Clay Gold: A Furious Devout Drench

Water is the great eroding force of nature, defining not only the shape of countries, but also the societies which have settled in their most fertile regions and around their sculptured riverbanks and coastlines. Water is the genesis of life and threatens to be its nemesis, as polar caps melt, oceans rise, islands vanish and continents shrink. As with an ice age, water again offers encouragement to evolution. “A Furious Devout Drench” takes inspiration and its title from a line in the poem “Water” by Philip Larkin and uses field recordings from across Europe and ethereal piano to compose a soundscape evoking movement and erosion. Beginning in an English garden in December, the piano takes its rhythm from rain falling on canvas before civilisation brings drainage and irrigation systems, in an attempt at harnessing the flow of nature. Thunder, people playing in puddles; a quiet day in Venice. Spent ocean waves drag back across pebbles, recorded from below the surface, before the “furious devout drench” of a waterfall in Zurich washes us away with its wall of white noise descending. Cleansed, we are left with the last few drops of rain on dry leaves, blending with the sound of melting ice in south Moscow during the Spring; the mud, the debris and the new green growth appearing from beneath. The last icicle drops onto a wooden roof below and shatters.

Clay Gold is a British sound recording artist living in Canterbury, UK. In March 2011 his 5.1 surround sound piece “Airtight Orange Plastic Coffin” – a filmless Horror soundtrack – was presented in a completely dark cinema environment at the Walter Reade Theater in New York City as part of “UNSOUND”, a festival of experimental music and sound art. Clay Gold´s recorded, performance and installation work considers the collection, processing, application, destruction and preservation of information, within and without the constraints of the human mind. His live and recorded output incorporates extensive location and nature recording, creative use of Foley and sound effects, and subtle instrumentation, which are part of an exploration into actively collected, suppressed and promoted opinion; or censorship and propaganda.

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About EAH Project

The European Acoustic Heritage is aimed at discovering and enhancing the soundscapes of Europe, the different sounds that make up the imaginary world and personality of the places and environments as a part of the European common cultural heritage.

Uso y contenidos

El presente proyecto ha sido financiado con el apoyo de la Comisión Europea. Esta publicación (comunicación) es responsabilidad exclusiva de sus autores. La Comisión no es responsable del uso que pueda hacerse de la información aquí difundida.

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