Robert Stillman (saxophone), Anders Holst (guitar),
Sean Carpio (drums).
Bog Bodies is the collaborative project of Robert Stillman (saxophone), Anders Holst (guitar), and Sean Carpio (drums). Formed in 2015, the band’s sound breaks down distinctions between composition and improvisation, electronic and acoustic sound, abstraction and figure. Their first recorded work, Sligo is part of a larger multi-media project created jointly with experimental film artist Benjamin Rowley, whose hand-made 16mm soundfilm loops form an integral electronic element of the music on the album. Shifting freely between textures of drone, noise, and lyrical melody, Sligo reflects the eclecticism of the band members’ individual careers. Sligo is available in a limited edition of 200 LP’ s, each enclosed in a selection of 2 double-sided riso prints by Ben Rowley, and a fragment of 16mm sound film.
Mark Garry & Sean Carpio
Drift is the long term collaborative project between Mark Garry and Sean Carpio. Starting in 2011 (CAVE, Detroit), this project has taken the form of public performances (Cork Midsummer Festival), film (Galleria Civica di Modena), and vinyl recording.
The music on this record evolved from a performance in a natural amphitheater called "Horseshoe Bay" on Sherkin Island, located off the coast of West Cork, Ireland. This one time performance took place in and around the bay. The audience arrived in two passenger ferries and moored next to a traditional Irish wooden sail boat which bore an Aeolian wind harp (A harp played by the wind. These harps are in constant flux, and are reliant upon and activated by the enviroment in which they are located).
On land, a brass quartet performed a series of short musical pieces based on Summerian hymns which were controlled by a form of improvised conducting. The third and last element was an improvising saxophonist who was responding to the brass quartet and the wind harp.
For this recording, we firstly wanted to create a situation that integrated certain conceptual and sonic elements from the initial Drift performance and then process the material through a more protracted method. The recordings were made with two saxophonists, an accordianist and three Aeolian harps in a small forest in Dublin's Phoenix Park. The music was improvised in short takes with little guidance and subsequently edited by Mark and arranged by Sean.
Sound, in its very production, propagation and reception is relational.
It starts as a vibration, an oscillation of pressure that propagates through a medium, such as air, water or metal. This oscillation or wave is then received by the human ear, resulting in the perception of sound. However, these vibrations are modified along the way by several factors —from the physical properties of the body that initiate the sound, to the way the vibrations are created or played, to the properties of the environment that are imposed on the sound before reaching a listener.
The physical characteristics of an architectural space — from its shape, size, amount of surfaces, material — and objects or people within the environment, merge with a sound source to create a unique spatial sonic event. The environment thus becomes an extension of the sound played in it. Phrased differently, the space itself becomes an instrument. The architecture, environmental sounds, and performed or articulated sounds, all constantly contribute towards what the listener perceives in any given space and time.
This piece is a site-specific exploration of the relational properties of sound and space. It is an exploration of audio feedback, sculpted through various resonant drums, objects, and processing techniques, in order to articulate the reverberant characteristics of an architectural space. The result is a room of sound, achieved through an open and dynamic system, that exists as a sonic ecology.
Each performer sets up a positive feedback loop by pointing a contact microphone towards a speaker in a closed-circuit. This feedback loop can then be sculpted by physical and/or digital means to achieve various timbres and psychoacoustic by-products. The aim is to illuminate a space through sound, by taking into account the architecture of the room — size, material, surfaces — and working with the immediate surroundings. Through deep listening, each performer tunes their feedback loop system, working through a series of predetermined factors, such as duration, periods of improvisation between performers, and stasis. It is in the moments of stasis that the system becomes most alive.
- Sharon Phelan