A MUSIC + RESEARCH EXPERIMENT
(FORTHCOMING APRIL 2019): Build A Thing Of Beauty is available as a digital album online; the only physical release of the album, however, is an interactive musical sculpture known as the SCI★FI★HI★FI. Built in collaboration an electronics engineer (Peter Reid), metal worker (Mark Reynolds), and software coder (Owen Green), the SCI★FI★HI★FI is what its name suggests: a science-fiction inspired hi-fi system that can play seven of the most historically significant recording formats (Edison wax cylinder, 78 rpm disc, vinyl LP, cassette tape, compact disc, mp3 on hard drive, and streaming remotely from the cloud). It explores how playback technology changed the parameters of musical work at different moments in history: from two minutes of lo-fidelity mono sound on wax cylinder, to a streamed AI-composed remix that is unstoreable and infinite in length.
The pairing of Build A Thing Of Beauty and the SCI★FI★HI★FI is therefore intended to be not exactly a "concept album,” but rather an experiment exploring of the concept of albums as historical artefacts. How was recorded music valued before the advent of albums, and how might it be valued after albums are gone? The sculpture will be exhibited in select cities across the UK in 2019, and linked to a series of online videos discussing the economic and environmental costs of music (see “Videos.”)
The Cost of Music
(FORTHCOMING 8 APRIL 2019): The “Cost Of Music” is a collaborative research project between Matt Brennan and Kyle Devine. It also involves a film collaboration with Graeme O’Hara and a fanzine collaboration - “Terrifying Miracle Of Recorded Sound” - with Jude Thompson.
One Man Band Instrument
The instrument pictured above is the product of a collaboration between Brennan and David C. Frazier, an artisan blacksmith from Arkansas. Inspired by the homespun aesthetic of one man bands, Brennan and Frazier spent several weekends in a workshop on the south side of Glasgow building a one man band instrument out of a suitcase, a skateboard, and scrap metal. The resulting contraption was wheeled out for a series of unruly live performances where Brennan road tested the songs that he would eventually bring into the studio.