BY STEPHANIE ESLAKE
They drank wine. They travelled to Puerto Galera. They wrote some stuff.
Now they’re back, and you can hear the culmination of this creative partnership between beatboxer Tom Thum and Australian composer Gordon Hamilton in QSOCurrent.
It’ll be the second time the two musical masterminds have teamed up for the festival, last year bringing mad beats into the orchestra with Gordon’s Thum Prints. They’re set to do it all over again with latest work Prints of the Pigeons when it premieres at the Powerhouse Museum.
Tom talks to us about the prejudices he has suffered as a beatboxer, while Gordon reveals what it’s been like working with the god of the mic.
Hello again, Tom – you’ve been here before. Since our last chat, you’ve changed your shirt, bought new glasses, and become the QSOCurrent Artist-in-Residence. How are you enjoying the ride?
T: Glad to be back! The ride has been a lot smoother this time. We have collectively re-surfaced our creative pathways so there are fewer potholes (which is fantastic if you have to ride tandem)!
You may well be the only beatboxer in the world to become the official Artist-in-Residence with a symphony orchestra. Do you think there’s a lot of prejudice against beatboxers?
T: Haha! There might be within some musical circles; I’m sure there are many people floating around the lofty echelons of the high art world, leering down at this pairing in disgust.
But in all honesty, I imagine that people probably haven’t been witness to the rapid growth in the beatbox scene. In reality, the human voice is arguably the most malleable instrument you can play, it just hasn’t had as much exposure as other instruments as of yet, so it’s taking time for people to become fully aware of its virtues.
How do musicians in the orchestra handle you? Do you ever look over to catch an eye and see a completely bemused face staring back at you?
T: Every now and then I do catch slightly confused facial expressions; it’s hard to notice, though. I just get very nervous playing with such professionals that I mainly just try to concentrate on not screwing up. I do sometimes like throwing the odd sound in every now, and then to try and catch people off-guard.
How did you land the gig of Artist-in-Residence anyway, and what does it involve for you? Talk us through your part.
T: I basically sat in parks for almost 10 years and drank goon (fine vintage wine in casks) with my friends and practised delinquency. Somehow, that delinquency was channelled into a hyperactive pursuit of sound, and eventually I wound up here.
For me, even to be asked to be part of the initial QSOCurrent project was bizarre (and incredibly flattering) – I couldn’t believe it. I’m glad the QSO is unafraid to wade into uncharted waters with whom they approach.
You’ve teamed up with Gordon Hamilton for a world premiere – again. After your experience together in the last QSOCurrent, what did you learn? And how did that affect this piece?
T: For this show, we have combined more of our musical sensibilities. The first show was an exercise in understanding each others’ creative processes. Now that we have had a bit of time in between, we have been able to collect a lot more ideas to throw in to the mix.
For us initially, we were worried that the shows would be too similar, but having ticked a lot of boxes with the first show, it has been great to try different things. Plus, we have guests! It’s very comforting to know I’ll have some of my favourite artists and friends up there with me. And a live tiger*, and fireworks*, and a laser show*, and the incomparable bush poetry legend Dusty Fenson.
*Please note that the show may not include these things.
And what about you, Gordon – what made you feel brave enough to team up with Tom again?
G: We really enjoy working together. I feel challenged working with Tom because he comes at music from an entirely different direction, and that helps me grow and continue to develop new creative ideas. This is a great opportunity for us to write a whole new show, and hone our craft.
Why do you, as a composer, like the sound of beatboxing with orchestra?
G: Tom has a vast inventory of glorious and weird noises. It’s so fun to combine these with orchestral effects and end up with a piece of music. Tom’s drumming and grooves are also really infectious, so adding extra instruments to it sounds great.
What can beatboxing offer musically that real instruments can’t?
G: Well, actually beatboxing is a completely ‘real’ instrument. I think we’ve come at this with the feeling of: ‘Here we are, with many wonderful orchestral instruments, and here is a totally different and wonderful instrument that we can throw in the mix’.
Tom’s beatboxing provides us with an added dimension of sound. He brings us loud, rhythmic grooves, random noises and an occasional humorous character.
What’s it been like working with this madman behind the scenes?
G: Really fun! We’ve been on a few writing retreats in places like Stradbroke Island and Puerto Galera in the Philippines, all of which have been productive and fun. We’ve also drunk a lot of wine throughout this whole process (wine sometimes loosens the creative hemisphere of the brain). We both enjoy our work, which often means that it feels more like hanging out than working!
There’ll be Prints of the Pigeons along with a few other pieces on the night – tell us what’s in store.
G: Tom will be introducing us to a few seedy characters that he plays from time to time – they are guaranteed to make us all die of laughter. The orchestra might even incorporate some tuned beer bottles as instruments. We’ll be covering Hermitude’s The Buzz, and do a few songs with hip-hop legend Mantra.
See Prints of the Pigeons with the Queensland Symphony Orchestra at the Powerhouse Theatre, 6pm April 30. Tickets from brisbanepowerhouse.org, or get yourself a QSOCurrent four-concert pass from qso.com.au.
Image supplied.
