As Melbourne returns to normal post lock-down, I’ve been attending some live music events around the city. The most recent was a performance of contemporary Australian compositions written mainly for percussion, including a piece entitled “When Only The Walls Can Sing” by Mark Pollard, performed by members of the Melbourne Conservatorium.
When introducing his work, the composer referenced the notion of “decay” in music, whereby sound waves continue to reverberate indefinitely, albeit in decreasing magnitudes of volume and resonance. Incorporating recordings of works previously performed by the Conservatorium, this 2020 composition is also a reference to our enforced isolation during the pandemic, when many people only had the four walls of their homes for company.
The concept of “musical decay” appears in many forms. Examples include:
The physical degradation that occurs with each playback of a recording (both analogue and digital), as exemplified by “The Disintegration Loops” by William Basinski
The idea that all sound is potentially infinite – given voice by Gavin Bryars on “The Sinking of the Titanic”….
…. and continues even when no-one can hear it, as suggested by “On Hold” by Photay.
The half-heard music that inspired Brian Eno’s early ambient and tape-loop experiments on “Discreet Music” ….
… and the related “systems” composition of Michael Nyman’s “Decay Music”
For musical archeologists, look no further than Philip Jeck’s epic installation piece (and related albums), “Vinyl Requiem”….
… and compare this to similar works by L.Pierre on his final two albums, “Surface Noise” and “1948”
Given the melancholic nature of “decay”, the “final” word probably goes to the conceptual work by AM/PM, that samples and amalgamates “The Ends” of certain records, to great effect.
Next week: RONE in Geelong