Published 30 November 2015, as an artist book and accompanying CD.

Broadly, this work sought to opt out of traditional song forms, instrumentation and recording techniques; rejecting dominant structures, skills, and equipment. Instead it explored DIY and anti production techniques – investigating a model of popular music production not led by formal training or economic factors.

Materially, open improvisation and extended technique on turntable and tape was used as a basis upon which to respond in text and song. Minimal use was made of the digital audio workstation as a tool for anything other than live capture and audio splicing when desired - instead extensive use was made of hardware, and live processing and mixing. Often the internal working sound of instruments and hardware was captured; and broken, obsolete or domestic equipment used as the tools that were available.

The result was a series of works where sung melody met noise and collage, and song fragments floated in larger structures. The work exists in the emerging territory between sound art, experimental music, and more loop-based and song based popular music.

Linked to this research activity and output I conducted a series of public workshops entitled ‘De-skill and Scavenge: New Recipes for Songs' that explored crossover strategies forsongwriting, composition and improvisation with playback media, with groups of around 16 people.

https://research.gold.ac.uk/id/eprint/16441