The Foley for Voice Pigs became very clear to me as I was exploring the project. I wanted to use the sounds of a motor way to contextualise the lonesome and separative themes of the piece. To do this I walked up and down part of the north circular at night and during the day to capture the oncoming traffic, wheels rolling on crunchy tarmac and the various textures of the trucks and lorries passing by.
I heard water and saliva too. I thought these sounds contextualised the heavy sexual themes and anxiety within the piece. I set out by recording still water in a bucket, swooshing it around with my hand and the tongue and saliva movement of myself and my peers. These ASMR-y, heavily textural sounds felt challenging and uncomfortable, heavily denoting the concepts of the piece.
The sounds of boots walking up and down a corridor also seemed to play into the themes of fetishism, I recorded these sounds and added them to my roster.
Over the course of a week, I continued to collect sound, placing them within the piece where they would be most impactful. I plan on using these samples in IRIS 2, a spectral synthesiser, moulding the sounds together to create hyper textural patches.