career in film crew work can learn a lot from a sound artist whose concern is primarily the use of material to trigger different levels of listening. Likewise an artist can think in different ways about their practice when hearing how a sound mixer works. The two worlds are often concerned with very different aims and intentions - indeed, there is often a very wide gulf between the values (in terms of listening and the texture of sound) of these different approaches and this is why there’s a lot to be gained from exploring those differences in a sociable and group setting. Having tutored on workshops for some years now I can say without doubt that there’s almost always a total ‘group linking’ in the first hours or day of a course - where everyone involved understands that, whatever our specific approach or knowledge, we are all these through an interest in better and more expansive listening.

day two: equipment and first field trip

before lunch we begin discussing field recording equipment. About half of the group have limited previous experience with field recording (though most have some background in sound, whether in a studio setting or through music) and the other half have some experience and their own kit. So steep learning curves all round - but thats one of the reasons to come on a course such as this.

The Uni campus in Ayr has the River Ayr running though its grounds and so the lecturers decided a theme of the river for this weeks course. With that in mind our first field trip was to Glenbuck Loch, the source of the RIver Ayr. We arrived to find an amazing icicle-covered wood circling the totally frozen Loch, complete with ice-anchored boats and unsteady swans attempting to break the ice sheets. 26 is a big group and lets face it, field recording and site specific listening is a solitary pastime, by necessity. With that in mind I would say that the first thing people learn on these kinds of courses is how noisy we are a species. How challenging it can be to stand or sit totally still for 10, 20 , 30 + minutes without making a sound, or without ones recording or experience being affected by the sounds of others.

I concentrated on showing my approach to recording the ice on the Loch and the fence wires surrounding it. Chris headed into the trees to listen for bird life and we all came away with an additional, unexpected sound-memory, that of the icicles falling from trees when the wind picked up; a rain of small, cold bells - glass like fragments of sound, and very evocative.

]

day three: second field trip

moving down the river, towards Ayr itself, we first visited the site of Wallace’s Cave (or at least one of the caves associated with him). Some of the group went searching for the cave itself and others took the time to find their own spots amongst the trees and along the tracks. Here folks began to get a sense of how radically different the sound of single source (the river) can be every few centimetres or metres, and when its filtered through trees, fences, caves and other surfaces.

The next stop was at Ballochmyle, where we’d been told there were cup and ring markings (a form of prehistoric wall art, the exact meaning of which is subject to various theories) on several stones. Here we walked along one of the paths, leading us past numerous icicle screens where the melting snow was running into the small stream by the side of the track, to a bridge over the river and a rather odd box, marked AV, which at high volume was pushing water up through its cover. This ‘break’ in the soundscape of the walk had the effect of re-setting our ears and, of course, opening up thoughts about how our perception of place is often linked to what we expect rather than a more momentary and immersive openness to reality. Walking further the group began to split - some heading for the cup and ring marks and others taking time to venture down to the river to use hydrophones and contact microphones.

day four: third field trip and recording logging

we began at the Uni campus, following the path along the banks of the Ayr to a footbridge. I stayed near the bridge, with around half the group, attaching contact mics (not enough wind to resonate the structure on its own) and the others spent time recording along the banks or with Chris setting up mics around piles of bread and biscuits to try to attract birds closer to the mics.

As the bridge wasn’t sounding I then attached contact mics to a tree nearby, choosing one with dry, crisp leaves. Several of the group listened and then got on with finding their own tree sounds, either allowing the breeze to cause the sounds or taking a more interactive approach.

From here we decided to push back the scheduled lunch break and head to the docks at the mouth of the Ayr. By this time all participants were fully heading off on their own to use whatever kit they had or had borrowed. Some spent time on the beach and others concentrated on the diffused sounds of the active docks on the other bank of the Ayr; 2 cargo vessels were being loaded , the small pilot boat ran up and down the river, a nearby construction site, and of course the wind and water.

I took the opportunity to test some new omni mics, comparing them to my trusty DPA4060’s. Having made several recordings along the pier facing the docks I then switched to contact mics. As is often the case I stumble across one surface that offers up something special and here it was one of the large, flat metal pier plates stretching from the top to just below the waterline (at the time we were there). A massive low end filter for the tide and all activity on the river - deep drones from machinery, less focused elements which, whilst somehow representing the sensation of being on this windswept promontory, were abstracted - mirroring again ones ability to listen beyond the obvious. I’d have happily stayed listening to this one surface for hours.

Returning to the Uni campus participants either stayed and logged their recordings or set off to work on this at home. The point was to fully document each recording they’d kept, noting location, date, time and equipment used (either from notes taken in the field or from spoken idents on the recordings).

day five: critical playback

coming together as a group we listened back to one or two recordings from participants, discussing each one. Amongst the tracks were recordings of:

icicles falling from trees

ice sheets on the loch

fence wires

swans pecking seeds from the ice

sound of the river from inside and outside Wallace’s cave

frozen waterfall at the gorge

icicle drips

metal pier plate

dock ambience

and more....

