Anthony Moore — “Arithmetic in the Dark” (January 21, 2019)   Anthony Moore — “Arithmetic in the Dark” (January 21, 2019) Pamela MÃéndez â Time (22 Feb 2019)Δ     Anthony Moore is a British experimental music composer, performer and producer. He was a founding member of the band Slapp Happy, worked with Henry Cow and has made a number of solo albums, including “Flying Doesn’t Help” (1979) and “World Service” (1981).
Δ    As a lyricist, Moore has collaborated with Pink Floyd on two of their albums: “A Momentary Lapse of Reason” (1987) and “The Division Bell” (1994), and contributed music to the instrumental “Calling” from “The Endless River” (2014). He contributed lyrics to Richard Wright’s “Broken China” (1996), worked with Kevin Ayers on various projects and also contributed lyrics to Trevor Rabin’s “Can’t Look Away” (1989) and Julian Lennon’s “Help Yourself” (1991).
Location: Newcastle, UK ~ Hamburg, Cologne, Germany
Album release: January 21, 2019
Record Label: Touch
Duration:      66:30
01. Switched   8:13
02. Particulates   4:54
03. Synthi AKS waves   5:04
04. Spinturn   6:21
05. Entangled   5:20
06. A Chime of Psalters   9:06
07. Hoedown   8:01
08. The Psaltery Sea   7:19
09. A Likely Outcome   5:47
10. Arithmetic in the Dark   6:22
•    Artwork & photography by Jon Wozencroft
Δ     I like to imagine a time and place where arithmetic is done in a natural way by simply experiencing the unique possibility offered by sound, that of distinguishing simultaneous differences; the non~displacing waves of either AND both. Despite the observations of cool cats like Bill Sethares on the subjective nature of the octave’s perception, one fact remains unfailingly true. An octave is a doubling of frequency — the higher octave has exactly twice the number of vibrations per second than the lower. I am imagining a planet without the invention of writing, even of symbols and scratchings in the sand where, on hearing the sound of a child and an adult singing together, a listener is doing a multiplication by two in a mathematics without signs; arithmetic in the dark.
Δ     The album consists of a set of 10 works which focus on repetition and change. The pieces evolve mostly through the active perception of the listener. Saccades and oto~acoustic emissions are evidence that perception is far from passive reception. The transmitting ear determines much about what it takes in. [Anthony Moore, Arles, November 2018]
Δ     Anthony Moore b. 1948, musician; 1969 Newcastle school of art; studied Indian classical music with Viram Jasani; composed his first movie soundtrack for David Larcher’s “Mare’s Tale”. As well as acoustic instruments, it involved extensive manipulation of magnetic tape (time/pitch shifts, layering, splicing, loops, feedback). He moved to Hamburg, Germany in 1970 where he continued experimenting with sound and structure, working closely with many underground film makers.
Δ     In 1971 Polygram recorded three albums of his work, “Pieces from the Cloudland Ballroom”, “Secrets of the Blue Bag” and “Reed, Whistle & Sticks”, for voices, strings, woodwind and percussion, produced by Uwe Nettelbeck. In 1972 he formed the group Slapp Happy with Dagmar Krause and Peter Blegvad.
Δ     He has composed numerous music pieces, sound installations, songs and film compositions which received international prizes; co~writer with Pink Floyd during the recording of three of their albums working on concepts, sounds and lyrics; composer of the television opera “Camera”, a commissioned work from Channel 4.
Δ     Professor (1996~2015) for Musik, Klang (Sound), Geräusch (Noise) and founder of the Music Department at the Academy of Arts Cologne in the department of Art and Media Sciences working on the theory and history of sound; he was elected Rector of the Academy in Cologne from 2000 to 2004. Initiator and art director of sound events, “per→SON” and “Nocturnes Cologne” until 2015. He continues to write, record, perform and make sound installations.