Melbourne based sound artist eamon sprod, working primarily under the project title TARAB, explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees. More than simply documenting a given site, TARAB is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
TARAB has presented performances through out Australia, Europe, Japan, Korea, North and South America; compositional works have been published on labels including Naturestrip (AU), nonlinear (AU), 23five (US), Unfathomless (BE), Aposiopese (FR), Swarming (FR), Cronica (PT), Semperflorens (RU) and also his own sonicrubbish imprint formed in 2018.
Composer website: sonicrubbish.com
HOUSEKEEPING, for found sound and found objects.
I am a collector of rubbish: not an archivist, but in a small way, a hoarder. Clutter seems to be attracted to me.
HOUSEKEEPING was originally conceived as a project to finally put to use some of this amassed junk, and then to discard it all once again. It first took shape as an installation work for 8-channel audio, found objects, speakers, transducers, desk, chair and room; presented at Blindside, Melbourne, August 2017.
Since then it has slowly shifted itself into this composition. However rather than a documentation of an installation, this iteration has been arranged from the debris collected during the process of making one. Sound was gathered together from various raw audio materials; object manipulation; rehearsals, studio tests and failures; recordings of both installation and de-installation; the final composition files ; recordings of the installation in-situ; the empty gallery space; the Nicholas Building (the home of Blindside); a performance made with Clinton Green enacted to close the installation. All collected materials were then cut up, tumbled around and de-arranged into the current form it finds itself in here.
Featured in Circumnavigating Waves (July 2019).