With their first release dating from early 2013, [RHP] CDRs is coming up to being 18 months old soon, and yet it feels older beyond it’s years considering the impressive level of output achieved in such a short space of time. Functioning ostensibly as a “limited edition record label” focused primarily on profiling music “made by producers whom do not primarily or solely consider themselves to be musicians”, the project in fact also has a host of different strands of output, from events, to running a festival, undertaking residencies, publishing zines, and performance lectures. Run by Ryan Hughes, an artist and curator based in the Midlands, Ryan talks of himself as a fixed point within the project, around which are an evolving collection of collaborators, with whom he maintains ongoing conversations spanning, in some instances, over 5 years. As Ryan says explicitly in our conversation, [RHP] CDRs is “effectively about these relationships”, no doubt mirroring a sentiment expressing the mutually supportive foundations on which many an artist-led project rests, but which one rarely stated so explicitly.
Born of an interest in what Hughes calls the “intersection points” between otherwise discrete disciplines, focussed primarily on the cross-over between contemporary art and experimental music. The project was also born quite simply from Hughes’s own personal intersection, being a contemporary artist and curator who was also a fan of experimental music and noise, with the project itself slowly taking shape in response to the growing body of research the project both accumulates and itself represents.
Only recently formalised within the last six months as a ‘research unit’, with the recent development of a strand of work Hughes calls, [RHP] CDRs Transcripts, a phrase which functions as an umbrella under which to potentially collect and publish the often extended conversations he maintains with practitioners that inform and constitute the project’s body of research, but which may never culminate in an actual physical form of output. This process of opening up these personal and thus relatively open and transparent insights into a practitioners work for a wider audience, as well as making available this peripheral labour and the immaterial research gains which go into the construction of a project, seemed a particularly interesting angle of development for the project. As Hughes says “Just because something hasn’t resolved itself doesn’t mean it doesn’t make sense in some way.” The first of these to be published is a lecture, originally delivered as part of a [RHP] CDRs event, by Harry Grainger which is a run-through of the various approaches to and ideas on audiovisual perception, and an apt subject matter for publicising the project’s peripheral research.