If our memories provide the blue print for our identity, what happens if our sense of self is built on a faulty recollection?
A False Memory of a Sports Party (2018) advances themes of dualities, identity and false identity developed through Double Bind (2012) and False Self (2016), by delving into our past — both real and imagined.
During the creation of the album I was inspired by Elizabeth Loftus's pioneering research into memory distortion and specifically the generation of false memories. The disturbing voices that haunt a false memory of a sports party reference Loftus's work. They speak of past traumas, yet we are unsure whether they are lucid recollections or fantastic confabulations.
All of the instruments heard throughout the album are late 1980s and early 1990s attempts to synthesize and sample acoustic instruments. These early digital instruments have a clunky, strange, counterfeit tone, that I find fascinating.
The album finds me once again collaborating with False Self. Working together in the fertile area where composition and improvisation meet. This time however, I extensively reworked, or to use Loftus's term — distorted, our joint efforts alone, in a final compositional phase of digital postproduction.
Rudi Arapahoe 2018
- Read the post below for notes on the False Self Supercollider program!
Double Bind (2013) was largely inspired by the writings of Gregory Bateson and Ronald David Laing. The EP explored dualities and the different selves we use to inhabit our various faces. With this new work I wanted to take this exploration further by introducing a new self into the composition process. I created this False Self in the SuperColider programming language, as an algorithmic musician designed to compose and play alongside my true self. False Self can ‘hear’ and responds to my improvisations by outputting MIDI harmonizing information voiced through a Roland Integra 7 sound module. False Self stores all of our joint improvisations as MIDI musical notation. He forgets nothing.
At first False Self composed in a naive fashion, though like any good student; he became more accomplished and free thinking. As time passed I taught him various scales, time signatures and rules to follow and occasionally deviate from. For instance, I programmed him to favour certain intervals and note durations when composing for tuned bells and alternate note ranges and closer intervals for leading musical parts such as wind instruments.
As the project progressed I found that if I positively adjusted the timing of his MIDI notes in post-production it would give the illusion that he had led the composition and I had been his accompanist. Further I realized that if I recycled the simple initial composition through False Self he would respond with another layer of instrumentation; or as in the case of It Becomes You, I found that if I removed the notation for the lead melody I had composed; then recycled the composition through False Self, my artificial assistant would compose in the vacant space, often to interesting results. The project frequently gave rise to the question of what and why is something in ‘good’ taste. False Self may have followed all of the rules, but due to some unforeseen condition he would make a decision that would take me off guard and lead my improvisations into new territory. At times I would write accompanying parts myself then later question whether they had been composed by my true self or the imposter.
Once False Self and I were happy with our compositions, the MIDI notation for the elements that were sounded by the Roland Integra 7 module was transferred into a REAPER workstation DAW. These musical parts were then rerecorded by human musicians and the synthesized elements rerecorded with my Korg Delta, Korg Poly 61, Yamaha DX7ii and Roland D550. The older synthesizers were all recorded as live performances to humanise the compositions and ensure that the record did not fall into the trap of rigidity.
I decided to master the sound levels in a comparable overall volume and fashion to early 1980s ambient music and hired two effects processors from the era, an Eventide H3000 and an Eventide SP 2016 reverberation unit to enhance the creative mixing process.
We hope you enjoy our first collaboration,
Rudi Arapahoe and False Self 2016
Excerpts from the commonplace book that kept during the creation of the album can be viewed here.
The Silence was Warm 4
Artist and curator Kentaro Togawa has relaunched his Symbolic Interaction project with a new compilation album entitled The Silence Was Warm 4. The album features a previously unreleased Arapahoe composition, dating from 2010, that was created in collaboration with the Serbian composer and vocalist Jovana Backovic.
Wiltons Music Hall
Welcome to the forest; the place where people transform into animals.
Directed and Produced by Tereza Dvorak,
Choreographed by Tulimelila Shityuwete & Katie Armstrong
Music composed by Rudi Arapahoe
In Older Kingdoms
Martin Thaulow (DK) and Rudi Arapahoe (UK)
68m2 Gallery - Copenhagen
5th – 26th May 2012
An art installation dealing with time,
decay and the parallel universes we all live in and interact with.
1. Lunar Semaphore & Pleroma - Rudi Arapahoe
2. Into Dust - Mazzy Star
3. Sleepless - Blank & Jones
4. The Broken Places – Moby
5. All Cats Are Grey - The Cure
6. Calling For Prayer (Chant) – Bliss
7. The Call – Cantoma
8. Sleep Will Come – Bliss
9. Fragment - Trespassers William
10. 301210 – Antonymes
11. Only Your Love (Ambient Version) - Blank & Jones with Steve Kilbey
12. Concept One - Sounds & Silence
13. Homesick - Blank & Jones
Shuffle the Pages Feed Me a Line
In the first week of July Shuta Shinoda worked with Rudi in London to complete mixes on the forthcoming album Shuffle the Pages Feed Me a Line.
Grønbechs Gaard, Bornholm - Denmark
17/06/2011 - 15/08/2011
An art installation by Martin Thaulow combining physical movement in space, ballet and video art.
Performed by Elisabeth Thaulow
Music composed by Rudi Arapahoe
Recently I was invited to sound design Bob Dickinson's new work Rendition. The piece was originally composed by Dickinson in Paris, then evolved through a five stage rehearsal process in which the author worked in tandem with the chamber orchestra, to refine the composition.
The composition was premièred at the launch of Artist Voice Network at the Nottingham Lakeside Arts Centre (UK) on the 21st July 2010.
Arapahoe music has been running in a 47 night theatre production of Kunio Shimizu's Gakuya (Dressing Room) in Theatre Tram, Setagaya-ku, Tokyo. The production is set to be televised nationally on nine occasions.
Variations on Silence
Conversation Piece features on the compilation CD Variations on Silence brought into the world by P*DIS Japan. Other artists to feature on the disc are Goldmund, Hauschka, Sylvain Chauveau, Akira Kosemura, Balmorhea, Deaf Center, Jacaszek, Peter Broderick, Ryan Teague, Takahiro Kido and Nico Muhly.
The Glen Johnson record 'Details Not Recorded' has been mastered at Purgatory Mastering by Rudi for release on 30th March 09. The album is being released through the artist run collective 'Make Mine Music'.
Echoes from One to Another
’Echoes from One to Another’ has made it's way from Helix Branch to Japanese HMV, Tower Records, Amazon and independents; teleported by Symbolic Interaction's Kentaro Togawa. The record embraces melodic composition and underscores it with spirituality, darkness and wonder. The strong European feel is voiced through harp, soprano, piano, violin, guitar, vintage synthesizers, field recordings and an array of antique electronics; given life by gifted collaborators under my ghostly direction.
Recently added to the 'gallery' section of this website is a photographic collaboration with the artist Piero Roi. Dante Alighieri's journey into the afterlife The Divine Comedy was drawn upon as a rich reservoir of inspiration during the creation of 'Echoes From One To Another'. Their interconnections are made explicit by the haunting series of images Piero captured of me in the forest. Astonishingly each image is the product of a single analogue exposure. The artist is currently exhibiting the images alongside other shadows from his past in 'Art Cover' at Silvy Bassanese Contemporary Art, Biella (Italy)