Performance #1 – In The Globe Cardiff
For my first performance, I simply put live vocals on top of a premixed backing track.
Performance #2 – In Class, At The Atrium
Second performance, I used a vocal pedal with numerous effects such as vocoder, pitch shift and reverb on top of the backing track.
Performance #3 – At Gwdihw
For my third performance in Gwdihw, I took my performance a little further by using the traits of my last performances consisting of using a vocal pedal with effects and a backing track but I incorporated a DIY instrument I made consisting of a manipulated guitar hero and a Korg synthesizer, linked up to Ableton live and I manipulate stems in real time within the track.
The way consumers interpret live performance has changed in recent times. Before mass media, live performance was the primary form of escapism and entertainment for consumers, who were happy to leave their comes and go to the theatre. With the rise of mass media, this has changed quite dramatically – as entertainment is readily available in the form of recordings, on TV and the internet.
Instead of going to a crowded theatre to watch a performance, one can now watch a pre-made recording of the same performance from the comfort of their home – usually one of high quality that is enriched with multiple camera angles for the perfect view, colour and light correction and great editing that highlights the action etc.
Whilst theatre is still a profitable industry, it has certainly been overshadowed by the creation of TV and more recently, the internet. Theatre is usually only enjoyed today by specific theatre fans as opposed to TV which is generally enjoyed by the vast majority of the public.
In terms of the music industry, the rise of media has revolutionised the way music is released and made profitable for artists. It is exceptionally rare nowadays that a single is released without an accompanying music video in order to satiate consumers demand for visual material that they can watch online or on music TV channels. The entire process of making music now requires consideration over the fact that it is now expected for media content to be readily available for fans and listeners.
In the last few years, music sales have declined considerably year after year which has led to artists needing to find new sources of revenue which they found via touring. Live music performances serve as a way of creating a unique experience and atmosphere where consumers can experience their favourite music being played right in front of them by the artists themselves, as opposed to through a screen. Whilst once live performances were used to promote the music, it’s now the other way around.
Technological advantages have also meant that live performances are capable of being just as immersive as a filmed and edited video. Elements like specialist lighting, use of screens or even projections, pyrotechnics, all create a cinematic and effective live experience for consumers. These innovations have been essential to keeping live music alive, and without them it is likely live performance would have slipped from mainstream public interest much like theatre before it.
IAMX – No Maker Made Me Live @ JBTV
I would Imagine for some viewers it could be a bit much, and would’nt necessarily work well in a “mainstream” setting. With so much going on, people could find it possibly hard to concentrate on so much at once, or know what to focus on.
IAMX blends aspects of genres like rock, pop and electronic through it’s compositional elements such as the structure (verse, chorus, verse) and chord progressions etc. along with recognizable rock elements, such as minor keys and “heavy” timbres with lots of distortion. They also utilise dance-style bass lines and synth melodies. Their live set up uses electronic equipment and instruments such as synthesisers, sequencers and pedals with the addition of typical rock band instruments such as keyboards and bass guitar. These technical live elements alongside their use of costume and theatricality create an interesting experience for it’s audience.
Their genre of music is well received by it’s audience, which comprises heavily of individuals from goth and underground music subcultures and fans of rock and electronic music. As the music is thematically quite dark and deals with themes of depression, isolation, etc. it’s likely many fans of this music find it cathartic and it gives them something to relate to.
† CΛIN † (Live Set- 14.03.2015)
The genre of this performance is described as “witch house” which is a term initially coined as a joke but caught on and used widely to describe house music that features heavy distortion, messy soundscapes and unrecognisable vocals, usually with occult or horror themes.
Chelsea Wolfe – Carrion Flowers (Live Yverdon-les-bains 17/11/2015 )
The only complaint to this would be the video itself which was converted to black and white during editing, which doesn’t reflect the atmosphere and experience of actually being there, but this is not a problem caused by the performance itself.
Chelsea Wolfe’s music comprises of an eclectic mix of elements from genres such as folk, Gothic and heavy metal. The light and high pitched female vocals and harmonies contrast starkly with the distorted and detuned wall of guitar sounds, and the arrangements themselves are cinematic and wouldn’t be out of place if they were part of a movie.
The music itself is very niche and unusual, and would probably appeal exclusively to people who enjoy experimental music. For those who do enjoy it , Chelsea Wolfe provides a fascinating unique edge to genres that are otherwise considered overdone, such as metal.
-Why is this genre relevant to you?
Each of the genres and artists mentioned here are relevant to me and my work because they have served as inspiration for my work.
-How does your work relate to the performances you’ve picked?
IAMX’s electronic pop and sonic elements as well as their visual aesthetic are very influential for my project, the DIY and distorted sample elements of witch-house genre of music have also been used in my piece. And the cinematic sound-scape’s of Chelsea Wolfe really helped shape my idea.