For Want of a Nail 2015

For Want of a Nail 2015

For Want of a Nail, 58:00, Radio documentary

To mark the arrival of Rugby World Cup 2015, Exeter’s community radio station, Phonic FM, shares stories and sounds from the city and the surrounding area.

Neil Rose’s programme is about anticipation and preparation. It will consider the rituals that spectators of competitive sport undertake before watching a match. He’ll also interview local sports men and women to find out if they undertake any ritualised behaviour before a game.

Broadcast on Monday the 5th of October from 7pm. 

http://www.phonic.fm/

phonic-fm-rugby-stories-2015-10-05.png

Neil Rose VS Ben Solo 15 2014

Neil Rose VS Ben Solo 15 2014

is a collaborative piece of work between two artists proud of their ambient experimental roots. Neil Rose created three original tracks inspired by a simple four sentence poem. These pieces were then reworked in a ‘Versus’ formula by Ben Solo (aka Ben Philcox, founder member of Prima Rosa and Dawn Chorus Ignites). For good measure Neil Rose then put his hand to remixing one of the tracks adapted by Ben Solo… and so the spiral continues sonically from here and beyond!

Audio Seance 2013

Audio Seance 2013

A live improvisation using sound derived from technological representations of possession and ghost activity that the artist has collected and edited from film and TV. The sound performance is accompanied by a video projection of randomly sequenced clips derived from the same sources as the sound, that are mixed, effected and controlled by the audio content.

The Inventory of Witchery 2013

The Inventory of Witchery 2013

35 arbitrarily selected films featuring Witches, broken down into 18 discrete categories and sequenced by Rose & lewin's bespoke computer system. The system, derived from genre based narrative devices, makes “decisions” about which clips to play, from which film, using data derived through the artists' intensive study of the 35 films included in the final work, and their existing knowledge of cinematic depictions of the Witch.

Suspiria Colour Film 2011

Suspiria Colour Film 2011

Full film is 98 minutes long and represents a 'copy' of Dario Argento's 1977 film Suspiria.
Each light/colour change has been hand rendered in 698 individual stills and sequenced along with the English subtitles track and scant occasional audio description. The sound track has been pieced together using Suspiria's original sound track recording by Goblin and Dario Argento.

Residuum 2010

Residuum 2010

An installation for Art, Film and Pseudoscience

Neil Rose, Electroacoustic composer, improviser, and recording artist welcomes you to join him in his world of fantasy - inhabited by fictional scientific research, energies from other dimensions, and things that move of their own accord.

A sound installation of a series of noisemakers that Neil refers to as the “test equipment”, a set of custom made objects designed and manufactured by the artist, that, apparently, play themselves in response to the magnetic energies or the “residuum” of the exhibition space.

This installation was accompanied, on the opening night event, by a live performance by the artist along side the launch of a new book work and accompanying CD, containing recordings of new work derived from the objects featured in the exhibition.

An all out flight of fantasy that combines existing parapsychological research, spiritualism, TV Media’s obsession with the ghost hunt, folk lore and sound.

Wilbur Whateley / Psychopomps 2009

Wilbur Whateley / Psychopomps 2009

Wilbur Whateley/Psychopomps 2009

Neil Rose is a Plymouth based electroacoustic composer and his debut album fully deploys his considerable skill at interweaving concrete sound sources, the spoken word and awkward polyrhythmic beat material. It is dark and brooding, and at times yields results no recording should produce, and yet retains a danceable sensibility. The release date is the 26th October 2009, we will be taking pre-orders as the record is limited to 250 copies, published by onec

Spotify Link: http://open.spotify.com/album/376HcqcMWjX5sAIO5cXMk4

Sleeve notes:
What you hold in your hands is all that was left, conjured or created we are not sure but were compelled to release it unto the world for posterity, or maybe morbid fascination. Found by a friend, who received it from a friend, and so on, until its actual origin is impossible to say, but the tape we received and now transferred to vinyl gave more indication of the grim happenings than my goose bumps and prickling hair at the sound on my first listen. The story as it was recounted to me and I recount it to you, in a hope that you may possibly fathom the sound contained within.

Whilst searching through a box of antiquated books at Plymouth’s covered market, overlooking the famous Mayflower steps, Neil Rose found an old battered, buckled and cracked leather bound tome. In this book were the first writings of the “Mad Arab” Abdul Alhazred, with hand written corrections and further elaborations by both the infamous Joseph Curwen and the ‘goat boy’ Wilbor Whateley, initially he was hypnotised by the mystical symbols contained within and compelled by the accounts of the Old Ones, discussion on impossible architecture, of angles and cities, and the starfish creatures that could only have originated from a different, or alien, world. Neil explored this book until it became all he could consider, abandoning his life and locking himself away in his house with boarded windows and a safely secured door: no-one in and definitely no-one (or nothing) out.

Inquisitive and disturbed neighbours, at the sound and strange lights centred almost entirely on the beleaguered house, were ignored and the attempts to break in by law enforcement were equally as futile until one day the door simply opened. Seemingly of its own accord and definitely not powered by any human motion.

The discovery of the strange and inhuman text writ across walls and furniture in a fluid that glowed under particular lighting conditions, the smell of absolute death, of cessation, and the slow dank trickles of black that seemed almost the essential fluids of the house itself and amidst this manifestation of nothing less than extreme evil, there it was. A single eight inch reel of quarter inch tape, a simulacra of which you now possess, an audio recording of Neil Rose’s explorations within the mad ramblings of Abdul Alhazred (originally known as “Al Azif” an Arabic word that means: “that nocturnal sound supposed to be the howling of demons”) we know this to chronicle Alhazred’s worshipping of Yog-Sothoth and Cthulhu and is commonly referred to as The Necronomicon: the text, the means to unravel reality and the bringer of madness and dissipation to all that come across it, a blasphemous link with forgotten aeons that we now pass to you.

Lovecraft, whose writing is liberally descriptive of sound in conveying horror, isn’t interested in poetry. His writing is quick, crude, and hurried – rushing towards something so hideous yet so compelling it wipes out all mind, all sense. He is not escaping from this cosmic horror, he’s escaping to it.

It’s a kind of inverse nirvana, and in the album, this expiry of sense, mind, reason – this point of encounter in the music – is devastating.