Clay Gold is a sound artist, audio engineer and compulsive field recordist from Canterbury, UK. His work includes film, installation and performance, using combinations of location recording, synthesis, Foley, Worldizing and poetry to create multi-channel soundtracks which are both musical and cinematic.
In March 2011 a 5.1 piece – ‘Airtight Orange Plastic Coffin’, a filmless Horror soundtrack – was commissioned by art collective ((audience)) and presented in a completely dark cinema environment at the Walter Reade Theater / Film Society of Lincoln Center in New York City as part of ‘UNSOUND’, a festival of experimental music and sound art. The piece continues to tour as part of ((audience2)) – a cinema for the ear – in the U.S.
In April 2012 Clay Gold recorded, in its entirety, Rupert Murdoch’s interview with the Leveson Inquiry, and cut it up into 180 samples for the composition ‘Distortion 1’. In September 2012 an acousmatic piece of musique concrete entitled ‘A Furious Devout Drench’ was named as one of ten finalists in a contest arranged by European Acoustic Heritage. As a result, the piece toured with an exhibition in Finland, France, Belgium and Spain, and a year later was presented as part of Acousmatica IX in Helsinki.
In association with the Sound and Music organisation of London, Clay Gold has written a piece for the choir MUSARC, entitled ‘BIAS’, which will be performed on December 20th 2014 at Christ Church, Spitalfields.
An enduring collaboration with Filmgruppe Chaos of Kiel, North Germany, has produced many short films, of which Death à Gogo is one, and a 50 minute experimental dual-projection 5.1 sound documentary. Several of these have been screened at film festivals in Germany, Holland and China.