Chain Ring (I)
6 months later I found my minidisk hadn't recorded it properly at all and the disk had become severly currupt. With the aid of magnets, tv radiation and WD40 I recovered some of this information and set about composing an electroacoustic piece.
This documents not only my strugle to recapture lost information, ideals and aspirations for a new sound world which was now partially lost forever, but also my atheletic aspirations pertaining to focusing my mental state in an idealised projection of percieved bodily gain and enhancement.
Chain Ring (II); The AntiCyclist
I bought a new 62 tooth alloy chain ring for my new road bike, I removed the older one and recorded it as source material for a new piece.
While the intention was to process the material with electroacoustic
methods, I discovered such a rich sound world within the minimalist recordings
that it began to take on a musical life on all of its own. Thus the new
piece was composed with absolutely no processing of any description (including
no spatial enhancements such as reverb).
With the hindsight of experience and a year's worth of training on my
improved machine, coupled with two nasty head-on crashes from bad motorists,
CHR II looks at an opposite world of conception and reality,
both in how my
The clean and concise nature of the music reflects the strictness of mental control in cycle training, but also the serious nature of metal collapsing against metal and flesh.
Peter Green's works have been performed at numerous festivals across the UK and abroad. His output includes:
- electroacoustic works (including Chain Ring)
- music video works (including The Perception of Self in Virtual Community Environments, commissioned by Sonic Arts Network and performed in over 30 cinemas and festivals in 2001)
- dance works (most recently Kidnapped for the JamT Dance Theatre)
- theatre works (including a major score for a West End performance of MacBeth in 1999)
- concert works.
His latest album has just been released on the Rephlex Records label.
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