Graduates 2024: Greta Carroll: Digital Music and Sound Arts

Posted on by Johanna Bramli

 

greta carroll

“I have loved my tutors and the technicians and how inspiring they are. I have learnt so much and now I know the ins and outs of both the history of sound; I’ve enjoyed learning to record the sound of electricity and having a deep knowledge of artists and what they do. I’m dyslexic and had very low confidence in myself all my life. I feel the course has really freed me up and I feel I can hold my own now in a conversation in sound and electronic music.”

 

Tell us a bit about your work

“Here is my artist bio: Experimental pop musician and producer and performer CURRENTMOODGIRL makes sounds that dance between the dark and the light, resembling her the industrial landscape of Manchester, her Northern hometown. Utilising electrical pick-ups and dark, glitching synths, she creates textured soundscapes melting together with her siren-like but raw vocals, her rhythmic beats and anchoring basslines eminently danceable.

“CONTACT is about connections and the means of control between ourselves, our bodies, our minds, and one another. Manifested through sound, movement, and visuals, it is a multidimensional live performance intended to be experienced in the flesh. The work involves a self-made touch sensitive dance pole as an instrument which captures the sensory movement of the body. CONTACT is a sonic experience of electronic music and sound performance presented through a 5.1 soundsystem, transforming our visual sensibilities and challenges our societal idolisation of fragility and the female form. The performance grew out of the heavenly and broken unravelling of the self, trusting one’s own body, sexuality and celebrating being alive through the bad, the good and everything in between.”

CONTACT was performed at the Graduate Show.

greta carroll

greta carroll

 

What made you choose your course?

“I have been a musician for many years, and I was feeling dissatisfied with how limiting it was and I felt unfulfilled. I found the course when looking for alternative music and sound production courses. As an artist whose work spans numerous mediums, I needed something wild and unconventional that questions everything and uses abstract techniques to create sound. When I discovered DMSA, I immediately felt like I belonged there.”

Can you tell us about your favourite part of your studies and how it helped the development of you and your practice?

“I have loved my tutors and the technicians the most on the course and how inspired thay have left me. I have learnt so much and now I know the ins and outs of both the history of sound, all the facts and scientific stuff about sound too. For example Iv enjoyed learning to record the sound of electricity and having a deep knowledge of artists and what they doo.

“I’m dyslexic and had very low confidence in myself all my life. I feel the course has really freed me up and I feel I can hold my own now in a conversation in sound and electronic music.”

Can you tell us about any staff who particularly inspired you?

“All of them in different ways, its great to have a woman as the course leader Johanna Bramli has really looked after me, I feel she has been there for me alot.

“Stephen Mallinder is is a uplifting person to be around, he’s helped me lots to have more confidence in my writing and studying I’ve always struggled with  reading and studying as Ijust have never felt good enough but Mal has always picked things for me that suit me as female artist and I’ve really enjoyed that part of my course witch was unexpected.

“Caleb has been really inspiring, his classes are the most fun for me. I took a lot from him in my exploring new sounds, he understands the way I make music, and helped me dive more into the weird side of sound.

“And our technician Paul, he’s taught me lots of production and mixing techniques and taught me how to play the modular synth and use other equipment.

“I feel all the staff have given different things to me so I am going away from this with so much, I feel like Digital Music and Sound Arts BA(Hons) (brighton.ac.uk) can do anything now.”

Can you tell us your plans after graduation?

“I’m planning to move to London and work more on my music. I would like to do a residency to further my practice, I’m also going to be doing some sound workshops. I’m thinking of doing a masters but I need a little break first to reset from all this madness.”

Finally if you could give your 17 year old self any advice about going to university what would it be?

“I’m a older student so I came to uni at 31 years old. I’m glad I waited, I think that was the best thing I would do I also have been against uni for as long as I new so this was a big surprise i never thought I would do, i would say to myself that just cos I had a horrible time in education before this. But uni is different and I shouldn’t let my dyslexia and mental health stop me from thinking I’m any less than anyone else.”

Instagram @currentmoodgirl_ 

Spotify: https://open.spotify.com/artist/24pePTKrry9Zv7xrmHRqF7

Bandcamp: https://currentmoodgirll.bandcamp.com

Facebook: https://www.facebook.com/CURRENTMOODGIRL/

 

Greta Carroll was the winner of the 2024 Outlands Prize.

Find out about studying Digital Music and Sound Art at Brighton.

