INVENTIONS by Ben Carey
Ben Carey has released his newest material with Sydney's Hospital Hill label ( his third with them ) and I was quite keen to ask him a few questions before properly listening to ''Inventions'' which is beautifully published in a gatefold cover with just stunningly appropriate set of graphics.
I give you, Mr Benjamin Carey:
1. How does the new album place itself in your discography?
INVENTIONS is a departure for me, because of the breadth of sound materials used, and the depth of practical research I undertook in working with the various historical machines on the record. My previous solo record on Hospital Hill, METASTABILITY, was a deep dive into one large, unwieldy machine - the La Trobe Serge Paperface. Being relatively new to Serge systems at the time, this record documented my experiments of patch programming the serge, and ignited concurrent interests in historical machines, as well as how to understand my practice through the lens of the philosophy of technology. On INVENTIONS, I pieced together these 6 tracks from recordings made across a range of machines, in a range of locations (Stockholm, Den Bosch, Naarm/Melbourne, New York, Eora/Sydney). In addition, I've been understanding my creative practice as more deeply aligned with the theories and ideas of Gilbert Simondon, especially his notion of ontogenesis, and his conceptions of technical invention. I think the music is quite varied and multi-layered as a result, as I pieced together these works from numerous recordings made over a longer period of time.
2. What techniques in terms of approach and composition did you use on this new album?
As with previous records, INVENTIONS is a collection of works made with modular synthesisers and analogue equipment. Most of the sounds were recorded in isolation, as part of residency periods at numerous international studios. Such focused periods of making and recording allow me to explore the unique characters of the machines I am working with, but always with the intention of editing, juxtaposing and combining recordings at a later date. Many of my patches on these systems are often self-playing patches that involve feedback, both of audio and control voltage signals. But throughout the record there are is often clear melodic and harmonic material anchoring these more gestural, chaotic sounds. So although it's a rather dense and noisy record, there are moments of purity and beauty, also.
3. Plans for the future..
Lots of things, plenty of collaborative projects, gigs and releases in the pipeline. I'm continuing to work with my duo partner, Sonya Holowell on our project Sumn Conduit. We have a couple of releases we've been sitting on that will see the light of day sometime soon. I'm also keen to develop my solo live practice, as it's been a while since I've performed solo on a regular basis. I recently worked with Peachey and Mosig on the video for my track State of Latency, and we've been chatting about finding ways to connect our sonic and visuals languages live, too. Watch this space..
Inventions is a pretty dense and nuanced album. On one hand, we have to take into account that the compositions are very much connected to the actual instruments - in this case modular synthesizers and analogue equipment that Ben have used. On the other hand, we have to think about the time span of residency that he used to work with the equipment and create a viable framework to put his own ideas in place.
Beyond anything, the album presents itself as an outcome of a process initiated through previous studies, both practical, hands-on and academical approach which Ben holds his own place in, but foremostly - with a child-like, sensitive curiosity - to find out why and what and how to interact with the tableaux of the machines.
Where is the line between getting to grips with the hardware or maybe something a bit different? Observe, analyse, utilise, and let it grow?
Ben has worked in the studios in Stockholm, Den Bosch, New York, Melbourne, & Sydney. Different angles and different aspects of modular synthesis architecture. All in all we have a hard sound evidence here of how much of the instruments they all are. And Ben approached them with some form of holistic, for the lack of a better wording, ideas. Again - on one hand - instruments can be treated as a utility tool. On the other hand - instruments create space that their own features and characteristics open up and give a wide range and a field to experiment and compose.
''Inventions'' is an sonic ecosystem - exotic and pulsating in an ever so malleable magma of sound nuances, elements, droplets, climaxes, hidden echoes. A microcosm of things wonderful and perplexing.
How can you embrace such environment? Maybe the best way is by curiosity, not expecting too much and get blown away and struck by how much complexity can you put to create a multi-layered work of sonic art that you can attach, and then detach from different contexts.
A document, a work of complex art navigated by a skilled musician, academician and just a well-rounded human being. Thank you for letting us into your universes, dear Ben.
Equipment Used
ELEKTRONMUSIKSTUDION:
Studio 3
- Buchla 200, THC Buchla 100
Studio 4
- Buchla 200/200e
Studio 6
- 8 Panel Serge
WILLEM TWEE STUDIOS:
Studio 1
- Rohde & Schwarz SRT
- SRM & SIT Oscillators
- Wandel & Goltermann GMG-3 Oscillator
- HP 4204A & 651B Oscillators
- EG&G/Parc Model 189 Selective Amplifier
- Bruel & Kjaer Type 5612 Spectrum Shaper
- PAR Model 121 Lock-In Amplifier/Phase Detector
- HP 3310A Function Generators
- HP 3722a Random Generators
- PAR 193 Multiplier/Divider
- Wandel & Goltermann Hochpass-Tiefpass-Filter HTO-8078
- Hitachi 240 Analog Computer
- Studer A807 Tape Deck
Studio 2
- ARP 2500
- Telefunken Tape Deck
NYU IDM AUDIO LAB::
- 73-75 ‘Homebuilt’ Panels
- Random Source Serge Panels + 4x4 Modules
- CGS BoCGS Panel
MESS (Melbourne Electronic Sound Studio):
- Transaudio ProCase 6
SCM STUDIO:
- Akai GX-4000D Reel 2 Reel
- Digitana Synthi 100 (Mk1) Dual High Pass Filter
- Buchla 200e
- ELBY Designs EuroSerge
- NF Audio SPR-20 Stereo Spring Reverb
- DIY Plate Reverb
Composed, performed & mixed by Ben Carey at Elektronmusikstudion (Stockholm), Willem Twee Studios (Den Bosch), NYU IDM Audio Lab (NYC), Melbourne Electronic Sound Studio (Naarm/Melbourne) & Sydney Conservatorium of Music (Eora/Sydney), 2023-2025.
Mastered & cut by Helmut Erler, Berlin
Design & layout by Sonny & Biddy
Thank you: Gabrielle Karlsén-Beretta, Mats Erlandsson & Julia Giertz at Elektronmusikstudion, Hans Kulk & Rikkert Brok at Willem Twee Studios, R. Luke Dubois at NYU Tandon School of Engineering, Robin Fox, Byron Scullin & team at the Melbourne Electronic Sound Studio, Paul Mosig & Rachel Peachey of Peachey & Mosig, & to the many instrument designers whose machines are featured on this record. Thanks to Matt McGuigan for the continued support of my work.
This creative research project was made possible through funding support from Sydney Conservatorium of Music, University of Sydney
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