These playback sessions are always valuable, not only to compare different microphones, recorders and techniques but to hear the radical differences that even small decisions can produce. Quite often someone will say ‘I don’t think this is very good’ and on hearing it played back to the group, through speakers rather than in the enclosed world of solitary headphone listening, it becomes obvious that the recording not only ‘works’ but represents something of the individual. It is the aspects of our work that we doubt that we perhaps perceive what makes it ‘ours’.

interview for the Audio Spotlight website:

http://theaudiospotlight.com/jez-riley-french-interview/

nice to be asked to write something for issue 3 of 'Reflections on Process in Sound' and some of my daughters (www.pheoberileylaw.yolasite.com/) photo's are also included.

Issue 3 of "Reflections on Process in Sound" is online now: Viv Corringham gives an account of how her ongoing series Shadow-walks came about, as an amalgam of singing and walking; Riley Frenchconsiders three specific trips he took this year to record telefericas, geological dissolves and other fascinations in Italy and Iceland; Felicity Ford explores how wool and sound come together for her in her project KNITSONIK, with some excursions into feminist concerns; Michelle Lewis-King explains how and why her Pulse Project blends accupuncture with sound; Jo Joseph Hyde considers his take on visual music; Rob MacKay discusses the parameters of the world’s first concert for artificial and human voices.

http://www.reflections-on-process-in-sound.net/issue-3/

GENE POOL#69 SONIC SEASON: JEZ RILEY FRENCH

click here to listen

This episode is the first of a five episode “Sonic Season” of improvisation and sonic arts shows.

The life of the field recording artist explored in conversation with Jez riley French.

Independence and integrity of artistic practice are strong themes with the globetrotting Yorkshire-man whose DIY JrF contact microphones have become something of an industry standard tool among sound artists.

We discuss community, microphones and recording equipment including geophones, hydrophones and contact microphones as well as vibrating staircases and the “Stairway to Heaven” of the field recording world.

This podcast features some original recordings made during a weekend workshop led by Jez as well as audio from his own archive material.

More Info

jezrileyfrench.blogspot.com
jezrileyfrench.co.uk Jez riley French on Bandcamp

The podcast can be delivered directly into your Mac/PC, tablet or mobile via the iTunes Channel, Blackberry Podcast, Blubrry, Miro

Listen: Gene Pool#69: Jez riley French

5 short films from topolo - Jez riley French & Pheobe riley Law (headphones advised) from Jez riley French on Vimeo.

_______________________________________________________________________________________________________________________________

'foxley wood fence posts'

will be part of the new season of concerts / events at the Juan March Foundation, Madrid, Spain during March 2014

____________________

a special 8 channel mix of 'teleferica's' will be premiered as part of Artisphere's Fermata exhibition.

line up for this major exhibition:

Alvin Lucier
Christine Sun Kim
Jez riley French
Lawrence English
Ryuichi Sakamoto
The Books
Brian McBride
Eddie Ruscha
Francisco Lopez
CFCF
Alberto Gaitán
Annea Lockwood
Chad Clark
Kate Carr
Forest Swords
Jarboe (Swans)
Scarfolk Council
Devin Underwood (Specta Ciera)
Markus Guentner
Toni Dimitrov
Lucianne Wolcowicz
Salome Voegelin
SaåadIM Rawes (London Sound Survey)
Don Zientara and Ian Mackaye
John Henry Blatter

http://www.washingtonpost.com/entertainment/museums/spring-arts-preview-gallery-picks/2014/01/31/5a080e12-82b6-11e3-bbe5-6a2a3141e3a9_story.html

4 extracts (sheffield staircase, tate ultrasonics, bethlehem wires and teleferica's) are now part of MoMa's 'Soundings' online resource / exhibition archive:

https://soundcloud.com/groups/moma-soundings

i'm pleased to announce that my commission for Tate Modern 'audible silence: the tate, sleeping and waking' is now available online, to listen of download free from the tate modern website: click here

UPDATE:
my piece for The Tate is being included in TWO news installation for Tate Modern / Britain:

LIMINAL (Mcgallery, Tate Britain) will be soundtracked constantly in the space by the piece

+

Juke Box Meets Tate Britain will be based in the new Learning Gallery from 23rd November till the end of February 2014. Devised by sound artist Yuri Suzuki, Juke Box Meets Tate Britain will aim to provide a wide-ranging and accessible sound archive related to Tate Britain's collection. Each week the aim is to also offer vinyl-cutting sessions where visitors and invited guests will be able to create a record to go in the juke box, contributing their personal response to the Tate Britain collection displays.

original installation:
the piece is available at the Tate Modern gallery as a headphone listening experience from June 22nd & is available to experience saturdays, sundays + thursdays & fridays during school holidays.

audible silence: the tate, sleeping and waking

jez riley french

buildings sing....their walls, their floors, chairs and tables are full of sound, of their own music, made by vibrations, made even by the world turning. these pieces feature only untreated sounds directly recorded with special microphones and listening devices in the tate building itself.

'for this set of 3 new pieces Jez spent several nights alone in the Tate Modern building, listening for hours, capturing moments when the surfaces of the structure resonated or the sounds normally beyond our range of hearing offered up particularly evocative, unscripted compositions'

2013 also sees the publication of a new book on the art of field recording 'in the field' (click on the image below to order), which features conversations with myself & other recordists + a nice cover picture taken by my daughter, Pheobe (proud dad moment here !)

Jez riley French - teleferica (extract).mp3