Transatlantic Halfpipe
from More Songs About Asphalt and Speed by Rick Nance
about
I've always loved the sound of the board, but one morning on the way to work, riding a one piece, oak "Bama Boogie" board and wearing headphones, I noticed that my balance was off. I assumed it was some inner-ear-balance-smear from big volume. I took the headphones off and noticed that the real problem was, unknown to me, I normally listened to the board to give me my position on it, and not hearing the board confused things. I spent the rest of the trip to work walking back and forth across the board listening to the spectral shifts of sound of wood, speed, asphalt and PVC wheels.
The field samples in this piece are recorded from skaters in Birmingham, Alabama, Bangor Wales, Berlin, and Birmingham UK. The studio samples were recorded in the studios of the University of Wales, Bangor. Some of the skaters were me, Jimmy Tracy, and some people down at the Slab, an ex-industrial site of concrete pads and walls from former Birmingham steel days.
The field samples in this piece are recorded from skaters in Birmingham, Alabama, Bangor Wales, Berlin, and Birmingham UK. The studio samples were recorded in the studios of the University of Wales, Bangor. Some of the skaters were me, Jimmy Tracy, and some people down at the Slab, an ex-industrial site of concrete pads and walls from former Birmingham steel days.
credits
from More Songs About Asphalt and Speed,
released June 8, 2015
license
all rights reserved
tags
about
Rick Nance Leicester, UK
Sonic arts by ear, design and improvisation.
Some acousmatic, some not.
From the Southeast U.S. and now in the Midlands of England.
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discography
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Nov 2020 -
Mar 2015 -
Aug 2022 -
Jan 1999
contact / help
Rick Nance recommends:
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Migration Of The Device
by Jeff McLeodFor a good look at the Deep South's dark soul and a good example of MCleod's overall work. Jeff is one of Alabama's most prolific performer/composers. A strong heart peering into a hard place.
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by Monty AdkinsThis music borders dangerously on ambient, but remains compulsively engaging. It isn't the "furniture" of Satie and Eno. Instead it draws the listener into ever more subtle solutions and dust.
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The Wind at Beni Midar (2020 Remaster)
by Robert Scott ThompsonI first heard "Light Is A Liquid" in a Berlin concert hall. A surprise from Georgia. Later came "The Wind at Beni Midar". A cellist told me it was a "significant contribution to the cello repertoire"
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