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dish of orcas

by tay_ploops

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house 00:20
holding 00:20
task attest a task a tête à tête casse-tête à tête tet rah hee dron drawn drawn drawn drawn
dirty puddle 00:20
i dreamed that there was a mattress in an alley it is a dark alleyway? i think i was sleeping in a puddle a dirty puddle
and laughing
muffler 00:20
i'm not from here
sirens bells 00:20
change 00:20
echo echo echo but it's a chain eco eco ego eek eco logical eco illogical
the poem says something about a spider
zzz 00:20
zzz zap zzz zipper zzz zilch zzz zone in zone out zap
www 00:20
wonderful wonderment won twenty twenty one twent he went twine inter in twin wince t'want to want
burds 00:20
ouuu 00:20
hands intu 00:20
hands nah nah nah nah nah took my life intu my own hands
plucksea 00:20


"dish of orcas is a flash in the pan; bite sized muscular predators of the sea that are endangered."
-Chloe Ziner

"Beautiful, ephemeral & engaging."
-Simon McCorry

Video>>> vimeo.com/380992034

Created for release on the 20x20Project 20x20project.bandcamp.com

The concept is to release 20 albums by 20 artists every 20 days starting on the 20th of January 2020. The albums must have 20 tracks and each track is 20 seconds long exactly. The music / sound is totally up to each artist, but the rigid rules of track length and totals are key.
-As proposed by Neil Stringfellow (Audio Obscura)



How did you find creating music for the 20x20 project?

Fun loops in restraint. I enjoy the limits set by this project. Art is free to wriggle wildly inside clearly defined frames.

Describe the approach you had for making a 20 second long track?

Initially I mulled over the numerology of it all...like something in the saying "2020 hindsight". I thought maybe math or nostalgia could help guide me through this. I turn 40 years old in 2020 too, so that milestone might have some sort of significance here. The passing of time, the restrictions in time, the way time loops. Regurgitating time into smaller digestible bits. This collection of songs/sketches has burst forth from a place of random memory excavation: by rooting through field recordings and dream journal excerpts I collected onto cassette tape over the past year.

How did this approach differ from making music without a strict time-limitation?

As listeners, how does our attention increase when we know that there is a strict time limit set on what is being shared? What type of story can actually be told in 20 seconds? in 400 seconds? How can I make each second count? I felt these limits force me to trim my source materials more ruthlessly in an effort be more succinct.

Is there a theme, narrative or concept to the 20 tracks you've contributed?

I wanted the whole album to sound sort of like shuffling tarot cards, tossing them down, and then trying to make (non)sense from the symbols that are played into the ears at random. I create sound collage in a similar way that I create visual art. What colour catches your ear? What sounds do the eyes follow? It's as if each of these twenty second tracks could represent an art card pulled at random. That card could then also fit together with the next 20 second image to answer any "question" the listener may pose to the sounds as a tool for random sound divination(?!) The result is pure dadaism, which to me is essentially tarot, the subconscious, and an open invitation into the dreamtime.
Meaning is optional.

What instruments / software did you use to create the pieces?

All sounds are originally recorded onto cassette tape: field recordings, dream journal excerpts, ukulele, jaw harp, voice, plucking elastic bands; then everything gets cut up and layered in the computer with audacity.


released February 29, 2020




tay_ploops Vancouver, British Columbia

a sea grit sighed project

sound collage

lo_fyi sketches
from handheld
casse-tête tape
reek or dings

an ongoo’ing exp(lore)ation
by multi-disciplinary artist jessica gabriel

whirr’d play

wøkman rêvival

jawharp_inky t'witch

unstuck ukulele trance

dream journal exslurpts

tape loops and other (un)sound textures

in joy
... more

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