Tuesday, 27 December 2011
Friday, 23 December 2011
Using the backdrop of The Oxford Carol f-ed with to the nth degree, this is an improvisation that I may or may not develop. I have gone for ethereal... what do you think?
Do You Hear The Sound - A Chrismas Song by Music for Zombies
Thursday, 22 December 2011
Sunday, 18 December 2011
Sunday, 4 December 2011
Friday, 2 December 2011
Saturday, 26 November 2011
Saturday, 19 November 2011
Sunday, 13 November 2011
I found this when I had to find flower based songs for a Primary School workshop.
My son had a very Hobbitty Birthday Party Yesterday of which this formed the backbone of Musical Chairs.
It is being deliberately hippyish isn't it. But I love it.
If you dance to it jump up and down - I believe this is called pogoing.
Sunday, 6 November 2011
Friday, 28 October 2011
Written over ten years ago I resurrected this cheeky little number and rerecorded it for the Halloween 2011 EP.
The EP has been great fun to make.
Only one piece left to go.
This song was inspired by Polanski's classic. The video uses the trailer and the final shot from the film so if you ain't seen it....
Thursday, 27 October 2011
Tuesday, 25 October 2011
Saturday, 1 October 2011
This is the final projection of the play.
As Patrick sees his family swallowed up by Deadman's Lane, the sun rises and sets again and again quickly as the Soldier foretold...
The Music is the theme of Deadman's Lane (Patrick Weeps). Enjoy.
Sunday, 25 September 2011
Sunday, 18 September 2011
The video was created from many jpegs, during the filming process the actor was gradually made-up.
The video was then heavily manipulated in Adobe Elements.
The sound is created by Music for Zombies.
In the show we added in a further scream to help with cueing for the actor.
Enjoy and do have nightmares!
Nightmares are cool.
Saturday, 10 September 2011
It is part of the play "Deadmans Lane" which was based on local legends and ghost stories around Theale in Berkshire.
The play contained a mix of live action and film, inspired by Forkbeard Fantasy and their ideas of "Crossing the Celluloid Divide" this scene saw the actors leave the stage and simultaneously appear on screen. The reason for the three piano shrieks on the soundtrack is that they act as cues for action. The third strike cues the entrance of The Faceless Man and the Priest. This meant that we could do a witch burning on stage without contravening health and safety (we had to be careful when we filmed of course!)
The witch is put into the crate on stage and then the crate is burnt on screen!
The music is by Music for Zombies.
The play was produced by Exiled Theatre.
Thursday, 1 September 2011
This is a page from the school brochure I am designing.
I have spent the last couple of days transcribing the text and redesigning it as a stage show.
I used the original text available on line but my goodness it's different!
It finishes with Barbara still alive (this isn't the 1990 version) and McClelland apologises for shooting Ben (who in the earlier version was a hick truckdriver not a suave black guy) - so all the radical racial politics must have come from Duane Jones' casting. Fascinating.
As part of the prep for this, I will also be working on a soundtrack which hopefully I will be able to perform as a unique show away from the stage production.
Friday, 26 August 2011
It combines sound effects, spoken word, soundscape and song to create an atmospheric and apocalyptic vision.
I recorded it in one take as performed at the Festival to give a clear record of how it sounded.
The mixing is done live as is the looping, this means that I'm switching betwen playing the guitar, adjusting levels, picking the guitar up, putting the guitar down, recording, playing and stopping loops, starting soundscapes, effects and spoken word on Jingle Pallette and singing!
This is the first part of a larger set.
The second act will follow soon...
Wednesday, 24 August 2011
I have been inspired by a free album available for download that itself is inspired by CE3K.
Get it here .
Very cool, I have made an atmospheric piece called "Follow the Toys" that takes this key scene from the film as a starting point. The main theme of CE3K (you know the one) forms the backbone of the piece (but it is slowed and effected to the nth degree)...
Enjoy!Follow the Toys CE3K by Music for Zombies
Sunday, 21 August 2011
Very simple, sum up a film with your face!
Quick snappy reviews, nearly at 200!
Dave Yates of Dolly Dolly has kindly joined the mission, more to come.
Click for Filmface goodness!
Friday, 19 August 2011
Over the last few months I have been working for Hogarth Productions supporting their MASSIVE PUPPET project through sound...
Ed Harcourt approached me following our collaboration on the Spirit of Saint Mary as part of the Whitley Arts Festival and asked me if I could make a soundscape for these massive puppets from Kensington Palace that were part of an installation there.
I met the puppets first in Kensington Park (strange coincidence) in Reading. Took some photographs and recorded sound on my mobile phone. They gave me the names for each of the puppets and I established that they were a family once trapped in a palace now given free reign, I started considering their characteristics.
First is Fauna, the smallest and youngest - dainty... a ballerina. You can see her here with the chief puppeteer.
Flora is senior to Fauna, once a successful ballerina but faded and bitter. And here she is with two former students of mine that I got this gig for... Bradley and Carl.