Graduates 2024: Miles M Reid: Digital Music and Sound Arts

Posted on by Johanna Bramli

“As an interdisciplinary artist, this course has been the perfect way of building my skill set in various mediums. I have been able to dive deeper into the world of animation in my free time while developing my musical and artistic abilities.”

 

Please tell us a bit about your work

“The Arcade Project (2024) is an A/V, animated found footage horror installation consisting of a 5.1 sound setup in 3 arcade cabinets. An overwhelming concoction of visual and self-plundered sonic noise builds as we are left to feel helpless, dominated, yet awestruck. We watch as the once-perfect games become corrupted and mangled. The Arcade Project is a look into fantasy culture, tech gore, narrative and nostalgia in a short span of 10 minutes.

“I took inspiration from a variety of source; the analog horrors of Martin Walls; the anti-piracy horrors of ZeroVR; the noisy rebellion of Dreamcrusher, the Plunderphonic attitudes of John Oswald; the orchestration of Peter Gregson’s Patina (2021). These and so many more have led me to create something truly special.”

 

What made you choose your course?

“I considered so many other courses. I have such a wide range of interests – from visual arts to R.E. Once I dove deeper into the world of sound art, I was hooked. I recall getting odd looks in secondary school for sampling water bottles and rubber bands for bass tones. I’ve always loved sampling. My current methods of textural and Plunderphonic exploration are the direct result of my prior risk-taking.

“As an interdisciplinary artist, this course has been the perfect way of building my skill set in various mediums. I have been able to dive deeper into the world of animation in my free time while developing my musical and artistic abilities.”

Can you tell us about your favourite part of your studies and how it helped the development of you and your practise 

“I enjoyed exploring alternative sound systems. The SDL and 5.1 surround systems were truly fun to experiment with as I combined spatialisation with my interest in orchestration. The Arcade Project was birthed from these concepts – moving away from the stereo field inherently creates freedom in composition and audience perception.

“I also enjoyed learning about noise culture, graphical scores and film scoring, each providing fresh, alternative ideas.”

Can you tell us about any staff who particularly inspired you?

“All of them!”

Can you tell us your plans after graduation?

“I will work both commercially and artistically. I have a very entrepreneurial mindset. I want to have that solid financial foundation while I build up my artistic expression. Many artists sit on this spectrum of art and income – I want to strike my own balance.

“I want to continue to develop The Arcade Project while working on my other installation, Swimming Pools (2021), featuring Daithi “Electronic Child” Donnelly. This memorial project almost feels full circle, it being the first project I worked on during my time at DMSA.

“I will also be working on publishing my final essay surround fantasy culture and modern day found footage horror.”

Finally, if you could give 17-year-old advice, what would it be

“Find purpose in what you do.”

 

 

Miles M Reid was the DMSA nomination for the Nagoya Prize 2024

Find out about studying Digital Music and Sound Arts BA(Hons)

Posted on by Johanna Bramli

DMSA Showreel 2024

including works from: Miles M Reid // Error_0_X106 – The Arcade Project Daithí Donnelly // Electronic Child – Rhythm: In Potentia Greta Carroll // currentmoodgirl – Contact Jude Bowden // Bleedinhart – Neuromancer Avery Laverty Caldwell // Minkgirl – A Little Witch Betwixt the Here and There Denis Sapuntsov – Echoes Bertie Myhill – Bird Talk Denette Lowry // Foamswords – The Moon and Back Harvey Penfold – Home in a Feeling Kristan Brown // Minxxyy – Escapism B. B. Martin // Slitlamp – Puretone Luca Lycksten-Miselbach – Metal Memoir Chloe Lubinska – Visualising Sonic Soundscapes Dante Ombima // DayC 3 – Feet Follow the Flower Owen May-Jones – Echos of Time EDITING: MILES M REID ORGANISATION/FILMING: CHLOE LUBINSKA & BERTIE MYHILL GRAPHIC DESIGN: DENIS SAPUNTSOV

 

 

Degree Show 2023

Posted on by Johanna Bramli

This year’s Degree Show is in full swing at Grand Parade with the work of the DMSA class of ’23

The exhibition is open 3-11 June with performances on Thursday 8th, Friday 9th and Saturday 10th.

 

poster design by Jolie McCallum & Talyn Sandhu (DMSA class of 23)

 

 

DMSA Feature: Esme Wright

Posted on by Johanna Bramli

2022 DMSA graduate Esme Wright joins us for this month’s feature to discuss sound ecology and audio forensics.

Three words that describe you as a creative person?

