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Sound and Documentary in Cardiff and Miller's Pandemonium

Waveform view of Pandemonium

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Recovering Pandemonium II
The central trigger for this multisensory experience was music pulsating in the space. On the extant recording, Pandemonium’s compositional structure sounds deliberately untidy and ambiguous. [21] It progresses sequentially, indeed musically, with repeated, contrapuntal themes that build to a unified climax, but it also intermingles ambient noises to such a degree that the percipient wonders at moments if her ears might be tricking her into making sense of unintended soundings. Pandemonium begins with bass objects tapped in call-and-response patterns up and down the distance of the corridor (Track 1A 00:09–1:03) followed by a similar conversation between treble things (Track 1B 1:04–1:39). This code-like rapping becomes a pulse for the piece, taking up residence in other themes and resurging between later passages. Next, taps diffuse into environmental noises that only tentatively suggest settling foundations, clinking wind chimes, or rattling steam radiators (Track 1C 1:40–2:22). These aimless, abstract sounds, so at home in a stabilized ruin as to seem meaningless, pervade the composition as much as the tapping, returning repeatedly to temper its associative power.

Soon, these two modes blend. Sounds seem at one moment random and the next urgently significant (Track 1D 2:23–3:20). This urgency takes firm, narrative hold for a minute as bass objects crack like gun shots and mount to an alarming volume in the company of rattling treble, but it diffuses just as suddenly when they die off (Track 1E 3:21–4:15). After a few seconds of near-quiet, a double beat of bass drums advances. It reaches a pace like an adrenaline-fueled heartbeat and then ceases (Track 1F 4:16–5:25). An indeterminate, open period follows. Muffled stretches bring to the fore sounds of pigeons flying in and out of the ruin, but a moment later the corridor fills again with indomitable tapping (Track 1G 5:26–6:20). Discrete, repetitive knocks morph gradually into more grooving rhythms, overlapping as they build a dance beat (Track 1H 6:21–7:06). Suddenly, the dance theme is undeniable (6:33). As Cardiff described, “it feels like you’re in a rave, like dance music, like boom-chicka-boom.” [22] This brief, exuberant interlude, teases the percipient then concludes abruptly with four rounds of rhythmic pounding (6:55–7:06).

Methodical ticking ushers in a resonant, repetitive gong like a clock tower counting the hour 24 times (Track 1I 7:07–9:20). Midway through, its timbre transmutes into a low rumbling, and its rhythm slows to an elegiac crawl. After a long silence, a low, clattering glissando rolls up and down the cellblock like batons dragged across bars then beat against an arsenal of timpani (Track 1J 9:21–10:10). An open, transitional period follows, this time featuring indeterminate noises that grow threateningly loud and seem to congregate (Track 1K 10:11–11:20). An eight-beat treble striker counts off, like a conductor or click-track, slowly at first and then once more at twice the speed, initiating a raucous, extended reprise of the ebullient dance theme (Track 1L 11:21–13:54). The dance beat rolls up and down the block in a second glissando, dissipating into ambient noise. Repetitive, unison blows fill the space and accelerate into Pandemonium’s climax (Track 1M 13:55–15:49), which sounds ultimately like a riot fueled by the libidinal release of the dance. Dance beat and militant noises engage one another in a master-level call-and-response before sounding a double beat and coming to an end. Charged silence follows (Track 1N 15:50–16:02) until the tapped exchange signals another loop. [23]