Melbourne-via-Brussels-via New York improviser, turntablist and composer DAVID SHEA speaks to ANDREW TUTTLE prior to his upcoming performance at LIQUID ARCHITECTURE 10.

Working alone and with artists including John Zorn, Marc Ribot, Lawrence English and Scanner, David Shea’s works are extensive, with western and eastern classical compositions co-existing with film scores, interpretations of folk music and electronics, and performances based on a new aural relationship of all of the above. Somewhat of a jetsetter, Shea cut his teeth in the New York performance art and improv scenes in the late ‘80s, before an extensive stint in Brussels in the 90s, finally settling in Melbourne for the past few years to create new commissions and start his own Metta Editions label.

On record and in performance Shea utilises a wide range of sonic sources including turntables, cassettes, computers and acoustic instrumentation, He maintains that although occasionally difficult, there is a workable balance between absorbing new technical innovations and staying true to his existing methods of sound generation.

"Technology of all types particularly the oldest technologies, from traditional cultures and the combination with the newest technologies is my focus these days. I enjoy working with other people who love the new technology more than I do and are deeper in the programming world as I don't like absorbing so much of my energy into the technology as I feel I can sometimes lose connection to the piece as a whole and fall too deeply into a spider web of details."

Shea is also currently working with the innovative Parisian experimental sound studio IRCAM on NAJO, a sampling device that has been developed as a device for Shea to create sounds more physically and intuitively in live performance. Although still under development, Shea says that the creation of NAJO was founded on both aesthetic and practical considerations.

"I had been working on my own to develop something that could replace the sampler I was using for solo concerts, mainly because the traveling with such a heavy keyboard was destroying my back and as the focus was on ensemble work which relied less heavily on samples being physically played during that period I was living in Brussels ... I hope someday to return and work on the full idea with a composition written to expose its features."

DAVID SHEA plays LIQUID ARCHITECTURE 10 at Brisbane Powerhouse on Friday July 3 and Saturday July 4. www.liquidarchitecture.org.au

Be first to comment on this article

Write Comment
Comments are submitted for possible publication on the condition that they may be edited. Poster's IP addresses are logged.
Name:
Comment:
Code:*