EW: Wistful, curious and weird

 

When did you start working with sound and music?

EW: I got curious when I was about 11 or 12, mostly about rhythm which kickstarted my drumming career, but in terms of the more experimental sounds, that became rooted when I was about 15 and gradually flowed throughout my life. When I began pursuing an interest in technology, that began pushing boundaries of what I could make with sound. Artistically, music has been a journal for me for a long time and a form of self soothing, and I feel lucky that working with sound has satisfied many facets of my mind.

 

In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

EW: DMSA gave me a lot of freedom to create projects that would push me in new directions, while also retaining some realism about what I could achieve within limits. I found a good balance on the course and a new confidence as a result, I also treat my ideas with more attention now, and solve problems with creativity.

 

Can you tell us a few words about VivaSonar?

EW: I’m still imagining my final project, and ways to take it further or create sub-projects. As I found so much comfort in creating a safe reactive space, I feel that exploring sensory dimensions and sound ecology offers endless possibilities.

I’d like VivaSonar to be a more immersive living and breathing environment, which must be maintained, but in turn offers a peaceful meditative space for the participant. I can use the same functions for that while also developing it with additional code. This is to support the integration of technology to assist our living and our planet, and prevent an overcrowded soundscape.

 

What are your plans for the near future?

EW: As well as VivaSonar, I’d like to form a project around Audio Forensics. I work in CyberSecurity, and I feel there is an interesting crossover there. There are numerous threats existing under the surface or visual sphere. Audio Steganography and using soundwaves to alter accelerometer readings are viable ways to disrupt data, and deep fakes are becoming difficult to distinguish between. To follow on from VivaSonar in regards to how sound can help us appease or find balance in our environment, I’d like to explore ways that sound may corrupt our environment or understanding.

 

You can catch Esme with Gene Pool in Hastings on Saturday 22nd July for the ‘Burger Jam’ day festival at Half Man Half Burger – free entry.
Find out more about Esme’s work here: https://esrgwright.wixsite.com/website

DMSA Feature: Alex Lewis Whitaker

Posted on by Johanna Bramli
DMSA Alumni Alex Lewis-Whitaker speaks to us this month about his current postgraduate research and projects. Alex graduated in 2021 and was awarded the Nagoya University of the Arts Award of Excellence for his project Wɔpo – a project which drew on his mixed English and Asante (Ghanaian) heritage to create work comprising both a live performance piece and a digital ‘mindmap’ to build bridges between his ancestral lineages.
Three words that describe you as a creative person?
 
ALW: Holistic, patient, inquisitive
When did you start working with sound and music?
 
ALW: I created a virtual rock band called Hippo Island when I was 16 (in 2016), for which I made two albums and an EP, all recorded and mixed on an iPad. I’ve since taken everything off the internet, but it was an important couple of years as it made me realise I could learn how to do everything myself, from the writing, to the recording, to the mixing. Brighton was the first time I’d really explored contemporary and experimental music in an academic setting, as I took Art, not Music, all the way through school.
In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?
 
ALW: The regular tutorials and conversations I had with my tutors, especially in third year, were priceless in terms of raising the standard of my work and making sure I kept challenging and expanding on my ideas. I was able to take crucial ideas from even the bits of the course that I don’t intend to make a career out of (e.g. sound art, sound for film), and apply them to my musical projects. I feel that I now have a broad understanding of the sound and music worlds, and I am also much closer to figuring out what kind of musician and artist I want to be. Being the DMSA nominee for the Nagoya University of the Arts prize, and winning it, has given me the confidence in my abilities to build a career out of being creative. I was also grateful to be given opportunities like performing at DMSA night and designing our degree show poster.
Can you tell us a few words about ‘La Création du Monde’?
 
ALW: This is my research project for the Audiovisual Cultures module on my current MA course, entitled ‘La Création du Monde: An Interdisciplinary Exploration of “Primitivism” in the Parisian Avant-Garde’. I used the same digital mindmap software that I used for my final project in Brighton to create what is essentially an online multimedia exhibition, centering on a ballet from 1923 by Ballets Suédois that gives insights into the obsession with primitivism and exoticism in Modernist arts in the 20th century. I explore the work from the perspectives of a variety of disciplines, including music, painting, dance, philosophy, psychology, ethnography and religion, history and art history, and politics.
The project in its current form can be accessed via the following link, although I am still intending to redo the audio narrations to be more engaging, rather than sound like I’m reading out an essay: https://app.milanote.com/1P6whl1DmPiifn?p=HZyFli6s3uU
 
What are your plans for the near future?
 
