Peter Batchelor: composer, sound designer

Kaleidoscope: Cycle

for 8 channels |

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NOTES | SPATIALISATION

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Mirrors reflect the coloured beads within, creating patterns of varying complexity which evolve as it turns. Even the most subtle movements produce dramatic changes in colour, density and texture. This piece continues the idea, first explored in Kaleidoscope, of composing an environment of total immersion, where the listener experiences the sonic activity from within the sound itself.

Fissure (2006 | 9’47)

...is about the breaking of things. It is about destruction and fragmentation, division and fission. While redolent of disruption, this kind of activity also represents catalyst and commencement, and as such Fissure introduces the idea of the fragment from which the following works in the series emerge. The piece explores the sounds of breaking environmental materials (e.g. cracking ice and thunder (celestial fracture)) and those of frictional play (grinding/sliding) with these broken materials.

Nebula (2012 | 13’17)

...is loosely inspired by the legend of Ys, a city swallowed by the sea off the Brittany coast whose ghostly cathedral bells reportedly remain audible when the sea is calm. As such, this piece celebrates the ephemeral, fleeting and transient through swirling textures and particulate sonic clouds. Periodically these particles coalesce or give way to coherent, solid soundscapes before exploding again into sonic nebulae.

Pulse (2013 | 8’04)

...explores impulse along with rhythm and periodicity. It plays with real-world sounds which exhibit such behaviour, both mechanical (engines and machinery, bicycle chains, a record player, thudding helicopter blades) and natural (crickets), allying these with looped sound fragments and repeated rhythmic patterns. Musical relationships are sought between these various materials, and the polyrhythmic complexities that result from their combination.

Fuse (2013 | 9’40)

...represents a coming-together of sonic particles into effluvial, noisy clusters, and into notionally ‘whole’ real-world soundscapes, albeit soundscapes which themselves involve sonic effluvia (rain on a tin roof, fire crackling, accumulated shouts/vuvuzelas at a football match). These in turn dissolve into and meld (fuse) with each other, yielding sound evolu- tions and marriages impossible in the real world and facilitated entirely by spectromorphological similarities.

 

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