I’m completing Hellfire and the tempo has changed. Lucy Dolan has invisibly slipped ta banging rather than smoking heroin. The change has occurred as invisibly as the transformation of a pitch in a Radigue composition.
In the studio I’ve been finding the Elka pitches that make the right beatings. The ones that make the atmospheres I think we need. It’s fascinating stuff. I’m a total novice in understanding the mathematical precisions of pitch combinations and how to arrive and leave them too. In complete contrast, I’m finding the songs Lucy hears, (Lou Reed, the Doors, Kajagoogoo, Middle of the Road, 70’s joy ha) and surprise, make some great stuff with LiSa, glitched up cuts & beats & long back loops, shitty noise and lusciously sensuous. It’s yes great. Haven’t done this in 15 years.
So. Friday already and there’s a mountain of material with much to chuck out and much more still to make. I’m also to confirm the text extracts I want Mia to read next Thursday in Dublin. She’s really up for it which is fantastic.
Time then for clarity, construction and the knife. A good weekend a-coming