Well, that was PRSF New Music Incubator

This time last week I was preparing for a concert at The Luleå Kulturen Hus in northern Sweden, as the culmination of my time on the PRSF New Music Incubator programme.

The programme creates an intensive collaborative environment between ten UK musicians and ten Swedish musicians. The first leg of this was in the UK and the second in Sweden, concluding in a number of performances or sound-art pieces.

Here is a recording of the piece I performed with Anna and Luke:

[audio: https://www.mrunderwood.co.uk/audio/Slukanna_LOW.mp3]

Link: www.mrunderwood.co.uk/audio/Slukanna_LOW.mp3

I love the subtlety of the playing in this. Sadly it is a little lost against the background noise of lunch at Kulturen Hus.

Note: I performed a further piece with Stellan Stefan and Anna but my part was mainly as a sound technician, so I will let them present this piece.

As someone who had collaborated intensively often before I was keen to see what being given this opportunity on a more professional basis would bring about. It turned out to be an amazing experience both in terms of exploring and developing my own practice, and meeting a group of wonderful people that I feel I can discuss and develop new works with. It also opened my eyes to international opportunities, which is something I had been rather blinkered about previously.

The key now is to stay in touch with the participants and make some projects happen. I am lucky to have been working already on a project called “One Water”, run by Jonas and Annika, for which I have designed and built a water instrument with my new partner in such things, David Morton. Here’s a sneak peak of what it sounds like.

I have made plans to work on some further string drone and electronics pieces with Luke (and hopefully Anna). This excites me greatly as Luke really seems to understand the subtlety of playing and dynamics required to get the most out of drone pieces, emphasising their scale.

I am also formulating plans with Patrik Jarlestam for ORE to play in a number of fascinating sounding acoustic spaces in Sweden. As this forms a major part of what we are interested in I very much look forward to exploring the possibilities of this.

This is a great start but in fact I’d love to eventually work with everyone involved. Yes that might be a bit pie-in-the-sky but I always have been an optimist.

Oh and on a personal note, I felt far less out of my depth this time, after a period devoted to developing my music etc. Most positive!

I would like to thank the PRS Foundation for making this happen. Thanks also to all of those who looked after us and made it work day-to-day. Huge thanks to the participants, who I count amongst my friends now. Special thanks to Capsule for putting me forward for this wonderful opportunity.

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As an aside: I loved Sweden. I was lucky enough to spend some time in Stockholm, working on “One Water” and then I took the night train up to the north. Fantastic scenery! On the Wednesday I had a bit of time in Stockholm and I started my day in a café which had a book on street photography in it. This reawakened my love for such things and I spent the rest of the day snapping away. Here is a gallery of the results:

Newsletter #1

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I am busy building instruments, developing the Sound of ORE and finishing off building my recording studio. All exciting stuff but it doesn’t leave much time for blogging at present…

PRSF New Music Incubator – Initial response

Last week I attended the UK leg of the PRSF New Music Incubator, for which I was selected earlier this year. This was held at Brunel University, the Swedish leg takes place in some remote northern Swedish town in April 2012.

Here is a list of the current participants.

I decided to write an initial response to my time there before memories fade. I have not reflected on stuff in great detail, in fact I just wanted to blurt some stuff out there. I find this a valid part of how I document stuff and also quite cathartic. More measured thoughts to follow…maybe.

The schedule and process was pretty intensive. Each day we’d make our way to the food hall at 8am for breakfast, then to the main hall for 9am to be divided into groups and to be given our theme for the day. Each evening at 8pm we would “perform” whatever we had managed to achieve that day. Days were pretty long, creatively charged and were followed by long sessions to evaluate what had been presented. These were sometimes quite impassioned affairs.

On the first night it became apparent that the people chosen were all really pleasant, as were the people leading the programme. That was a great start and put me immediately at ease.

For me personally it was an emotional time. I had to travel back on the first day to attend a meeting to see whether the studio I had spent all my life savings on having built could be rescued from possible demolition, as it was too tall. I find planning a pretty dull subject area but the potential consequences were substantial for me and had been causing me stress and bouts of depression for months. I was really nervous but I am so pleased to say that it was passed and can now be finished. This is GREAT news but the whole episode left me even more emotionally drained than just the intensity of the programme itself. My instinct was that I wanted to be around people I was already close to that night and the next day but it was actually really nice just getting on with stuff and seeing how happy those who I told were for me. Again, it showed how damn pleasant the people on the programme are.

At times I felt out of my depth. I am clearly at a different stage in my musical development to pretty much everyone else there, which included accomplished composers, players, or experts in their fields. By the last day this feeling got to me a little but overall it was really good to be given an indication of what level I should be looking to achieve. It also meant that I learnt shedloads from everyone else. I hope I was able to give something back but some of the time I just felt I was leaching expertise.

I was reminded how much I want to excel on an instrument or in a given area, rather than as is currently the case, where I am fairly proficient in a number of areas. People demonstrated some amazing work throughout as part of how we got to know each other. On the last day I had demos from Robert Ek, a hugely accomplished clarinet player, and from Mark Fell. I consider both of them to be at the top of their games. This just made me want to concentrate my efforts more than ever.

As ever I didn’t document stuff as well as I’d have liked. We were busy! The best I did was take a few photographs of my group on the last day (below). More material will no doubt surface in due course.

Lina Lapelyte

Robert Ek

Mark Fell

My kit

We all provided feedback about the programme on the last evening. There’s no need to go over that here, other than to stress one thing, I think it could be even more successful given a broader range of people and influences. I don’t really know what sort of music PRS hope the programme will result in but for me the participants were drawn from too narrow a selection of musicians and backgrounds.

I have not stopped thinking about the week we had together. In the shower, on my morning bike ride etc. It has really challenged me and I believe it will focus my efforts greatly. In particular the single-mindedness and expertise demonstrated was just a big kick up the arse for me. I admire so many of the people on the course, it was great to spend time I their company. It was all I could’ve hoped for.

I am really looking forward to Sweden and am confident interesting collaborations and future works will arise.
I’d like to thank everyone involved in the programme and a special thank you to Capsule for nominating me. Your support is hugely appreciated!