Isolate Sub Bass: a selection, Alexandra McGlynn and Aurelia McGlynn-Richon, 2010.
AM: ‘This piece is formed of four joint compositions of recorded soundscapes by me together with my daughter’s music. The six tracks describe the everyday, overlooked activities of daily travel either on foot or on wheels – schoolboys walking home, a train, cars going past or pushing a shopping trolley around a supermarket. They encompass the polyphonies that these activities produce including my rain coat or bag brushing against the microphone lead, ambient speech of train passengers & train announcements, train wheels screeching as they turn a corner, the warning alarm when train doors are closing, people walking and talking on the pavement and the noise of supermarket announcements.’
Aurelia McGlynn-Richon: ‘began studying classical guitar in 2004 on the First Guitar Course, Royal Academy of Music, London. Attended Asian Music Summer School in 2006 including in introduction to the Chinese pipa, organised by the Asian Music Circuit. Took part in guitar master class with the guitarists Eden-Stell, London Guitar Festival, Kings Place, November 2008. Awarded Music Scholarship to St. Marylebone School, September 2009. Performed Vivaldi’s Guitar Concerto in D, RV93, (with violin and cello), St. Marylebone Music Scholars’ Concert, Wigmore Hall, June 2010. Took part inSoundscapes of East London combining Garage Band music with Mum’s sound recordings, July 2010 curated by Fruit for the Apocalypse (previewed at Cafe Oto). Awarded Year 7 Music Prize, St. Marylebone School 2010. Participated in Gals With Guitars, en masse electric guitar performance, composed by Sharon Gal, Elevator Gallery, Hackney April 2011. Taking part in classical guitar master classes with Craig Ogden, Purcell School of Music, May 2011 and Graham Devine, RFH, South Bank, June 2011.’
Alexandra McGlynn: ‘studied fine art, anthropology and photography. Photographed the Isle of Dogs, London, where my mother was born and grew up, from 1988-1990. Began making sound recordings in 1995 and later low budget digital films. In 2002 I started photographing the structures and objects my daughter Aurelia, then aged four, was making. For me, it was important to document the ephemeral results of playing – often overlooked by parents and teachers, and how Aurelia set about classifying them, ritualistically, into different groups: those made with dolls, those made with furniture and those made with smaller objects (paper, card, leaves, bananas) often inscribed. Sometimes the groups overlap. The act of photographing the structures, whilst Aurelia was away at nursery, turned an event for my daughter alone into a photographic representation for a viewer that became the work Play. In 2010 Aurelia, who is now a Music Scholar and I started making sound pieces together; her music and my sound recordings. I am interested in how self determination can be mediated through the family, religion, ritual, music, schooling, ageing, chaos, revolution, emigration, separation, abuse, personal history, nature and our environment.’