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| The work
presented on To Look North is the result of Chris Dooks’s six months
residency at the University Of Teesside in Newcastle, in collaboration
with the Northern Region Film & Television Archive and commissioned
by ISIS Arts, an art agency based in North Tyneside. During this period,
Dooks spent his time between Newcastle going through hundreds of hours
of films recording a hundred years of culture in the North of England,
and his recording studio in Edinburgh. The CD includes twenty five audio
tracks built around excerpts of conversations, interviews and commentaries,
as well as eleven short films.
To Look North is a very significant piece of work in Dooks’s career as it establishes a link between his years spent as a filmmaker and his most recent work as a digital musician. Here, he creates an abstract documentary of his native region, capturing fragments of lives and fit them in seemingly arbitrary order. Each track is built around one main sample of conversation, extracted from its context, on which Dooks applies digital alterations and textures to extract the core meaning of the element used, obliterating any perspective. These voices become integrant part of the sonic substance and define the true signification of this record that is, creating a chronicle of the life in the North over the last hundred years. This process allows Dooks to perfectly integrate the intrinsic abstraction of his music with these external components. If the complexity of compositions is still present here, the digital terrorism characterising some of Social Electrics has been replaced by a more insidious form of perverse alteration. Minimalist in essence, To Look North appears luxuriant by its constant change of ambiences. Dooks dissects his sonic sources and randomly reassembles elements of crime investigations, lunch time dance lessons, scientific discussions, political activism or meaningless everyday conversations to outline the volatile aspects of life. The eleven short films accompanying these recordings accentuate this Chris Dooks’s aim with this record was to present a more human and happy vision of the North of England than the epitomic image built by the media during the Thatcher years, when unemployment and poverty were affecting the region. To say that he achieves is an understatement. The album is available to buy by contacting ISIS ARTS on their web site. |
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TRACK LISTING
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| Bovine Life: the interview here... | ||||||||||||||||||||||||||||||||||||||||||||||||||||
| During the nineties, Chris
Dooks became a respected filmmaker in the UK, thanks to his music documentaries,
including a film on Scanner man Robin Rimbaud for the South Bank Show.
In 1999, Dooks developed Myalgic Encephalomyelitis, a debilitating disease
affecting energy levels and the nervous system. Bound to his Edinburgh
flat, with his film making activities on hold, Chris’s computer became
his lifeline with the outside world, and, as he started working on some
music, he also developed friendships with a multitude of very different
artists around the world. Collaborations took shape, although Dooks never
met he’s musical partners, all work being done via exchange of MP3s, on
which Dooks would work when his health would allow. Social Electrics
collects some of these moments.
Despite the variety of collaborators present on this record, Social Electrics is an incredibly intense and homogene work. As collaborations alternate with solo efforts, it rapidly becomes difficult to discern between internal and external inputs. With elements of hip-hop, electro, field recordings or electronica confronting each other, this album is dense, complex and challenging. The tracks, very often made up of multiple elements juxtaposed, are short, rarely going over the four minutes mark, and held tightly together. Sounds come thick and fast, positioning themselves in the anarchic structures. Elements of voices, at times lacerated, plain at others, cohabite with bleeps, clicks, analogue noises and abrasive sounds. Out of this chaos, melodies sometimes emerge, and seem to bring some cohesion to the work. Dooks and his virtual guests, including Janeck Schaefer, Matt Elliot, of The Third Eye Foundation and Köhn, distort each other’s universe, challenge each component, recycle ideas, manipulate, experiment, and ultimately, create a most poetic symphony of promiscuous atmospheres, precarious beats and sonic interferences. Amongst the darkest and most uncomfortable moments of Social Electrics are found in the broken vocals of Ether Works Part 1 or the digital terrorism of Homeostasis, while Sevumpteen or Now We Are Light demonstrate a more human approach to the same basic concept. In between these extremes, Dooks and friends put their compositions through an incredibly intense process, eliminating any unnecessary element, to work at the core of the soundscapes, applying sharp and aggressive movie-like montage techniques to underpin the bare essentials of this record. To complement this release, No One Sees Black, a short film Chris Dooks shot shotly before becoming sick. Social Electrics takes an effervescent and refreshing look at contemporary music, ignoring rules and concepts, transcending genres and influences, to offer a disarmingly touching poetic vision. Nothing comes between Dooks and his work, and this record becomes a poignant symbol of a man in fighting. Social Electric is the truly magnificent work of a man in love with life. |
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| Bovine Life: the interview here... | ||||||||||||||||||||||||||||||||||||||||||||||||||||
| Buy this CD on line now | ||||||||||||||||||||||||||||||||||||||||||||||||||||
TRACK LISTING
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| CHRIS DOOKS
EXPRESS INTERVIEW
Top Five best albums of
all time?
Track you wish you had
written?
Best Chris Dooks work?
Best moment ever?
Favourite web site?
1. This one shows my street
on the opening page : http://www.bweb.co.uk/stockbridge/fshops.html
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| Bovine Life: the interview here... | ||||||||||||||||||||||||||||||||||||||||||||||||||||
THE SURFER'S
GUIDE TO BOVINE LIFE
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