SHELLEY PARKER – BLACK FOREST MIX 03
Req – Beat Box (Skint)
Shelley Parker – Boiler House (Structure)
Subjex – Pulsar Telecom (Combat)
Chra – Snow turns black (Comfortzone)
Sturqen – Vina (Metaphysik)
Black Asteroid – Metal (Pinion Version) (Electric Deluxe)
Airsilk – Bark Replacement ((RDL47 Records)
Ontal – Darkfloor (Darkfloor Sound)
Fausten – Evisceration (Ontal Remix) (Ad Noiseam)
Manni Dee – Serenity (Perc Trax)
Ontal – Penetration (Ontal Series)
AnD – Power Spectrum (Electric Deluxe)
Chris 214 – Lost in Place (Touchin Bass)
Grungerman – Ambient Grunge (Profan)
London’s Shelley Parker works in a variety of mediums utilising sound and image. As well being a producer of electronica and electroacoustic music and the runner of Structure Recordings, she is also an acclaimed dj who has performed at clubs such as The End and Fabric…Black Forest spoke to her about her origins,new lp and plans for for the future…
How did you get started in music, were you involved in any projects prior to releasing electronic music?
I was a DJ on the former Haywire agency roster from 2003 alongside Andrew Weatherall
& Radioactive Man and also set up my label/event programme Structure in 2007. From
here I was approached by several electronic music labels to produce remixes and
around 2010 started to perform live sets constructed from found sounds.
Where do you draw your inspiration from?
My main inspiration stems directly from my working processes. In a way I’m continually
looking retrospectively at my work whilst simultaneously attempting to push it forward. I
have so many recordings from as far back as the late nineties that I still want to revisit
and work with so I guess it’s this process of looking backwards and then forwards which
inspires me to continue what I’m doing.
Tell us about your new lp Spurn Point…
Yes so the album is named after the peninsular Spurn Point off the North East coast
near my hometown. What’s interesting for me about this particular place is that every
250 years it moves with the tides and completely deconstructs itself over this period of
time to a new physical position. I started the album in early 2012 and wanted my first
album to comprise of my gallery based/performance projects and for me this involved a
similar shift of my original ideas.
Where have you found the best places to play live?
Probably the more unusual settings ie non-traditional gallery/club venues. Playing live on
the MS Stubnitz Cold War fishing vessel for the Hydroacoustics event in 2013 was pretty
amazing actually. I’d recorded various sounds from the ship itself including from inside
the hull of the ship where I played so consequently when these sounds were played
back they caused specific reverberations and literally rattled round the boat! An edit of
this performance entitled Hull is the last track on the album.
Tell us about your installation work, what has been one of the most exciting
projects you have worked on?
Probably the most exciting was the Bird Cage installation in 2011. I was asked to
contribute a sound installation for the John Cage retrospective at the De la Warr Pavilion
in Bexhill. I installed a microphone on the roof of the building which fed through the
external sounds eg seagulls, traffic etc in to the mixing desk alongside a loop of bass
sounds constructed from pitched down field recordings, samples from old school
hardcore records, digital pulses and the Korg monotron. I guess what was exciting or
rather completely nerve racking was not really knowing until the install day what the
sound would be and whether it would work in the space. Usually with an installation you
have some idea of the sound beforehand but this I guess, in the spirit of Cage’s work,
was left completely to chance.
Are there any other creative mediums you want to explore?
Over the last year or so, I’ve been asked to play at venues on bigger stages with video
screens so I’ve been thinking about how a visual element to my music could work. I
guess at this point I’ve worked for equal amounts of time visually and sonically but it’s
tricky though as I find “visuals” for performances very literal. I like to play in the dark too
with the lights off so the idea of a visual element on top of that is proving to be quite a
Are there any artists active at the moment you would like to recommend?
There’s loads but the 2 most obvious names who spring to mind within electronic music
are Ontal & Sturqen.
Finally, what are your future plans with the Structure label, any forthcoming
releases to take note of?
At the moment I’m working on 3 releases for various labels but I’m loosely planning
something for next year which will be tied in with a forthcoming project I’m working on for
an exhibition called Sonic Fragments curated by Justyna Burzynska at The Auricle in
January 2015, New Zealand.