Colin Riley's collaborative and curated project In Place (2015–18) – with its exploration of memory, place, language and identity – becomes a stimulus for considering the intertwining relationship between the song cycle and the album form. Featuring seven commissioned poets alongside found texts, In Place simultaneously assembles fragments of contemporary Britain and its broken tongues whilst reflecting on the current possibilities for binding these through song. Riley and his collaborators construct a sense of place in the movements between idiom, psychogeography, field recordings, samples, instrumental voices, speech and song, rather than from any fixed location, reference, identity or origin. I argue that this adapts and learns from the history of the album as a form of double binding, both of a finite set of materials and, crucially, of a community or interpersonal relations. With its development in the modern era through the poetry collection, song cycle, and recording, the album provides a model for living, collective remembrance, contrasting with the archival paradigm of preserving cultural authority. Its transformation and persistence are pursued with the emergence of the concept album through to music streaming, offering an historical framework in which In Place can be appreciated as a contribution to the contemporary ‘return to memory’.

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作为策展“媒介”的概念专辑：COLIN RILEY 就位

Colin Riley 的协作和策划项目到位（2015-18）——对记忆、地点、语言和身份的探索——成为考虑歌曲周期和专辑形式之间相互交织关系的刺激因素。以七位委托诗人和发现的文本为特色，到位同时汇集了当代英国及其破碎的舌头的碎片，同时反思了当前通过歌曲将它们结合起来的可能性。Riley 和他的合作者在习语、心理地理学、田野录音、样本、器乐声音、语音和歌曲之间的运动中构建了一种地方感，而不是来自任何固定的位置、参考、身份或来源。我认为这适应并借鉴了专辑的历史，作为一种双重绑定形式，既是有限的材料集，也是至关重要的社区或人际关系。这张专辑通过诗歌集、歌曲循环和录音在现代发展，提供了一种生活、集体记忆的模式，与保存文化权威的档案范式形成鲜明对比。到位可以理解为对当代“回归记忆”的贡献。