Aurelia - the big sister, bossy and a gossip. Carl was inside her at this point.
Lillio - the mother, creaky (the puppet is big and heavy so will have to be carried in a rickshaw)...
The first thing I did was create a base sound which was a combination of ticking, a distorted sound of a fireplace and the strange creaking I recorded (from the inside of Lillio - her creaking bamboo joints) on my mobile. And here it is...Base extract by Music for Zombies
I then looked for music box music for Fauna (which would be clean and beautiful)
...and for Flora (which would be distorted and scratched)
This is the sound for the older sister puppet, because I imagined her as a nag bag from the dark distant past I took a scathing review of Mr Bensley's performance as Glanville from "The Devil's Copybook" (1789) as quoted in No Turn Unstoned , read this in the style of an over the top Miss Haversham. Then upped the speed pitch, added echo, played it backwards to get this.
Finally Lillio, creaky and old she speaks through her joints...
The point of making these is that when they played on a longer soundscape it would give the puppeteers an impetus and inspiration to move. I added these to the base soundscape and before each puppet sound also added a cue sound,
Fauna=Windchimes (again a sweet sound)
Flora=A sad choral sound
The short extract below gives an idea of how it would all work together.
This short video gives an idea of how the puppets worked both at the Caversham Festival and as part of the Outside Inside Festival - I used this and the sounds at school to help explain devising in drama.
Did any of you see the puppets in Reading, give us a shout and tell us what you thought.
Ed is now thinking of moving on with this into a more stationary show for the Whitley Arts Festival - so watch this space.
This has been an invigorating and exciting project and I hope to work with Lillio, Aurelia, Flora and Fauna again.
Saturday, 13 August 2011
This might take a while to write-up so final prep first
This is my lunch - please note script on the left. I was working. Thursday is Curry day at The Monk's Retreat.
Set dressing compared to the previous watchman there is much more for the audience to do.
We now have wind-chimes, a rainstick a whirly thing, a flute organ thing...
Look an atmospheric shot of the script!
Okay this is a scene in which the Watchman imagines a romantic meal (but there's no-one there!)
Spooky Watchman in face mask about to go outside.
And there he is up a ladder!
Right, the way the play worked (or was it an art and sound installation with some guy poncing in and out now and again?) was thatin the room were various objects that the audience needed to use (these objects would make a noise) when I hear the noise it acts as a cue for an action or a scene - this means that the audience control the flow of the narrative, they can also cause sections of it to repeat.
I had worked out the scenes and practiced the next element was for it to be seen. That follows next...
Wednesday, 10 August 2011
Ah this is how I feel! Trapped in a room, putting up polythene! But you know what working on your own you tend to get a lot done and it cuts down on the arguments.
Of course I forgot the string and so had to go into town and get some.
So that took more time.
But how did I get that polythene up there?
Did I use a ladder?
But mainly I used...
An AMAZING THROWING SKULL that I bought from the 99p Store last year for Halloween and the Lovecraft think in December.
I attached the string to the throwing skull and threw it over the rafters.
It's amazing, I should go on Dragon's Den.
Anyway over the course of an hour and a bit (taking a break to nurse a cut finger - remember scissors are sharp)
I managed to construct the polythene room.
It does look a bit like one of Dexter 's murder rooms.
As you can see the more that goes up the more atmospheric it gets.
Eventually I made a corridor to the "room".
At lunchtime over a delicious Beer and a Burger from The Monk's Retreat , I wrote three speeches.
Now the thing is this show has boomeranged from pure installation where the audience bring their own narrative...
...to a play with a fully constructed narrative...
...and now back in the control of the audience...
There are various objects/letters/sound making devices for the audience to engage with some of these will act as cues for either other sounds or for scenes...
Therefore these scenes could be played in any order.
I need a few more scenes but I'm happy with what I have so far...
Should have a couple of people to see it tomorrow, it needs a very small audience as it's a small space.
Tuesday, 9 August 2011
The riots in London are so depressing and weirdly chime with all the bizarre end-times reading I've been doing. So to cheer us up take a look at this Chick Tract Parody on Lovecraft. Genius (taken from rationalwiki )...
I was thinking of having some Lovecraft in this and now I am certain! Work it out tomorrow!
Another exciting thing I have found is "I wish we'd all been ready" by Larry Norman, there are loads of versions of this including one by Sir Cliff. I loved this song when I was a kid, weridly I still do, when I was a kid it was all about being chosen whilst everyone else died! Mu ha ha ha! Now it's the beautiful and weird apocalyptic imagery it leaves us with. Also we'd get the place to ourselves!
Check out these two terrifying videos!
Larry Norman (with a really scary video!)
Sir Cliff (Wants us to die!)
I've taken a groovy instrumental break from Cliff and turned it into this (reminds me of a Shamen track "Scientas " off Boss Drum, remember that 90's kids?
I Wish We'd All Been Ready - Soundscape by Music for Zombies