Experiments & Intensities (2019-22)

I went hunter-gathering. This is what I found:

“This Is a Photograph” video finds the singer completely alone in a nondescript town — at times appearing contemplative, at others seemingly teetering on the edge of mania. At one point, Morby dons a suit and sings while clutching forcefully at a microphone, whipping himself into a frenzy as if preaching to an invisible congregation. “This is what I’ll miss after I die,” he exclaims during the song’s chant-like refrain. “And this is what I’ll miss about being alive.”

Bouza, K. and Bouza, K., 2022. Soul Searching in Memphis Led Kevin Morby to His New LP, ‘This Is a Photograph’. [online] Rolling Stone. Available at: <; [Accessed 7 May 2022].

David’s hair does something and it has a function and the function has to do with God.

David Lynch and Kristine McKenna (2018: 252), Room to Dream.

The dance opened with a spinning sequence, which allowed Anna to shift her consciousness and enter into a sense of inner conviction,…

On Anna Halprin, 1974. The Prophetess, & McKenna, 2018. Room to Dream.

I don’t know how I got to write those songs… those early songs were almost like magically written… Try to sit down and write something like that… there’s a magic to that… it’s a different kind of penetrating magic…

Bob Dylan, 2004. interview with Ed Bradley.

We have become a civilisation based on work – not even ‘productive work’ but work as an end and meaning in itself.

David Graeber, 2018. Bullshit Jobs: A Theory.

Even if you work inside the system you don’t need to let the system work inside of you.

Byung-Chul Han, The Burnout Society (2015).

The book of love is long and boring / No one can lift the damn thing / It’s full of charts and facts and figures / and instructions for dancing…

“The Book of Love” by The Magnetic Fields, from their 1999 three-volume concept album, 69 Love Songs.

And so my job is to be receptive to things and then just write them down so it’s a sort of automatic writing theory.

Timothy Morton in conversation with Ross Simonini on the podcast Otherworld Episode 1: The Vessel (2016).

…I hope the music floats away and takes on a life of its own… It’s about following the music because…it knows more than I do. It tells me where we’re going and, if I’m lucky, maybe after the fact, what we were doing. To me that’s, that’s not just the fun, it’s kind of the core of why this is my life’s work, because it always know more than I do.

John Luther Adams, “Bad Decisions and Finding Home: JLA and Nadia Sirota”. (2014)

BLVR: How would less traditional, experimental song structures change you?

WO: They would free me… I work on something until it is a wild and exciting representation of creative forces working for and against each other.

‘An Interview with Will Oldham’, by Ross Simonini, The Believer Magazine, Dec 8 2021.

Like all his songs, it was improvised on the spot and possesses a raw, soulful intensity that has much to do with the plaintive grain of his voice and the incantatory nature of his delivery.

Sean O’Hagan, interview w/ Lonnie Holley, The Guardian, May 2 2022.

The beautiful thing about releasing music is that it becomes permanent.

Tamara Lindeman, personal newsletter, 4 March 2022

Nomadic Works

The above photographs were all taken on an iPhone 6s. They were taken in or around Aulus-Les-Bains, a small town in the French Pyrenees, where I was on a workshop on new music ecologies back in 2018 at the next level arts-residency programme CAMP Fr. There are also images shot in the city of Toulouse. I can be seen here arranging shells gathered from the shores of Loch Long, on a Winter-Residency at Cove Park in Scotland, in December, 2019, via a Travelodge in Helensburgh. Other performances include footage from guerrilla gigs in St Leonard's-on-Sea, street performance at the Edinburgh Street Fringe, and a performance ritual at Queen Elizabeth Forest Park, and images from a funded recording residency in Faslanoich, just outside of Oban. Otherwise, the slideshow traverses the Pyrenees, where street photography captures revelatory moments that may otherwise go unseen. Otherwise, I traverse the vocal booth, to the diner, in the shower, to the sunset wilds of a gloriously-lit Glen Coe.

“On Texture, a reading of a fragment of a chapter, 2022.”
“Boom Boom”, 2022, performed live at Gilmorehill Performance Space, Glasgow.
Composition for Four Voices, 2022, performed at GIlmorehill Halls, Glasgow.
Composition for Three Voices, 2022
Please Scan it Now, 2021
San Bernardino, 2021
Supernova Andromeda, w/ Donna Matthews, 2021
Sun Dance, 2021
Black Hole, 2021
Stairwell Opera, 2021
These Bodes O’ They Break in Time Like the Wind, 2021
Ballad of the Waiting Woman, The Stairwell Sessions, 2021
Piano Jam, w/ Donna Matthews, 2021
Piano Jam, w/ Donna Matthews, 2021
Improv to Pina, 2021
Nursery Rhymes, 2020
Improv w/ Donna Matthews, 2021
Improv w/ Donna Matthews, 2021
Improv w/ Donna Matthews & Rita Pacheco, 2021
Improv w/ Donna Matthews & Rita Pacheco, 2021
Improv w/ Donna Matthews & Rita Pacheco, 2021
Piano improv, 2021
Boom Boom – Sam Lou Talbot, 2021
Improv w/ Donna Matthews, 2021
Stairwell Opera, 2020
Accordion Song, 2020
Wed, 2019
You Talk About Camus, 2019
Cognitive Dissonance/Flow, 2021
Zoom to God, 2020

The Glad Cafe, 2019
The Glad Cafe, 2019
Lament, 2020
Rewilding, Edinburgh Online Fringe Shorts, 2020
Edinburgh Fringe Festival, in homage to Dylan’s Subterranean Homesick Blues, 2019
Performing Directions, Tyndrum, 2019
The Forest Sessions, 2019
Voyage Around My Room, reinterpreted, After Xavier de Maistre’s (1794) ‘Voyage autour de ma chambre’

Snow White and Rose Red, Fairytale Readings, 2019
Email Spaghetti, for Colin J Herd, 2019
Under the Arches, St. Leaonards-on-Sea, 2018
Dancing in My Dressing Gown to Jacqueline du Pré, 2019
Cove Park winter-residency, Duotone’s “Martha”, 2019


Duotone (Barney Morse Brown)

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