Onstage I use looping and/or live
sampling techniques - where sounds from the cello, guitar or homemade
instruments can be taken as they happen and transformed before your
ears. The process is transparent and works well as a visual concert,
unlike a lot of electronic music. The live element has always been
important to me and I approach a concert very differently to a recording,
inviting the audience in, through what they see, to a greater enjoyment
of what they hear.
I like to suggest that my music is
characterised by its investigative nature.
I have always enjoyed playing solo
and entertaining with unexpected music. I played for some years
as a regular soloist and accompanying random films in noisy psychadelic
CLUB DOG, a kind of outdoor festival, indoors (complete with competing
multiple stages and inquisitive dogs.) There I was required to play
improvised film soundtracks or switch into cabaret as films changed
or broke. The confused environment often requiring drastic behaviour
to hold the attention of the bewildered revellers. Functional thinking
had sometimes to switch to proactive. Requiring an impromptu song
or grotesque clowning.
As a frequent accompanist/composer
in the theatre as well as a performer, I am comitted to the idea
of functional music, where perhaps neither the musician nor the
actor/dancer is the centre of attention. Where a performance is
made of many elements and the audience may choose where to focus.
Similarly, I have recently played
long solos at art openings requiring an inquisitive background sound
that sustains the passive observer and rewards the listener. For
these I sometimes use a multi-speaker sound system which constantly
shifts sounds around the space and works well at a low volume. This
music is abstract and discreet, because I am not the focus of attention
. Yet it has integrity and bears the scrutiny of closer listening.
daniel @ danielweaver.co.uk please remove spaces