'Still Every Year They Went': Studio performance at sea

Lamb, Johny ORCID: https://orcid.org/0000-0001-7654-1004 and Reeder, Philip (2016) 'Still Every Year They Went': Studio performance at sea. Performance Research, 21 (2). pp. 79-80. ISSN ISSN 1469-9990

Preview	Text (Post print of article) Still Every Year They Went Performance Research 2016.pdf - Accepted Version Available under License Creative Commons Attribution Non-commercial No Derivatives. Download (134kB) | Preview
	Text still every year.pdf - Published Version Restricted to Repository staff only Download (1MB) | Request a copy

Abstract / Summary

On 15 April 2015, Philip Reeder and Thirty Pounds of Bone (Johny Lamb) went to sea aboard the Girl Emily, a 1974 commercial line fishing boat sailing out of Custom House Quay in Falmouth, Cornwall.

Faced with an unlikely and challenging studio environment on deck, Thirty Pounds of Bone performed nine new arrangements of traditional fishing/maritime songs, as the skipper and his mate went about their business of fishing.

Despite the inherently risible endeavour, vocal performances accompanied by guitar, shruti-box and two Monotribe synthesizers were captured by a variety of microphones alongside guest performances by bow-waves, seagulls, coastguard helicopters and various sea creatures. The sound of the boat, her engines, her wake, the creaks of her hull and her propeller are a fundamental challenge but also material for the album Still Every Year They Went.

The songs from or about the sea, and its associated practices, were taken back to the water—set amidst the environment of their origins. An unlikely collaboration emerges between Thirty Pounds of Bone’s dredger-paced lo-fi, and the phonographic studio methods employed by Reeder. The result is an album of material that speaks to older traditions, made relevant by a methodology that seeks new ways to render traditional song.

This text explores Lamb’s notion of music production as a ‘taxidermy’ of performance, and the iterative processes therein. This opens up discourse around Reeder’s use of phonographic contexts as a platform for music composition and studio production.

Item Type:	Article
Identification Number:	10.1080/13528165.2016.1162513
ISSN:	ISSN 1469-9990
Subjects:	Music Music > Popular Music Research Music > Sound Art
Courses by Department:	Academy of Music & Theatre Arts > Music
Related URLs:	Publisher
Depositing User:	Johny Lamb
Date Deposited:	03 Mar 2017 11:00
Last Modified:	11 Nov 2022 16:32
URI:	https://falmouth-test.eprints-hosting.org/id/eprint/2095

Actions

View Item (login required)