Inwards & Outwards

Sonic Textures; Constructing landscapes through sound (Raw Notes)






The disparity between

Advances in technology in the 1970s the invention of the affordable synth?

Proliferated through punk


Visual music cinematic music Kraftwerk post-punk, travis Scott rodeo is a movie


Divorced from natural rhythms, alienation


Throbbing gristle 





We were trying to reflect the sounds around us this weird experimental mix of textures

Surrounded by insustrial




Synth ice singer fire

Television 'Marquee Moon Elektra: New York (1977)


Joy Division, 'Unknown Pleasures' Factory Records: London (1979). Album Artwork by Peter Saville


Jamie xx 'All Under One Roof Raving' Young Turks: XL (2016)


Peter Saville, 'Factory Records' (1980).


On an Increasingly Homogenised Society

Today, our culture is commodified, homogeneity has subsumed what I believe to be ‘real’ and especially with regards to aesthetics in music. It surprises me given the inextricable link between fashion and music that it has rarely if ever mentioned since I have been on the course. How has sound been used in the past to reflect the surrounding environment? What would sound look like if it were worn? Clearly there are musical styles, visual aesthetics that accompany music in the form of dress, hair, makeup, album art work but what about the sound itself? Can the vibrations and collective memories, mood and aesthetic qualities be conveyed through shape, line, texture? Whenever a producer or dj touches their keyboards they have a tactile experience, feeling the various devices, twisting and modifying. There undoubtably was an alchemy of sorts taking place in the late 70's and early 80's in music production in particular which coincided with a great depth in lyrical output from people such as Ian Curtis of Joy Division. But what about today? Stylists decide what musicians wear which was not the case in the era previous, routinely paid for and sponsored by an established or 'up and coming' designer brand. 

Joy Division, 'Closer' Factory Records: London (1980).


New Order 'Low-Life' Factory Records: London (1985).


Queens of the Stone Age 'Like Clockwork' Matador: New York (2013).


CAN 'Tago Mago' `United Artists: New York (1971).


WebSearch History


Album Art; Mood Analysis

I enjoy album art in accompaniment to whatever music I am listening to, it gives me a glimpse in to the musician's taste in art and photography which I find generally goes hand in hand with the music itself. For me an Album Cover's function is to convey a mood, an energy, a feeling - or a lack thereof perhaps? 

New Order 'Low-Life' Factory Records: London (1985).


Travis Scott 'Rodeo' Epic: New York (2016).


Daft Punk 'Random Access Memories' Columbia Records: New York (2013).


Self-Titled Mag 'Sleaford Mods' (2017).


On Music

On looking at my search history I realised how big a part music plays in my life. I enjoy the intellectual aspects of music that I enjoy as well as the raw sound that I hear through my headphones. The infinite possibility and other worldliness translated through the album Unknown Pleasures lead me to do research in to music production, specifically Martin Hannet's (producer of Unknown Pleasures). He speaks about a room which he creates through using EQ, a feature which today is ubiquitous in standard music production software and even on a standard iPod. Yet, at the time, and through his blend of features he was able to take a sound and place it in a 'room' which he had created virtually, a space that he could control, a space that does not physically exist yet it exists only to distort and affects whichever sound or drum beat you wish to manipulate. This for me is like manipulating fabric to create texture, in this case Hannett creates sonic textures and plains that appear to be under some sort of tornado or hurricane, as if they are being sucked in a whirlwind.


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