ALW: I am currently in the second semester of a Music MA at Goldsmiths, University of London, so this will be my priority until September. I am continuing to delve into completely different areas of music and culture, with the aim of allowing it all to influence my future music. At the end of March, I will be giving a performance of the atenteben, a bamboo flute from Ghana, as part of my ethnomusicology module, for which I was able to take Whatsapp lessons from a tutor at the University of Ghana. Over April, I will be focusing on my Philosophies of Music essay, for which I am looking at the use of glossolalia in the vocals of Lisa Gerrard (Dead Can Dance). Lastly, I will have my major project, for which I am studying the oral traditions of West Africa from an audiovisual perspective; my ideas are not very far along as yet but much of my interest came from my time in Brighton, where I started to develop an abstract style of storytelling. 

DMSA Feature: Joe Gilling

Posted on by Johanna Bramli

Joe Gilling graduated in 2021 with a Final Research Essay ‘Haunted by Glitch: Technological Malfunction – Critiquing the Media of Innovation‘ that was selected for publication as part of the ARTECH 2021, and a Final Project ‘Spectres of the New Realm‘ that explored the nostalgic relationship with analogue sound and image through digital glitch aesthetics, projected onto a large screen set inside a spatial 6.1 speaker array.

We talk to Joe this month about where his career took him since graduating.

Three words that describe you as a creative person?

JG: Indecisive, Abstract, Conceptual

 

When did you start working with sound and music?

JG: I learnt the guitar from an early age and in my teenage years began to explore the world of digital composition and sampling. I found this kind of creativity more fulfilling and intuitive – you don’t need to be a professional at any instrument to be able to produce interesting sounds on a digital interface. The endless opportunities of digital music creation were exciting to me over the restrictiveness of a single instrument. However, I do feel my early years of performing an instrument informed my musical theory knowledge and ear for tonality which helped me later on.

 

In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

JG: The course opened up avenues for deep thinking and creative musical composition outside of any traditional sense. DMSA showed me the ways artists had used and continue to use sound in forms I could never have imagined. The course pushed me out of my comfort zone on numerous occasions to take my work in audio to the very edge, which isn’t always enjoyable at the time, but I am endlessly grateful for it, making me a more critical thinker and adventurous person creatively today. I learnt so much about different concepts and ways of thinking about sound arts which have assisted me within my career now.

 

What are your plans for the near future? 

JG: Since graduating from the course, I acquired a role in the sound design industry and now manage over 90 independent labels producing sample packs for a music technology company. I love the work I do, getting hands-on with audio every day and working with some of the top producers and labels from around the world. In the coming months, I’m looking to launch my own sound design brand called Rewind Samples (@rewindsamples), representing some of the most talented producers from the underground UK bass music scene.

 

Can you tell us a few words about your experience of navigating life after university?

JG: Whilst it was extremely daunting to finish on the high of 3 years of inspiring learning and creativity, the reality that the time has come to venture out into exploring the market and finding a job which will be fulfilling and continue to support personal musical interests is a tough one (especially as the world is just recovering from a pandemic). I found that however bleak and difficult the industry may look from the outside to enter, if you show enough passion and excitement for it, even if you may be underqualified for certain roles, many will be willing to give you a shot to prove yourself. 

DMSA Feature: Wolfgang Dubieniec

Posted on by Johanna Bramli

This month, we catch up with Wolfgang Dubieniec who graduated from DMSA in 2022.

 

Three words that describe you as a creative person?

 WD: Intuitive, ardent & inspired

 

When did you start working with sound and music?

WD: As a practitioner I don’t think I started until maybe the end of my teens, but I remember the point where I decided I wanted to make it. I had been jumping on tours taking photos, videos and selling the odd bit of merch when I was around 16 or 17 for bands on the ‘Raygun management’ roster and I definitely remember a turning point where I decided I wanted to be the one making the sound not listening to it night after night.

I think I was given a tiny interface shortly after that and it’s been pretty constant in my life since.

 

In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

WD: This is an odd one because I definitely wasn’t expecting to study anything sound related until DMSA. I was always a bit more inclined to go the film route as I love the visual side of things too. I guess that’s where DMSA pushed me as a creative, in giving me the freedom to explore all my creative interests and make me realise I didn’t need to settle on the audio or the visual, I could do both.

