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Issue Issue 9. Un Magazine 7. While it is hard to establish all aspects of his work briefly, Ellard is best known as founding member of electronic and industrial band Severed Heads officially active from to For those wondering, think tape loops, discordant noise, synthesisers and drum machines. In the mid s, Severed Heads were a part of the cross-pollination of post-industrial, electronic and dance genres eventuating in the oeuvre Electronic Body Music.
Here is what we discussed. Whatever I do services the one internal need. I call it music , because that annoys tiny-minded people and also conveys the right balance of mathematics and hysteria for what I like to do. I truly believe in and practice the Orphic principle of drunken mess and tidy structure. Neither can provide art alone—each empowers the other. By that I mean it provides expert metrics by which governments can measure and then impose artistic outcomes—music is bad for that.
Its most overt guise is projecting onto buildings—the twenty-first century fireworks show meets Triumph of the Will , but in general it simulates being useful. My ideal of art is the opposite. Severed Heads made our own media before and after commercial success. In some ways that success was like owning two bakeries rather than one. More bread, so what? In other ways, it was like any tedious job in middle management—teamwork with your team leader to meet goals. Success is a funny idea.
When does it happen? When every living thing on the planet is obsessed with you twenty-four hours a day? The couple of times that we were successful I found it like too many drinks: starts great, ends up nauseating. The weird thing is how the audience still identifies people as being part of the band even though they died years ago.
The annotation tools for video we have now are about narrative—somebody somewhere does something. How do we describe timbre? Personality theory is able to provide a simple inventory of these kinds of traits—a five-dimensional grid of character. Previous systems were for one composer only, while this might inspire a universal descriptive system. But not just any colours, because Wilfred was a Theosophist, and for him colours had particular significance.
The colours will be selected according to mental forms they represent in Theosophical teaching. So the idea is to make a Clavivox that keeps everything good about analogue calculation and adds some of the good of digital calculation while satisfying the musical framework that he used. This obviously relates to my own hope of finding a scoring system for visual music. My nationality can take care of itself. Instead of bands and labels we have a new kind of DIY—the tools are the bands—people buy Ableton Live or a guitar instead of a record.
Instead of following musicians that represent a style, they DIY on a tool that represents the style. The ones I like to tease are the ones with impossibly large modular synthesisers and myriad button controllers. These days they control things. So bands and labels and all that are off to one side, in a petting zoo. Now we see a new DIY, sort of like the one that we started in.
Harriet Kate Morgan is a writer, curator, musician and artist who previously co-ran Joint Hassles gallery from to Hm Being an artist and musician for thirty years, how do you feel about the separation arguably dividing the two disciplines? What keeps them apart commercially, i. Is your research and catalogue involved in dissolving this gap, and did working in a group such as Severed Heads expand the possibilities for knowledge?
Te You say commercially, so I assume you mean in part the art and music industries. Industry deforms the original intention and deflects its energy. Each artwork is sublimated in different ways—music has a costume it has to wear and painting has a different costume and so on. Hm Will it ever be viable to make underground music, or will bureaucratic industry limitations actually always make it difficult to be employed doing what you love?
Severed Heads appear to be a group that was privy both to the world of DIY music culture and that of international recognition, in that you crossed from the former world to one of more commercially defined success. Was it all what you imagined? Did you notice profound differences in your approach towards your music, the music industry and making more records down the track? But in terms of being life-affirming and generous then of course it is!
I used to be angry about this adoption of language before I thought—hang on, none of these things ever meant anything. The closer you get to them, the less they have any substance. Hm Attention comes to few—did you see many make a living from music who deserved to? This is where I want to ask about any older local bands who fell by the wayside and should have attention brought to them.
Bands fall over for all kinds of reasons, sometimes people just get sick of each other. I got sick of myself. The most successful people moved on to more mainstream pursuits—like Graeme Revell making film music or David Chesworth forming an ensemble or Philip Brophy as a filmmaker. Moving overseas was the big bet—you would do well or slink back home. If you follow any group of people they disperse as fate takes them.
Hm You often refer to the death and resurrection of Severed Heads in your writings. It must feel good to be part of a working machine for this long. On the other hand, does it feel strange to have surges of attention almost thrust upon you at different points throughout the existence of Severed Heads?
You must wonder where these surges come from. Did working consistently with people make the process easier and did the success of Severed Heads affect the music and ideology? Then the public aspect gets ugly—they treat you as a brand that they paid for.
The anger is a conversion of the praise you used to get long ago and so you come to hate that praise, hate the fact that they aim their praise at a corpse. So you murder it. But it never stops—their rejection of you and their love of the thing.
In realising this system a number of issues in personality theory and ontology have to be solved from the perspective of the video composer. Through your research, what is being solved for the composer? Te I am immensely ambivalent about this.
On one side some things should remain free of language, remain inscrutable. My musician bias says I want to provide a score of my video so that others can interpret it. I can hum some Beethoven, you will recognise it—it is not tied to a specific sound recording.
That makes me sad. Hm You are working on a modern clavivox with Paul Greedy. What defines it as modern and what is involved in the assemblage procedure? Through your project Opmitter that no doubt transgresses audio-visual boundaries , what information have you obtained as an end result?
Have your research and subsequent affirmations continued to prove things you previously believed impossible within sound? Te The Wilfred Clavivox is one of many twentieth-century visual music machines. This had rotating discs inside like phonographic albums. Hm In terms of interpreting and channelling art through music, your recent project involving abstractionist Ralph Balson is on at the moment in Penrith.
Is this process appropriation rendered as creation, or is it something you see just as an act from your own artistic practice? Te Balson was a musician who used canvas and paint. Kandinsky and others saw music as a structure which could answer that. Balson followed on. I think that he shared my rejection of art straightjackets.
Hm Was the central idea within The Shape of a Note realising music three-dimensionally, as some sort of measure of the emotional effect music has on everything? How did you come to this point in your investigation? What data got you here? But mostly it was a plea that music and sound be brought together, that a note can be a sound sample and that there is room for both. So the dot on the score actually has a shape—a waveform, for example.
That was aimed at changing secondary school teaching, the few who took an interest were keen on it but there was no wildfire! Hm There are a lot of references to Australia within your music—what was your inspiration behind obtaining your samples? Was Australian identity received or thought of particularly internationally and how do you feel about being here? Te It was all you had. Severed Heads were bowerbirds and picked up shiny sounds on the local radio and TV.
You were far away from Paris and New York and you spoke from your place. When we finally did tour overseas there came songs about travel and eventually an album, Cuisine , that responded to country and western from living in the USA.
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