Enviromental music

by julian Broadhurst Envm

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about

This Album marked the point in my work where I could say 'I know what I am about now and this, the 27th album is the capstone of an organisation of material and practice, to borrow a word from my Art background, into five streams or Sections or Tranches to be precise; as sub genres in my work.

I had left Art it seems to record Drumming, music, Drum music, Dm; well I didn't know I'd left art at the time, but things had got quite complicated vey quickly - Right from the start of my having my own facilities I was recording percussion with metal, and loving it - like my 'Metal Bashing' music heroes. Which I took up in a separate area, the 'Metalshop, making separate collections of works there, and in another separate enterprise, a phasing music with tape loops was emerging. Some projects seemed to be purely electronic, they seemed to be separating out, here and at other peoples studios. Then emerged an electro-acoustic music, after the fact of a classical music buzzing always in head. It was time to bring all the projects together, many already as proposed albums. Regardless of actual chronology, the Rh catalogue preserves that, I would order the albums by section or tranche - depending on the degree of change to the initial sound. instrumental or field recording The seven Drumming albums I would put together First, as it came first in my progress, as Drum music, Dm. Then would come the 3 metal shop collections, as Metal Percussion music, MPm. Then came the 5 phasing albums including some now major works, an hour in length, Phase music, Phm. Then three from the new genre of Electro acoustic music, I called 'Music for Strings, Electronics and Percussion', and lastly the 8 albums of electronic music, Em - with many major album length works. It comes last, though it goes back to the start, simply because, in general its music has the longest journey from source.

Twenty six albums and a number of unallocated works, many of great interest, and all acknowledged and needing a home. As they were for the most part Works from field recordings - They got an album of their own, this one - Environmental music, Envm - and a genre of their own to. So all tied up to the moment of asking. And new albums would be, and were, added as and when, by Tranche, as a patchwork quilt of identities, but built on the foundation of this order. From this point on each new album was conceived and created as a succeeding number in that particular group or Tranche of albums - for example Dm 8.

Previously the music consisted in a partially sorted collection of 22 CD lengths, I'd named 'Red Cherry', after the gorgeous friend of mine I'd first made it for as a gift. This new Ordered collection of 27 albums, in five tranches, became - 'Blue Cherry' - what else ? So now the music is in two inseparable parts. The first 27 albums - corresponding roughly with my first studio - The Drum Studio - and the following 93, corresponding to its wonderful upgrade - to the Isabel Studio - occupying now most of my house and outbuildings !

There are a couple of items at the end of this album which were added over the years and are definitely from the Isabel side of things.

1. Gate Spring - Rh P9. A deliciously sonorous spring on a small gate on a path, high in the Derbyshire Peak District somewhere. Friends and I are on a walk, stumble in my case, I can't get any further, but I'm fascinated by this gate.
It is summer 2OO6, I have not long recorded my fist album 'Dm 1, percussion and sound recording are on my mind. My friend Stephen has mobile phone with a recorder on ( a novelty then) and bids me play the gate. I could not make recordings of my own yet, so every recording was precious, even these two. My own recordings, soon after these, I started to number as 'Rhythms', later as just 'Rh'. The fifteen recordings prior to this point I eventually call 'Rh P' for prior or previous to Rh - I numbered my own recording just to catalogue them, only later It became an Acknowledged works catalogue requiring the inclusion of those 'prior' to Rh 1 question, changing the numbering would have been a big job, hence the designation 'P'. problem solved - and my first recording with my own equipment is neatly marked.

2. Spring Gate 2 - Rh P10. The Second recording of the above. To this day Stephen calls all my music 'squeaky gate music' - an Ironically apt term of abuse for contemporary music in general - not that I call this Cm - it's part of a cannon that is. Some processing subsequently on both.

3. In Cabinet - Rh 1. Well here it is - my Rh 1, my equipment had come, so I recorded myself inside a cabinet, wow, now I could record sound, patterns and rhythms, I had always lost to the moment, lost to the air, now I could now fix and print like a work on paper, yes I had already done that, I was selling the album, but now the means of production were all within my hands. Thanks to my Art now I had a recording studio.

4. On Cabinet - Rh 2. As with the above, I now play the outside of the cabinet.

5. Bench in Storm - Rh 3. Sitting in a local park with my mother, probably that same first day, early evening, feeding squirrels and playing the bench we sat at, something I often did - this time I brought my performance home.

6. Railing in Storm - Rh 4. A little first landmark, in my own recordings. In that same storm, walking home alone, some new metal fencing by the river, I have drumsticks with me, I never left home without them, and this time - that fencing was like a set of tubular bells. Mud up to my ankles to reach this new fence, and soaking wet - I was in heaven - there was nothing I would not do for art, an artist now branching out into - music ? I knew I was recording for my future, or hoped so, now as I write the notes for the Volume of the Edition that will contain it, 8 years later. Rh 5 incidentally became the first piece on the first album I produced myself - now 'Drum music, Dm 3 - 'Skyside full of Echoes'. These Passed over pieces would have to wait till album 27, at the end of the first big reorganisation, where the albums as I know them now were collected in sets by tranche of work areas - and what was left became, the unclassifiable - Environmental music, Envm 1, presuming there would be others. The whole 27 volumes and the process of making it, I named for a Girl I was seeing my Blue Cherry set.

7. Shelter 1 - Rh 8. Outdoor metal percussion, didn't get collected to the Metalshop albums. Environmental is / was a genuine category of music, that just seemed to leak away into everything else.

8. Shelter 2 - Rh 9. Same metal shelter, same field trip - very different treatment.

9. Winster Glass - Rh 21. On a sunny day out, in the Derbyshire town of Winster. I played a display cabinet, and friend Maria held the microphone. A longer version of a piece in an MPm collection. I just left it in, it fits better here than there.

10. Energy Nervosa - Rh 35. A lovely piece, lovely treatment - don't know where it was recorded, Good MPm, it found its way into this collection. Putting this edition volume together I was reminded of how good the music in here is, it is not a collection of misplaced and misfits, it's a good collection in it's own right. I really like this piece.

11. Early Spring - Rh 36. First of a series of 3 pieces using a large tensed spring and sticks.

12. Spring Morning - Rh 37. Second of three pieces using a tensed spring Sticks.

13. Spring Wood - Rh 38. Third of three pieces using a tensed spring and sticks.

14. To Be - Rh 62. Deriving pitch and rhythm from scratched, stretched fabric.

15. Stairwell 1 - Rh 63. From the same Field trip as for Lift and Door music of the Early Phase music, I enter a large old sonorous Stairwell - step intently down the stairs - Play the rail and the resonance - back up and out without being disturbed - not easy in a busy Hospital. A classic shape for this kind of recording.

16. Stairwell 2 - Rh 69. Another Stairwell piece, but treated quite differently.

17. Chair Kf - Rh 71. For the life of me I can't remember what Kf means - but it is not the name of a restaurant ! At this point in time I shelved planes for this album for an urgent need to press on with new work, this already being old hat. That project, my 28th album was Dm 8 - 'Inventions for Tibetan Drum'. Quite sometime later I completed the Album with 4 stray pieces I hadn't got a home for.

17. Zenith - Rh 272.

18. Zenach - Rh 275.

19. Einzsnenamb - Rh 290. A Piece related to Einzstuck.

20. Einambsin A - Rh 295. Another piece related to Einzstuck.

credits

released August 8, 2014

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julian Broadhurst Derby, UK

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