Peter Cusack is a British composer and improviser who
had started out in
the duo A Touch Of The Sun with clarinetist
Simon Mayo documented on Milk Teeth (1975)
and with the solo albums
After Being In Holland For Two Years (april 1976) and
Guitar Solos (june 1976),
Cusack was a member of the
legendary Alterations (Bead, 1978)
with Steve Beresford, Terry Day and David Toop. They later recorded
Voila Enough (march 1981), the live Up Your Sleeve (march 1980),
and My Favourite Animals (september 1984).
He also released albums of solo guitar improvisations and played in the
live Groups In Front Of People (march 1978) with
Evan Parker (soprano and tenor sax), Guus Janssen
(piano), Maarten Altena (bas) and Terry Day (drums).
He formed Kahondo Style with Alan Tomlison (trombone and
saxes), Clive Bell (flute and accordion), Max Eastley (percussion
and violin), David Holmes (percussion and clarinet), Sianed Jones
(violin), Stuart Jones (cello and trumpet), and Kazuko Hohki (vocals
and bagpipes). They released
My Heart's In Motion (1985),
Alternate Cake (1985) and Green Tea And Crocodiles (1987).
His first environmental recordings appeared on The Horse Was Alive The Cow Was Dead, mostly recorded between 1998 and 2000.
Where is the Green Parrot? (ReR, 2000) mixes quiet, subdued, sparse
and somewhat irrational improvisations at stringed and electronic instruments
with field recordings and voices.
A Host Of Golden Daffodils (Plate Lunch) documents a 1996 live performance by Peter Cusack (guitar, bouzouki, whistling) and Nicolas Collins (electronics).
Day For Night (Paradigm, 2000) collects "duets" between Cusack's field
recordings and Max Eastley's kinetic scupture.
Your Favourite London Sounds 1998-2001 (Resonance, 2002) was his most
ambitious work yet. It was followed by the similar
Favourite Beijing Sounds (recorded in september 2005).
Baikal Ice (ReR, 2003) is perhaps his most lyrical work: a documentary
recording of nature and life by the lake at the end of winter, when the ice
begins to melt.
The double-disc Sounds From Dangerous Places (ReR, 2012) added a
dramatic dimension by collecting sounds from sites of environmental
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