I was commissioned by Bangor Music Festival to compose a piece of electroacoustic music for their February 2018 festival. The theme of the event that year was space and I am happy to say that the work shares a stage with Birmingham Ensemble for Electroacoustic Research (BEER). BEER worked in collaboration with the Art@CMS project at CERN in Switzerland, using real-time sonification of data streams from the Large Hadron Collider, the world’s largest and most complex particle accelerator.

This is something which it is foolish to compete against; that, and the fact that I literally have Scott Wilson (of BEER)’s book on coding in Supercollider sat on my desk. Thus I chose to take a different tack and rather than approach it from an analytical and scientific angle I went for something closer to home.

A lot of what is in the popular imagination about space and space travel is precisely that, imagination. From the Barron’s Forbidden Planet through to the electronic squelch of radio communication a lot of what we think of as space-related is a very human construct. What fascinates me is how much of what we believe sounds as if it comes from outer space or under the sea (or for that matter any environment out of our direct experience) is actually a result of dubbing and sound design in the media. As a culture we have bought into the idea of rockets rumbling as they go past, even though there may be almost nothing in the void of space to transmit the sound and the glockenspiel twinkle of stars is almost as real as the piano wire scrape of the Tardis. This provides a fantastic palate of subverted fantasy with which to create and explore a rich and varied sound world. Apart from the use of two pieces of NASA archive; launch and countdown, the rest of the sounds used I have recorded and shaped myself.

Great delight was taken in recreating a few iconic ‘otherworldly’ sound objects and effects along the way, 50 pence pieces were rubbed down piano strings to provide the basis for a tardis noise before looping and adding spring reverb. Humming strip lights were close mic-ed to create light-sabres, and some generative coding brought about drone progressions similar to the opening of Star Trek. These and many other sounds were used as the raw materials of the piece and then developed as the different timbre interact and evolve. The result is an acousmatic work utilizing a wide variety of sounds from analogue synthesis through to simple dislocation and out to generative algorithms creating an apparently extra-terrestrial environment in which our earthbound ears and minds can roam.