Moment Of Trust:
The Worst In Me:
Enjoy The Process:
Video artist, musician and cynical Melbourne trans babe pulls shapes, bends circuits, plays new-wave heavy synthpop over Hi-NRG claps and takes her audience by force.
It's Laura Davis's InfraGhosts.
A recent paper states, with analytical evidence, that popular modern musical scales are based on the divisions between the natural frequency shifts in human voice during conversational speech. This finding, it’s stated, is the reason why we relate to music so readily. By simply putting notches in at varying intervals and wrapping it with string, we managed to teach a piece of wood to speak with the emotional clarity of a human.
The neighbour’s cat, who only occasionally sparks inspiration for reverse engineering, was in the house again, as per usual. If it’s voice were to be analysed in much the same way as a human’s in the aforementioned research, it could be possible to take this information, these recorded gaps in relative tonal frequency of speech, and create a scale to match a feline’s natural communicative response. A scale capable of manipulating the tender black emotions of precious neighbourhood felines.
Excited in the idea of making music which would resonate on a personal level with dear emotionally stunted Romeo the hard work was put in and this project began. Until it was realised that when Romeo spoke he was actually trying to mimic us. Cats don’t really talk in the wild and learn to meow with their best human accent simply to get our attention. Turned out Romeo had done his research too on how to please humans.
It was evident that this research barely resonated with Australian house cats named Romeo who get about Brunswick a little too freely, but since it was based on Romes's best research into human emotional connection it actually still held up as worthy of human consumptoon. This page is dedicated to the hours of work and dedication put into this research and the results I now freely share with you.
As a photo captures the representation of light reflected through a nearby window onto my gentle lovers soft visage. In the background, caught in frame, a haze of light is seen. This ghost unseen waiting to be found, was hiding just outside human perception until captured by camera's lens. Remote controls used this invisible light to signal messages much like Morse code from light house to ship. This infrared frequency is invisible and yet it exists.
The human eye receives very little, if just enough of the spectrum to facilitate the postponement of death. There is more reality in the unperceivable than the percievable. InfraGhosts was never a testament to the paranormal or occult, it was a message of the importance to consider our own invisible truths even when we do not have the the power to see them.
The stolen land of the Wurundjeri people of the Kulin Nation, respects paid. The Tote, Howler, Grace Darling, Tramway Hotel, Post Office Hotel, Yarra Hotel, Old Bar, Boney, Woody's Bar, Dane Certificate's Magic Centre, Laundry Bar, Loop Bar, Bar Open, Public Bar, Aeso Gallery, Seventh Gallery. Melbounrne Australia.
Contact me here. Or hit me up on the Socials.
Too much equipment is a distraction from the creative process and the bane of my musicians existence. From the "I'll get it done when I have X" ailment, I have suffered greatly. Learn what you have before thinking that something new will make you better. Also, most of it dies on a regular bases so don't buy anything on my say. Though, growing up I wanted to know what equipment the bands I was into were using, so here's my list. No time for settings, if you want to know just ask. Here's most of what gets used in the studio and on stage:
Bleeps, bloops and wooshes: Yamaha TX-81Z, Kawai R-100, Casio CZ-101, Kawai K4 and a dozen or so circuit bent CasioTones. Strings: A Japanese 80s P-Bass copy called a Profile Black Magic with some active EMGs installed and a MIJ Fender Jaguar with a humbucker in the bridge position. Effects: Yamaha Rev7, Korg KP3, Boss DD-20 Giga Delay, SubDecay Quasar Phase Shifter, Boss CH-1 Super Chorus, Catalinbread Heliotrope and a Composer Pro-XL. A lot of my distortion comes from an overloaded Boss 6 channel mixer, the BX-60. Recording equipment: Audio Technica ATM41HE, Rode NT3, RME DSP Multiface, Symetrix 302, Mackie 802-VLZ3 Mixer, T-rex Fuel Tank, a Peterson Strobostomp and a million home made patch cables.
For queries, quotes, abuse, love letters and potential collaborations.