There are some pieces I’ve made that don’t really have a home on any of the albums I’ve made, or that I can’t release because of copyright implications. Here are some of those tracks:
Music from Seke Chimutengwende and Steph McMann's piece Detective Work.
A collaboration with Neurolive (a 5-year interdisciplinary research project
bringing artists, scientists and audiences together to study
what makes live experiences special).
Music from Seke Chimutengwende's piece Plastic Soul.
All the tracks are made using samples from Motown recordings.
(Click on individual tracks to find out the original sources).
They Never Gave Us Anything Except We Took It
A piece featuring the voice of Chris Hedges speaking to
Occupy Protesters reading his essay, 'The Best Among Us'
(Occupy Washington D.C. on Oct. 6, 2011).
Music made largely on music game app's on my phone for Little Universe
a children's piece by the company Fevered Sleep.
Greenwich - 3rd June 2018
A piece I made for an assignment on a field recording course I did
with Marcus Leadley at Goldsmiths University, using sounds from Greenwich the River Thames and the courtyard at Trinity College of Music.
Seir (Iranian Journey)
Another piece using field recordings, this time a sound travelogue of a couple of weeks I spent visiting Iran between
4th and 15th Dey 1397 (25th December 2018 and 5th January 2019).
Hope's Two Beautiful Daughters (Anger and Courage)
A wee bit of noise from Don't Think About A Purple Daisy by Joanna Young.
'If the Route': The Great Learning of London [A Taxi Opera].
Performance at Studio Voltaire, London :: Friday 9th March 2009 at 7.30pm.
A collaboration with ten 'Knowledge' students (trainee London black cab drivers), Artist Beatrice Gibson and string quartet.
This piece consists of loops that were triggered in real-time through an app by people who live with chronic pain or fatigue and who were resting over a period of a week when ‘A Crash Course in Cloudspotting’ - a piece by Unchartered Collective, directed by Raquel Meseguer-Zafe - was shared as part of the Unlimited Festival at the South Bank Centre in London in January 2021.
The ‘resting loops’ were triggered in real-time by participants whenever they were resting, thus giving a sonic sense of a ‘community of resters’ and a stream of the resulting composition was broadcast 24 hours a day during the festival period.
Personally, I found it very moving to tune in to the stream at different moments and to be able to hear that I was being kept and keeping company with other people around the country as they rested.
As audiences ‘gathered’ online for a digital performance of the piece, the ‘resting loops’ were joined by others triggered by them as they ‘arrived for the performance’ to give an aural sense of the audience coming together to hear the piece … a bit like gathering in the foyer before a theatre piece.
This excerpt was recorded during the period from 16'26" - 16' 53" on Saturday 16th January 2021 in a period just before a performance, so you can hear both the ‘resting’ and ‘gathering’ loops.
All loops performed and composed by Jamie McCarthy.
Composition in collaboration with the ‘resters’ and audience members.
Binaural spatialisation by Charles Webber.
More information about the project at: