On Matthew Herbert’s One Pig

by Thomas Brett

Several years ago I read an interview with the English experimental electronic musician Matthew Herbert in Tape Op magazine and I remember him going on about the importance of his audio samples. Herbert didn’t want to use just any old sound sample. He wanted to use sounds that had some meaning for him–sounds that had some reason for being in the mix. Herbert then went on to talk about the creative possibilities of using a homemade sample of say, a cardboard cereal box in place of say, a conventional kick drum sound. Reading this I remember thinking: “Why does it matter so much where the sound comes from? Isn’t the main thing just what can be done to transform the sound?  Well yes and no.  For many electronic musicians, finding unique sound sources is an integral part of the compositional process. To make an analogy with cooking, this level of awareness of one’s musical “ingredients” brings to mind chefs who insist on sourcing local produce and livestock to make a tight “farm to table” feedback loop. The argument, whether in music or food, is that it’s good to know the source of what you’re listening to or eating. Right?

Like the great chefs with their carefully sourced ingredients, Herbert cares a lot about the provenance of his sounds. His latest musical project, One Pig, bridges the realms of food and sound by following the 25-month life of a pig on a farm. Herbert recorded sounds from the pig’s life at one- to two-week intervals–including sounds of the animal being butchered and finally, eaten. Then he made music out of the sound samples. This is by no means easy listening music though. Says Herbert: “My motivation was the acknowledge the realities of what it is to eat meat. It’s not about the music so much as it is about the story—the moral and emotional aspects of it as well.”

Here is a video about the making of One Pig:

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