I was obsessed with the slippery, unstable nature of the categories through which we learn to divide experience: time, the materiality of objects and the imperceptible slide into intangibility, what some called spirit though I would reject the word for its religiosity.
But then there were texts I encountered while researching secret and sacred languages: “. . . And they saw the words coming forth from his mouth like birds of gold, silver and precious stones, which flew over the brethren in secret . . .” (from The Cult of the Seer in the Ancient Middle East, Violet MacDermot, 1971).
On New Years Eve, 1976, I gave a performance at Action Space, London (maybe solo, or maybe with dancers Miranda Tufnel and Eva Karczag, I don’t clearly recall), during which I poured fine sand onto a steel plate amplified through a contact microphone, dipped my fingers into lighter fuel and set them alight, imagining their silent flicker as the thin high song of hidden birds.
In Andrew and Marilyn Strathern’s Marsupials and Magic (1968) I had read about the concept of ‘calling upon’, used in relation to Mbowamb spell-making in the western Highlands of Papua New Guinea, a means of understanding a statement by “hearing the name of the action mentioned in it.” A comparison is made, a simile such as the gleam of a white marsupial/the shine of human skin; the simile is then spoken. Within the domain of sound and listening I experimented myself with this ‘calling upon’ various properties, processes and transferences in order to understand better the connectedness of phenomena.
More recently I began to use paper, fascinated by a strangeness that we take for granted. Flexibility, porosity, strength, a gleaming like the white marsupial. Reading, it might be said, is listening to paper. I scratched paper, wrote on it, treated it as a drum skin, thought of it as human or animal skin that could be responsive to touch and emit sounds. A book held open, illuminated by the drama of candlelight calls upon fire, warmth, the sound of breathing, a miracle of light in sooty darkness, words rising up like birds of gold, silver and precious stones.
Using tight compression I crumpled paper close to microphones, allowing it to unfold slowly as if giving up a contained secret, its faint crackle fading with the gradually easing elasticity. There was a world in there, close to what we hear when we are alone and silent, nothing stirring, without movement, minds drifting and open. Is it possible to share this micro-world, as listeners collective yet separate? I tried; failed. I tried again; failed. I will try again.
David Toop will perform Many Private Concerts with Rahel Kraft, Wan-Chien Cheng, Tomoko Hojo, David Bloor, Deniz Paran, Brigitte Hart, Tu Pham and Alessia Franchi at Collective Capital, London Contemporary Music Festival, Ambika P3, NW1 5LS, 11 December 2015, from 19.00.
Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes eight acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016, a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize), Flutter Echo (2019) and Inflamed Invisible (2019).
Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released fifteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings (2016) and Apparition Paintings (2020) on Lawrence English’s ROOM40 label. His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . . . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.”
In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. In recent years he has returned to collaborative performance, working with many artists and musicians including Rie Nakajima, Akio Suzuki, Max Eastley, Tania Caroline Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Thurston Moore, Jennifer Allum, Miya Masaoka, Extended Organ (with Paul McCarthy and Tom Recchion), Ryuichi Sakamoto and a revived Alterations, the iconoclastic improvising quartet with Steve Beresford, Peter Cusack and Terry Day first formed in 1977. He has also made many collaborative records, including Buried Dreams and Doll Creature with Max Eastley, Breath Taking with Akio Suzuki, Skin Tones with Ken Ikeda, Garden of Shadows and Light with Ryuichi Sakamoto and co-productions (with Steve Beresford) for Frank Chickens, the 49 Americans and Ivor Cutler.
Major sound art exhibitions he has curated include Sonic Boom at the Hayward Gallery, London (2000) and Playing John Cage at the Arnolfini Gallery, Bristol (2005-6). In 2008, a DVD of the Belgian film – I Never Promised You a Rose Garden: A Portrait of David Toop Through His Records Collection – was released by Sub Rosa, and in 2017 his autobiography – Flutter Echo: Living Within Sound – was published by Du Books in Japan. His most recent records are Dirty Songs Play Dirty Songs (Audika, 2017), Suttle Sculpture (Paul Burwell and David Toop live, 1977, Sub Rosa, 2018), John Cage: Electronic Music for Piano with Tania Chen, Thurston Moore and Jon Leidecker (Omnivore, 2018), Apparition Paintings (ROOM40, 2020), Field Recordings and Fox Spirits (ROOM40, 2020), Until the Night Melts Away (with Sharon Gal and John Butcher, Shrike, 2021) and Garden of Shadows and Light (with Ryuichi Sakamoto, 33-33, 2021).
He is Professor Emeritus at London College of Communication.
You must be logged in to post a comment.