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Cross Waves #7 performance "Top Songs"
curated by Eleanor King
By Dave Dyment
November 21, 2015, 8:00 pm
at The Box Toronto, 89 Niagara St
General $10
Cross Waves is a Canadian Sound Art series that includes performances and internet radio programs curated by eight media artists representing different regional and cultural perspectives in Canada. The series is taking place between July 2014 and February 2016. The content is contextualized by the curators through commentaries and essays and draws attention to Sound Artists from across Canada. The seventh in the series, entitled “Top Songs,” is curated by Eleanor King. King’s series will begin broadcasting in November on NAISA Radio everyday at noon, 8pm and 4am on NAISA Radio (www.naisa.ca/naisa-radio). A concert featuring performances by Dave Dyment, alongside works from King’s Cross Waves #7 radio programme will be presented on Nov 21th. The remaining upcoming series - Cross Waves #8 - will be curated by Jason Ryle.

Introduction by Eleanor King

i. the love song by Andy Dowden
ii. 100 lines, version 2.015,  2015 by jake moore and Steve Bates
iii. You Don’t Bring Me Flowers (A + B), 2015 by Dave Dyment (live)
iv. Ridin’, 2015 by Lisa Lipton
v. The Burden, 2010 by Benny Nemerofsky Ramsay
vi. For Bapu (posthumous overture), 2011 by Divya Mehra

I. the love song,1982 by Andy Dowden
My earliest mash-ups were sounds recorded from television in the 1960’s using a tape recorder, and I have been fascinated with sound since that time. I am struck by the creative potential which is revealed when recorded sounds are treated as analagous to clay, plastic, rubber, or even thoughts, but in an electronic form. As a popular form of musical expression, the mash up emerges from scratch and hip hop sensibilities. The mash-up is also a form of media art because it explores audio culture in a new way. It is reflective like a mirror, inviting society to listen to itself and wonder, “is that really us?”

The Love Song a strategy for reconciling or integrating music which is popular/public with that which is personal/private. At the same time it tells a minimal story with an almost operatic flavour. Love goes out partying all night.
II. 100 lines, version 2.015, 2015 by jake moore and Steve Bates
100 lines is a call out in the dark.
Punk rock is our shared history and often a touchstone between us. We grew up in parallel and performed in bands in the same city long before we came to know one another directly. Song titles, bands and specific events associated with punk and post punk illustrate kinship and shared knowledge between us (and others). The musics are emblematic of dischord and resistance, desiring of different, evidence of difference yet often carried a quest for the commons as a way to challenge the then contemporaneous socio-economics of Thatcher and Reagan that have continued to lead us downwards into the neoliberalist now.

We challenged each other to come up with 50 lines each, in no particular order, of lyrics that have stayed with us. Words or utterances that actively reside within; the sort of thing that one hears internally while in the non-places of contemporary society. We recorded without knowing what the other had selected. We began each line at the same time so we could not always hear what the other was saying, one of us in Montreal and the other in Stockholm, Sweden. The sonic effects and delays are indexical of the distance technologies yet suggest a more affected production. This interference of distance manifested troubles the communication through the very tools that allow it, and asserts again the sonic as our shared space. There were some expected crossovers, beautiful actions of simultaneity of the same lyric in the same order, and near misses of the same song but different section. The intention was not comprehension of the lyric or the creation of a chorus but a volley to the other, the lover, to seek resonances and visit oscillation, to communicate.
III. You Don't Bring Me Flowers (A + B), 2015 by Dave Dyment
Live Performance

A case-study of the circuitous path of the first hit 'mash-up' or 'bastard pop' song. The work takes the form of a brief presentation (lecture as sound work) followed by a turntable duet.
IV. Ridin', 2015 by Lisa Lipton (a.k.a. FRANKIE)
This audio piece was developed during an audio residency program titled: Secret Selfie Residency, in the Summer of 2015 in Halifax, NS. Here, I created an experimental sound // noise recording that explored an alternative narration and voice for myself as drummer. The bed track for the sound piece was sourced through recorded drum practices, that became distorted and accentuated with additional dialogue, beats, songs and sound samples. Ridin’ acted as an emotional, present response to what was being felt and found throughout the residency week.
V. The Burden, 2010 by Benny Nemerofsky Ramsay
The listener heard an individual trapped at the threshold of making an I-statement, caught in the infinite complexities of this world, traveling through vast pleasures, lamentations and solitudes of the ego. The “I” is sustained, uninterrupted over seven minutes, and as it stretches, a constantly shiftng musical score emerges, transforming the colour of this vowel through a spectrum of wordless emotions. Designed for an audience of one, when installed in a gallery, The Burden is accompanied by an arrangement of mirrors and a silkscreened concertina bookwork.
VI. For Bapu (posthumous overture), 2011 by Divya Mehra
Documentation of a live performance by a cellist of Tupac Shakur’s Ain’t Mad at Cha’. Artspeak, Vancouver, Canada 2011. Installed with speakers on a mahogany British parlour table circa 1890, dimensions variable.