Above is the cover for a cassette tape which I had held onto since January 28th, 1996. The cassette contained a track in lieu of a paper for the Haçienda Must Be Rebuilt conference held at Manchester's nightclub, The Haçienda (RIP). The track, "Swarmachines" was attributed to "switch/***collapse/CCRU" and featured my voice, alongside those of Sadie Plant, Mark Fisher and Nick Land. Urbanomic digitised and posted the audio track, the text for which had appeared in Abstract Culture, later in nomadsland (and I believe it was translated into Serbo-Croat, though can find no evidence of this). It was republished in #Accelerate: The Accelerationist Reader, being mentioned in the 2017 Guardian review of accelerationism. The CCRU connections seems to be stirring at the moment with me being asked questions about this period by Simon Hammond for his excellent article in the New Left Review about Mark Fisher.
After the original A Crossing Bell at the Estuary Festival in 2016 and a later iteration at the "What Has To Be Done" exhibition for the Beijing Today Art Museum in 2017, another adaptation of the project was developed as a contribution to one aspect of Tomoko Hojo's "Unfinished Descriptions" exhibition at the Hundred Years Gallery. Tomoko invited scores to respond to the undocumented material catalogued under "O14" for Yoko Ono's 1966 show at Indica. I thought a gentle version of "A Crossing Bell" could work here, shown in first two images with some shots of Tomoko's own work for context.
"Orang Alijeh / Mountain Ghost" is part of a developing project relating to the eruption of Krakatoa. Part of the "Velocity" installation, curated by Alex Cooper and Tim Hutchinson at "Everything Happens So Much" at London College of Communication, my contribution comprised an essay, Morse code flags and posters designed in response to the essay by Alex and Tim. More information.
“Decoys” is a two track vinyl album that began as a collaboration with Mark Peter Wright. Having spent time researching different foley techniques used in the history of film sound, we adapted a repertoire of our own, shifting from the usual kind of pastoral / wilderness scene where foley is recruited to add punctual detail and acoustic atmosphere to conceive a wastescape instead. As we were recording and then as we were arranging the recorded material, we constructed an oblique score, which was then interpreted by musicians Claudia Molitor, Tullis Rennie and Alison Blunt. At that point they had not heard our version, nor did they know our toxic ecology thematic. Their response to the score forms the second part of the album.
The album will be released - with the score - on Multimodal in the Autumn, the first release from this new label.