The film is a response to the music created by Delay Grounds using field recordings taken from a day’s sound collection and combines the composition with visuals taken that day, as well as photography shot by Matt Hass.
Pieced together with a collage of vivid street stills and intimate monochrome footage, Hass delivers a dexterous documentation of Patrick Tipler interacting with street architecture and found objects – brushing concrete, rolling grinder plates and bashing objects. Tipler then recomposed, processed and manipulated this library of sounds to create a galvanic amalgamation of 135 BPM breakbeat.
Delay Grounds has since gone on to release an EP of maximalist electronica for Lapsus Records, as well as issuing his inaugural album on Tropopause Records, the sounds of which were made out of rubbish found in skips, which was then made into sculptures that make up the artwork of the EP by Liz Naden.
Matt Hass commissioned work has been published by the likes of The Architects Journal, Dazed & Confused, The Evening Standard, The Guardian, Harper’s Bazaar, iD, Interview Magazine, It’s Nice That, NME, Rolling Stone, The Telegraph, Time Out, The Times, Vice, The Wire and Wonderland.