Recordings from Greenwich Peninsula, May 2019. Studio Manipulations Naples and London, 2020-2021
Mastered by Taku Unami
Cassette Edition of 100
i weirs here
By Brigitte Hart
Our humming is lost to a cold, but not too cold, wind. The fish weirs, as revealed by the low tide, are full and we make our way across to collect. We tread lightly, reverent of the things that lie beneath the mud undisturbed, whole, and without breath.
A microlith is nudged by a European eel. Tom White and Renato Grieco have come and gone, chancing on a moment between global pathogens to source materials and encounters. (They were likely unaware that they had been followed by birds as they upturned stones and exposed insects.)
The theory is that they tapped this frequency-of-place and harnessed a local hum. Theirs is a reconfiguring of time that clusters and disperses textural, spatial, and vocal fragments, shifting between sonic intimacies and industrious structures that draw from post-tide interventions.
A mournful Antipodean can be heard luring unsuspected buyers to the water’s edge with a promise of luxury-living on The Peninsula. A location that was once understood as a floodplain of Grenewic. It also once saw 3,000 tonnes of molasses (a stolen recipe) engulf the streets, ‘ponderous and inexorable’.
It is estimated that the area will be subject to regular flooding again by the year 2030.
The microlith nestles into a yoghurt lid.
A hum continues