 

Can you tell us a few words about your debut EP from last year ‘You Are Vulnerable In What You Love’?

WD: I think the EP was a real shell breaker for me in terms of getting over any anxieties about people’s expectations of what I make and put out into the world. It came together from having sent a few home demos to a good friend of mine Kristian Bell (‘The Wytches’) and he offered to release the EP for me on a DIY label he was starting up. I’m really thankful for that, it definitely started something up in me.

What are your plans for the near future?

WD: God who knows what will happen! I’ve been writing new songs, some of which are collaborations, and making alot of music videos for projects that arent my own. I think the plans for the year ahead are to bring those two interests closer together with a short film. Though the plan is really just to keep creating. I’m also waiting on some soundtrack work from last year to come to fruition so we’ll see. I think it’s sensible to set an easily achievable goal, because then the rest is all bonus.

 

 

Instagram- Wolfgang Dubieniec (@wolfgangdubieniec) • Instagram photos and videos

Wolfgang Dubieniec – You Are Vulnerable In What You Love Cassette | Cable Code Records (bigcartel.com)

 

 

DMSA Feature: VASCHA

Posted on by Johanna Bramli

We catch up this month with VASCHA who is in the 3rd year of the DMSA programme to discuss with their work, influences and process.

Three words that describe you as a creative person?

AL: Resourceful, impulsive, perfectionistic

When did you start working with sound and music?

AL: In 2012 I got this Yamaha keyboard and by using the 3-track ‘record’ setting, I would recreate entire EDM tracks (drum kit, bassline, synth) by artists ranging from Swedish House Mafia to Lady Gaga. It wasn’t until 2015 when I found myself in the vortex of the micro-genre and internet movement ‘witch house’, when I released an original song on Soundcloud for the first time. This genre was based around occult imagery, wobbly bass, trap beats, sawtooth synths and seering, delayed vocals with unintelligible lyrics. Producers like S4LEM and Ritualz blew my entire perspective of music out of the window because so much emphasis was put on texture and atmosphere. I had no technical or academic knowledge about music production, which meant slowly teaching myself as I went along, dealing with musical ideas that were way too ambitious for my mixing and mastering skills. During this time, Soundcloud offered a more communal and democratic platform that allowed musicians to find and connect with each other through ‘groups’. Living in a lonely village outside of Colchester, various spaces like this on the internet became a safe space to kind of express my ideas and make connections with like-minded people. When I moved to Brighton 2 years later, I took a course in art foundation which is where I made my short film ‘Dead as Night’, whilst simultaneously creating the soundtrack which became my first EP. This was an exciting moment where my confidence in my craft was validated and solidified. However, my technical skills I mentioned before were still underdeveloped, leading to some messy first live shows. Learning some of these skills during the Sound Art course has been a joyous experience. Since then I have worked with some some of my favourite local and international artists such as Satvrnxx, Diana Starshine, Oscar Cheung, An Nguyen and Charlie + Jenny from ZLUTZ.

In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

AL: The DMSA course has enriched my senses in the very fabric of electronic sound. This new perspective has given me a voice and a freedom to expand my artistic boundaries. It has introduced me to such an eclectic mix of artists and tutors. The facilities have allowed me to learn new skills (shoutout to Bob and Paul) and has opened my eyes to the ways in which this passion is of use to the world around me. Becoming friends with fellow course mates and performers (such as IAMFYA and CURRENTMOODGIRL) has been a wonderful experience. It shows me that although Brighton’s electronic scene often lacks space for queer live performance, something super special is happening in DMSA and change is upon us. This is so much more than just a music course.

Can you tell us a few words about VASCHA?

AL: VASCHA is an alias that landed with my the aforementioned EP ‘Dead as Night’. It is a an unintentional outlet to express my anger, pride and grief in which I have not found anywhere else in life. Some people claim to see her as a character, a mysterious pop star with an imprinted sonic identity. This identity is inspired by things like David Lynch films, euro-dance, outer space and the sounds of London Underground trains.

 

What are your plans for the near future?

AL: I’m currently expanding my sense of performance, and incorporating a more physical, live element into my work ready for my final DMSA project here in Brighton. I aim to learn fearlessly by embracing everything I still do not know yet as a challenge. My goal is to branch out to audiences in places like London and Bristol and to release my next musical project which embraces a much more personal presence than my previous music, with each track based on a different Hieronymus Bosch painting.

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