Comments on: Expo 67 - Dedicated to Tristram Cary http://www.simonsound.co.uk/55/expo-67-dedicated-to-tristram-cary.htm music and sound for tv, film and radio Thu, 28 Aug 2008 03:54:30 +0000 http://wordpress.org/?v=2.2.2 By: Ken Roll http://www.simonsound.co.uk/55/expo-67-dedicated-to-tristram-cary.htm#comment-132 Ken Roll Sat, 24 May 2008 00:05:47 +0000 http://www.simonsound.co.uk/55/expo-67-dedicated-to-tristram-cary.htm#comment-132 Anyone who has not listened to 'Expo 67' really needs to sit back with a good set of headphones and eyes closed to experience this sonic collage and allow their auditory nerves to stimulate their visual cortex. Ian Helliwell is known for his creativity involving film and creating electronic music with analog devices often of his own design, as is Simon James for his creativity in sound creation and production for the media and advertising. But even without visual reference, together they have created truly what Frank Zappa would have called "a movie for the ears". Listening to 'Expo 67' actually gives the listener an auditory impression of the sights, sounds, and even emotions of the Montreal Expo of 1967 throughout the course of the event, and the homage to the late Tristram Cary is a delightful bonus. Even if one did not know or care about the Montreal World's Fair, this piece would still entertain, and after hearing it, one would know far more about the exposition than most. 'Expo 67' has a linearity about it that creates a timeline of the Expo 67 experience from beginning to end. Notable quotes, interviews, and media descriptions of the creation of Expo 67, the pavilions, what it was like to attend the Expo, unexpected events such as the 'peacenik' sit-in at the U.S. pavilion, the crumbling demise of the Expo's structures after the closing of the event, and the subsequent resurrection of the Expo's buildings later by the Canadian government are all described with a back curtain of electronic musical compositions keenly designed in their placement to give the listener the full impact of attending the exposition. One feels the idealism of the hope of Civilization and Man's creations for the benefit of Man that was the theme of Expo 67, followed by national pride in the detailed descriptions of the various nations' pavilions and exhibits. Humor reverberates throughout the composition, delighting the listener with appropriately quirky electronic sounds that emphasize the lightheartedness. Following the idealistic impressions of Expo 67 is the reality of attending such an event -- the long lines and waiting to see the exhibits, the crowds, etc. Lastly, the sad note of the decay of the Expo structures is followed by their hopeful reincarnation as the Canadian government rebuilds some of the pavilions, giving them new life and purpose. The entire composition is made up of descriptions so finely detailed that one can actually visualize the experience of Expo 67, nearly smelling the confections and feeling the heat of the sun while waiting in line at one of the exhibits. The arrangement of snippets of both media reports as well as quotations from attendees has such a cleverness about it, but the backdrop of the electronic musical compositions increase the effect exponentially (no pun intended). Tristram Cary's works, electronic sounds of Mr. Helliwell's, various sound effects, and even cartoon sounds are stragically placed throughout the piece. Whatever the description at the time, the electronic music renders a feeling regarding the description that adds a sense of reality to it, elevating the piece to a far more artistic work rather than a mere documentary. No, this is more like an electronic musical composition unto itself, with speech and sound filtering and amplifying each other into something different, something uniquely musical with an emotional and even a vividly visual impact. The entire work is twenty-six minutes in length, but after listening to it, one is left wanting more, wishing it would continue on for another twenty-six minutes. As a monument to the saying, "Time flies when you're having fun...", it seems to be much shorter, all too short. This is not a criticism, as I understand the work was six months in the making, but merely a declaration of the entertaining value of something one does not want to end. In their collaboration, Simon James and Ian Helliwell composed an outstanding and very entertaining creation in 'Expo 67'; their individual skills complement each other well here. The works of the late, great Tristram Cary contained in the piece would alone be sufficient to entertain anyone who appreciates analog electronic music. But in this composition, the auditory tone creates an emotional tone that entertains the listener to a level far beyond the mere sum of the parts of this piece. Anyone who has not yet availed themselves to this sonic collage, this auditory montage, this 'movie for the ears', owes it to themselves to hear it not just once, or even twice, but multiple times in order to gain a full appreciation of the creativity behind this work. I dare say that upon each time one listens to 'Expo 67', one will hear another detail -- another sonic tidbit -- that was missed before, amplifying the effect of feeling as if one has actually experienced the sights as well as the sounds of Expo 67. In short, to hear 'Expo 67' is to experience Expo 67. Take a half-hour Canadian vacation. Listen to 'Expo 67'. I, for one, cannot wait for the next collaboration of Simon James and Ian Helliwell if it is anything like this one. Sincerely submitted, Ken Roll Anyone who has not listened to ‘Expo 67′ really needs to sit back with a good set of headphones and eyes closed to experience this sonic collage and allow their auditory nerves to stimulate their visual cortex. Ian Helliwell is known for his creativity involving film and creating electronic music with analog devices often of his own design, as is Simon James for his creativity in sound creation and production for the media and advertising. But even without visual reference, together they have created truly what Frank Zappa would have called “a movie for the ears”. Listening to ‘Expo 67′ actually gives the listener an auditory impression of the sights, sounds, and even emotions of the Montreal Expo of 1967 throughout the course of the event, and the homage to the late Tristram Cary is a delightful bonus. Even if one did not know or care about the Montreal World’s Fair, this piece would still entertain, and after hearing it, one would know far more about the exposition than most.

