DD Day has commissioned NW based artists to produce and perform a creative response to the Delia Derbyshire Archive. This quite innovative approach of bringing together archives/heritage and the arts seems to produce exciting new work that honours the heritage of electronic music whilst also looking forward.
Previous DD Day commissions:
- A new archive sharing audio collage by David Butler with visual live art response by artist Mary Stark (2016)
- A new music commission in 2016 by The Architects of Rosslyn – Mandy Wigby Producer/Composer feat. Howard Jacobs Composer/Musician – performing a live soundtrack to a collage of films by artist and ‘movician’ Di Mainstone.
- A new electro-acoustic music piece by composer, musician and instrument maker Daniel Weaver called “Complex Future” (2014). Daniel was particularly enchanted by Delia’s Inventions for Radio series of pieces, so his piece included spoken word, ambient soundscape and playing a clock chime and an old turntable with a bow.
- New digital visual art work by artist and creative technologist Andrea Pazos.Andrea’s work will accompany the music performances, thereby responding to both the archive and the performed pieces of music.
- Caro C – “Audient, my dear” (2013) Like Delia, Caro C is an electronic music producer, performer and sound engineer but operating at a time when the technology available is in stark contrast to the complex and time-consuming techniques used by Delia and her peers.
- Here is the studio version of “Audient, my dear” with visuals courtesy of Kara Blake (director of The Delian Mode):
- Ailís Ní Ríain – “The Consequences of Falling” (2013) Performed by classical trumpet player Brendan Ball and double-bassists Geth Griffiths. Ailís Ní Ríain is a contemporary classical composer. Ailís’ Delia Darlings commission The Consequences of Falling is dedicated to the memory of Delia Derbyshire and loosely based on Delia’s ‘Pot Au Feu’ (1968).
- LISTEN to an extract from “The Consequences of Falling”
- Naomi Kashiwagi – “The Blues” (2013) The Blues (Gramophonic Remix) drew upon the musique concrète techniques that Delia Derbyshire used for example, where found sounds were recorded and manipulated. The found sounds that artist Naomi Kashiwagi used for her commission were extracted from a shellac 78rpm record, The Blues: Part 1, by Artie Shaw and His Band.