fabrication de bruit explores the boundaries between tastes. fabrication de bruit finds strange, personal, lost, burnt, fresh and uncomfortable sounds and combines them into pieces different from the whole. look for the key words—found sound, outsider, new composts, forgotten old, strange exotica, confronting and extant, warm and thick, broken and rusty. fabrication de bruit reinterprets and curates the ephemera of the modern: tapes, VHS, label-less singles, the loud and quiet of the post-digital world, discarded objects and forgotten voices.
fabrication de bruit started over 18 years ago on a community radio station in Sydney as ‘Soundtracks and other expletives’, a radio show where the studio was used as an instrument to link random charity store records, found tapes and just plain outsider music. Each show (which ran between two and six hours) was played live in the studio, with long, experimental tracks affording me the ability to pop to the lav. We made maybe five or six of these early shows, none of which exist today, wiped like the doctor who archive, only to be found on random VHS tapes surfacing in South Sudan. given an opportunity to programme a whole night of radio in the early 2000s, we came up with the idea of fabrication de bruit (translation from French: noise making). It started simply enough, random songs, schlager, outsider music, you know the drill. It slowly morphed into 20 minutes of experimental cycles of noise, sounds, broken beats and improvised poetry and spoken word. A few of these show still exist and we have archived them here on this very site under the moniker ‘The Wayback Machine’. Since 2009, these shows have become what you hear here, a semi-regular podcast. A place to hide my experiments in sound, the darker edges of what I do. I am interested in connections, how we interact and engage and where we draw lines and boundaries. One of those lines is the one between art, sexuality and pornography. Another is religion, faith and fanaticism. Then there is the blurry idea of identity and how we represent the component parts of ourselves in a digital world. Much of the way we hear sound and picture what is going on emerges from this intersections, tensions and masks.