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James Joys
PRO
Belfast, United Kingdom

I am an Irish composer, writer, sound artist, and sporadic academic living in Bristol, via Newcastle upon Tyne and Belfast. I froth the cleft between electroacoustic music, post-disco beats, field recording, and found sound, creating music that fuses together the concrète and the kinetic. In 2012 I completed a doctorate in composition at Newcastle University. I make music under two pseudonyms, James Joys and Base Cleft. My background is in experimental music, and this impulse to explore and play is central to the work I make. I am interested in the relationship between phonographic fidelity and acousmatic approaches to composition. In terms of phonographic practice this is the space that opens up between what we record and the veracity of its reproduction. How technology can colour our listening experiences, expectations - our relationship to sound objects - is a crucial issue in sound design and electroacoustics, and heavily informs my work. Often, my music features sonic artefacts specific to malfunctioning, degraded or deliberately sabotaged recording technologies. My work is increasingly based upon the accumulation of sound material into an ever-growing, digitised archive containing found sounds, field recordings, dictaphone recordings, sketches, drafts, and abandoned projects. Allowing for long gestations and cycles of rediscovery, cast-offs and throwaways one day potentially turn into the most vital impulses of new work months or years later. I find this process of slow disclosure and self-plundering a rewarding way of working. Among other projects I am looking to do some film soundtracking.

James Joys
PRO
Belfast, United Kingdom

I am an Irish composer, writer, sound artist, and sporadic academic living in Bristol, via Newcastle upon Tyne and Belfast. I froth the cleft between electroacoustic music, post-disco beats, field recording, and found sound, creating music that fuses together the concrète and the kinetic. In 2012 I completed a doctorate in composition at Newcastle University. I make music under two pseudonyms, James Joys and Base Cleft. My background is in experimental music, and this impulse to explore and play is central to the work I make. I am interested in the relationship between phonographic fidelity and acousmatic approaches to composition. In terms of phonographic practice this is the space that opens up between what we record and the veracity of its reproduction. How technology can colour our listening experiences, expectations - our relationship to sound objects - is a crucial issue in sound design and electroacoustics, and heavily informs my work. Often, my music features sonic artefacts specific to malfunctioning, degraded or deliberately sabotaged recording technologies. My work is increasingly based upon the accumulation of sound material into an ever-growing, digitised archive containing found sounds, field recordings, dictaphone recordings, sketches, drafts, and abandoned projects. Allowing for long gestations and cycles of rediscovery, cast-offs and throwaways one day potentially turn into the most vital impulses of new work months or years later. I find this process of slow disclosure and self-plundering a rewarding way of working. Among other projects I am looking to do some film soundtracking.

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Composers > UK > Belfast

Composers for hire in Belfast, UK

We have over 220,000 creative freelancers! Twine will help you find the perfect Composer for your project.

I am an Irish composer, writer, sound artist, and sporadic academic living in Bristol, via Newcastle upon Tyne and Belfast. I froth the cleft between electroacoustic music, post-disco beats, field recording, and found sound, creating music that fuses together the concrète and the kinetic. In 2012 I completed a doctorate in composition at Newcastle University. I make music under two pseudonyms, James Joys and Base Cleft. My background is in experimental music, and this impulse to explore and play is central to the work I make. I am interested in the relationship between phonographic fidelity and acousmatic approaches to composition. In terms of phonographic practice this is the space that opens up between what we record and the veracity of its reproduction. How technology can colour our listening experiences, expectations - our relationship to sound objects - is a crucial issue in sound design and electroacoustics, and heavily informs my work. Often, my music features sonic artefacts specific to malfunctioning, degraded or deliberately sabotaged recording technologies. My work is increasingly based upon the accumulation of sound material into an ever-growing, digitised archive containing found sounds, field recordings, dictaphone recordings, sketches, drafts, and abandoned projects. Allowing for long gestations and cycles of rediscovery, cast-offs and throwaways one day potentially turn into the most vital impulses of new work months or years later. I find this process of slow disclosure and self-plundering a rewarding way of working. Among other projects I am looking to do some film soundtracking.

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