‘Expo 67′ has a linearity about it that creates a timeline of the Expo 67 experience from beginning to end. Notable quotes, interviews, and media descriptions of the creation of Expo 67, the pavilions, what it was like to attend the Expo, unexpected events such as the ‘peacenik’ sit-in at the U.S. pavilion, the crumbling demise of the Expo’s structures after the closing of the event, and the subsequent resurrection of the Expo’s buildings later by the Canadian government are all described with a back curtain of electronic musical compositions keenly designed in their placement to give the listener the full impact of attending the exposition.

One feels the idealism of the hope of Civilization and Man’s creations for the benefit of Man that was the theme of Expo 67, followed by national pride in the detailed descriptions of the various nations’ pavilions and exhibits. Humor reverberates throughout the composition, delighting the listener with appropriately quirky electronic sounds that emphasize the lightheartedness. Following the idealistic impressions of Expo 67 is the reality of attending such an event — the long lines and waiting to see the exhibits, the crowds, etc. Lastly, the sad note of the decay of the Expo structures is followed by their hopeful reincarnation as the Canadian government rebuilds some of the pavilions, giving them new life and purpose. The entire composition is made up of descriptions so finely detailed that one can actually visualize the experience of Expo 67, nearly smelling the confections and feeling the heat of the sun while waiting in line at one of the exhibits.

The arrangement of snippets of both media reports as well as quotations from attendees has such a cleverness about it, but the backdrop of the electronic musical compositions increase the effect exponentially (no pun intended). Tristram Cary’s works, electronic sounds of Mr. Helliwell’s, various sound effects, and even cartoon sounds are stragically placed throughout the piece. Whatever the description at the time, the electronic music renders a feeling regarding the description that adds a sense of reality to it, elevating the piece to a far more artistic work rather than a mere documentary. No, this is more like an electronic musical composition unto itself, with speech and sound filtering and amplifying each other into something different, something uniquely musical with an emotional and even a vividly visual impact.

The entire work is twenty-six minutes in length, but after listening to it, one is left wanting more, wishing it would continue on for another twenty-six minutes. As a monument to the saying, “Time flies when you’re having fun…”, it seems to be much shorter, all too short. This is not a criticism, as I understand the work was six months in the making, but merely a declaration of the entertaining value of something one does not want to end.

In their collaboration, Simon James and Ian Helliwell composed an outstanding and very entertaining creation in ‘Expo 67′; their individual skills complement each other well here. The works of the late, great Tristram Cary contained in the piece would alone be sufficient to entertain anyone who appreciates analog electronic music. But in this composition, the auditory tone creates an emotional tone that entertains the listener to a level far beyond the mere sum of the parts of this piece. Anyone who has not yet availed themselves to this sonic collage, this auditory montage, this ‘movie for the ears’, owes it to themselves to hear it not just once, or even twice, but multiple times in order to gain a full appreciation of the creativity behind this work. I dare say that upon each time one listens to ‘Expo 67′, one will hear another detail — another sonic tidbit — that was missed before, amplifying the effect of feeling as if one has actually experienced the sights as well as the sounds of Expo 67. In short, to hear ‘Expo 67′ is to experience Expo 67. Take a half-hour Canadian vacation. Listen to ‘Expo 67′. I, for one, cannot wait for the next collaboration of Simon James and Ian Helliwell if it is anything like this one.

Sincerely submitted,
Ken Roll

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