This 6-channel piece was part of an exhibition in a decommissioned flour mill in Graz (Rösselmühle, built in 1270 for a priest to run). The room where my piece was installed connects two grain towers and functioned like the body of an instrument, squeezing the sound out through the floors of the mill. I didn't clean the room up and liked the different layers of time that were visible. I wanted to score and pull them into focus. Narrativize them with electrical impulses. -----------The room I worked in was the last stop on tours of the mill. It was the former packing station and has ribbon windows on both ends that look out onto the Mühlgang canal. When the windows were open you could hear gates from a turbine drop into the water and collect power to sell to the city. For most of the show the electricity was from the turbine, but when the canal would run too quickly it would overwhelm it and shut off. I really liked the idea of sound only playing when the turbine ran. ----------------------I only experienced the sound from high in the building a few times, mostly I was obsessed with how it balled up in the room. When I went outside it was more saturated, the mix would glue together and get caught in the wind. It felt more like an image. In the low-ceilinged room the speakers were in, the sounds were more localized, more like objects and bodies. They seemed to come into direct contact with the architecture and each other. Push at the walls, hug each other. -----------------------------------For the audio, I was interested in how songs could become sculptures, how repetitive figures and chanting could oscillate between being meditative and menacing, spatial and cinematic. The songs I used were from an album I’d been working on (Chanting, upcoming release with Atelier Haiku Jakuzzi under the name Sadie Siegel) and were harmonically in tune with the mechanics of the turbine. They also seemed like they were tuned for the acoustics of the room, that their shape somehow fit. -----------The show was only open on the weekends. Each day I used a different song that functioned a little bit like a clock for the mill. Tours would start on the hour, mostly every hour:

‍Friday – Postcard Chant / Saturday – Shopping Chant / Sunday – Dog Day Chant -------------------------------------------------------------------------------------------------------------------------At one point, a curator asked me if I considered the piece a sculpture or a sound installation and then hesitated and asked if I was interested in those kinds of conversations. I said I was and that it's sculpture that uses sound as its material. She said she was surprised it was so melodic and asked me what I called this kind of music.
I tried to be clever and said it was 'Sculptural Pop'.

Saturday Chant (Excerpt)

excerpt