Cracks in the soundtrack

I went to see a play last night. It was fine. The music bugged the hell out of me though. Set in the 1980s, the selection of songs was too genre-specific, too on-the-nose; a compilation album about what the era might have been about. A similar thing happened during This House a couple of years back – it just didn’t feel real. I’ve got a vague memory that Phil wrote something about this kind of thing, but I can’t find the right search string.

Anyway, during the interval I realised that one of the songs played pre-show had been wrong. It was a cover version of Buzzcock’s “Everybody’s Happy Nowadays” by Ash and Chris Martin from Coldplay. And I think, once that clicked, I struggled to clamber back into the play. This little moment of carelessness which got me battling with the fourth wall.

(Oddly I’d actually been humming that very song when I woke up yesterday morning from a dream about Shaun of The Dead)

Another thing in favour of The Drowned Man then, which collapsed time so totally that it comfortably cherry-picked from 100 years of recorded music and never broke kayfabe.

A distant roar, moving closer

On Sunday, James treated me to the delights of the Farnborough Airshow. It was absolutely mad – like fireworks in the daytime. Noisy, brash, smelly and brilliant.

Far and away the thing that made the biggest impact though was the art right before it. The Wind Tunnel Project, specifically Flying Into The Dawn by Thor McIntyre Burnie. Two absolutely beautiful sound installations that hammered around the space available with only minimal intervention in terms of projection, signage etc. I wish I’d visited earlier – it closed yesterday.

Very few photos snapped, even fewer that turned out nice. Here’s one of the final room, and Bridle.

The Wind Tunnel Project

I need to see more sound art/land art/infrastructure art. If you know where I can find any let me know.