Cumbernauld Is PURE CINEMA
Made a visit to the centre with my old pal and incredibly talented audio engineer, Keir Long. As mentioned in my previous blog entry CUM 2 CUMBERNAULD. I’m working on a piece of music based round the centre and Keir came to record the ambience. I’m also very much hoping he’ll get into the music with me too; frankly he’s one of the most naturally musical individuals I know.
On this clear, frosty night Cnauld was the most cinematic I’ve ever found it. The sunset and blue light swathed the place in this beautiful diffused atmosphere. Armed with a Zoom field recorder, configured in Mid Side and a vintage AKG D230, omni directional, broadcast mic. Myself and Keir set about exploring with our ears.
Keir led the way as I had hoped. His ears are better than mine. My dad used to call me cloth ears and my mother was convinced I had such voracious wax build up because her father drove tanks and armoured cars in the war.
Service tunnel ambience
Interior traffic noise from ventilation conduits
Transformer Hum
Red Car Park ii (needs heavy rain)
Sounds That We Found:
Escalator Rhythm
Pigeon flutters and cooing from the derelict Falcon restaurant
The Lifts (excellent Sub Bass, mechanical noises, beeps and tings)
Ramp Ambience (we collected claps to make impulse response / convolution reverbs)
It is likely that some drums will be based off the escalator, sub bass will come from the lift shaft. Other than that I have a melodic synthesiser theme that I want to incorporate. We will make digital reverbs from our Impulse Responses, this will mean any one can have access to the ambience of Cumbernauld town centre and i like that idea a lot.
LETS SEE WHERE IT TAKES US …
Photos below are taken with a Canon 90d (ISO 1600+) and a Zeiss Distagon 18mm (28.8mm on the Canon’s crop sensor)
What is it about abandoned trolleys that’s so compelling? Someone once saliently pointed out to me that it is the cheapest way to get your shopping home… Though I hope no one lives in the service tunnels.
You will find many photos presented in the 2.35:1 widescreen format. Know as Cinemascope this format uses anamorphic lenses to squeeze a wide image on to film which is then de-squeezed by the projector lens. I have used this format to press home the Cinematic nature of the way I perceived the centre this night.
Inspired and well executed graffiti; it heartens me greatly that cursive is making a comeback in Cumbernauld. You will find a really lovely ‘Tyler is a slag’ in this cursive in a previous post. Can’t say it’s the same person, but there is a correlation.
This Monkey tag was spotted a few times. Totally different aproach than the cursive ‘peepeepoopoo’ - I like the smiley face roughed into the drips.
Cumbernauld College looking like a Pokemon / Interstellar Star Ship.
Yes the street lights are purple.
Keir in the blocked of access to Allander House (right) and the Penthouses (Left). Middle corridor is an active fire escape which leads out to the Tryst Road.
A beautiful crack
Just so you know, all of Cumbernauld Town Centre is slippery when wet. The dogged re application of this sign deserves respect.
Nothing in this photo is in focus and that is why i like it.
I’m sorry but this scene is sublime. Can you not imagine some sort intrigue unfolding here, this scene is so ripe for film making it hurts.
The blue hour was special
More evidence of the blue hour being special.
It’s hard to describe how enthused I was by this trash compacter.
I MEAN COME ON! The only thing that would make this photo better is if it was on film. I really love this, so much atmosphere.
At the shop end of service tunnel.
That trolley again
A staff smoking library in the service tunnels, that is a pile of books on top of the bin and a rat trap on the floor.
Decaying Tannoy / Fire Alarm? Fair Play to that cable.
Keir looking as cool as he is in Red Car Park II.
PRETTY CINEMATIC EH?
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IF YOU’VE GOT THIS FAR, THANKS FOR READING.
AND A BIG THANKS TO THOSE WHO ARE DONATING, THIS HELPS SO MUCH WITH THE COSTS OF FUEL AND FILM.
✴With Gratitude
This painting is intense and meaningful. Although this painting looks dark it becomes absolutely illuminated in direct sunlight and is highly textured so casts it’s own shadows. Whilst varnishing this thing I noticed what looks like a rose in one corner… Now, the house that I’ve painted (in Cuidhnis, East Harris) had a rowing boat called Rose, tucked in behind the gable end and protected with a fishing net. The Rose that has appeared in my painting was not made by me; it was made by eroding layers of paint with masonry brushes, bed sheets and knives. It appeared supernaturally, of its own accord. Random happenstance created it but it came from another plane and I must say that I’m pretty spooked by that.
Truth be told, this house still haunts me. I saw plates in the preas, the kettle still on the stove, Sunday-best shoes laid neatly by the bed and a-top it, a packed, brown leather travel case with a silk scarf and an ornate vanity mirror. Throughout my visit I was entirely calm. I felt welcomed. The house was peaceful and I felt respectful towards the people who had once lived there. However, when driving back up the west coast road, I was struck by a sharp, brutal pain in my right foot, as if I’d stood on a nail and not noticed. I stopped to check twice, at one point convinced that blood was pooling in my welly. It was as if the house was calling me back. There are two schools of thought on why folk left all their belongings behind in such a meticulous way; one suggests a sense of pride in leaving behind the remnants of a life well-kept whereas the other espouses that your belongings be left as an offering to the land which helped raise you.
My experience at this house left quite a mystic impression on me; it plays a starring role in a music video I made for James Lindsay to accompany his 10-minute Gaelic/metal/folk/jazz odyssey Lewisian Complex. You can watch it here.
I value this painting highly for it’s third eye vision; for it’s shadowy depth and what I perceive to be some sort of living connection to something dead. This painting was originally the cover of Breabach’s Album - Fàs. Which depicts the ‘last ent of Affric’ an elm tree stuck way up Glen Affric that looks like a grieving owl. It is thought to be several hundred years old and a survivor of the ice-age forest that once blanketed the hills there. My experience visiting that place was also a strange one, with macabre blood soaked snow, a murder of crows and cutting snow storms that nearly scraped the face off me. So the artwork for that album is underneath what you see now. Needless to say I have channeled quite a lot of something on to this canvas. Our diaspora, the wonder of the dead come alive, confusion about the mystical channel I seem to be able to tune into occasionally.
I shrug, I move on… I had this hanging in my house for 2 years and have not tired of it. However, I must make a change and move in to future somehow. I must search for ‘spooky action at a distance’ that compelled me to create this thing, painful though it was.
Some sort of cleansing… some sort of leaving?