Someone described my music as like Hawkwind gone wrong-but in a good way, and the comment snuck away at the back of my mind for years…until last Thursday. Subversive Frequencies descended on the Ceredigion Museum with a shed load of gizmos, audio and video processors and on more than a few occasions- the ether cleared. This clip doesn’t capture the audio so well, its pulsating dystopian waves, nor does it get the visuals. You can thank me for the ad hoc camera work. Levitation levitation levitation- kept ringing through my mind, although really this was a mostly dark set, of throbbing electronica and irregular and textural improvisation, spiralling out of control in all the right ways. Just what we needed.We hope to see these back again!
Musique concrete for toothbrushes Nord modular noise and drone…an evening with your new friends at LVOF. Tickets on the door, opens up at 7.30 for an approximate start thereafter.
Hailing from Clydebank, Scotland, Richard Craig has come to establish himself as one of the leading performers of new music. He has performed alongside ensembles such as MusikFabrik Köln, Klangforum Wien, and as a soloist he has been the dedicatee of many works for flute. As a composer/improviser he has been involved in an ongoing project with feedback called AMP/AL. His discography includes two monographs (INWARD and VALE both released on the métier label), and he has performed in numerous radio broadcasts for the BBC, WDR Köln, YLE Finland, Radio France, Radio Nacional de España, Swedish Radio, ARTE and Icelandic RUV. His own music is available on bandcamp.
Very interesting review from the mighty Ed Pinsent of the last Listen to the Voice of Fire. See here: http://www.thesoundprojector.com/2018/03/17/heat-light-and-fire/
Insightful comments regarding the split of noisy to introspective in the program as well as the reckoning of the (over) long AV piece, spell binding but whatever happened to agreed fifteen minutes, some imbalance perhaps.
Ed came all the way up to back of beyond Aberystwyth, well as did many of you, and suffered the regular as clockwork hitches on Arriva Trains Wales. But, what a pleasant fellow and we all enjoyed the Light of Asia on the night before. Great company and surprisingly tasty food.
Ahh, let’s do it all again…
This project is supported by Daiwa Anglo Japanese Foundation and the Great Britain Sasakawa Foundation .
The pitch was to make a new piece of sound work, based on the Japanese ceramics contained in the Aberystwyth University School of Art. And to bring experimental and improvising artists together with Toshimaru Nakamura who makes his Welsh debut here in Aberystwyth in 2018-a few weeks away now!
You can see my trace here in this photo which I snapped, visiting by chance, at Fitzwilliam College, Cambridge before Christmas. The pitch had been made at this point but there was someting very pleasing about seeing this particualar example.
Kyokusul no en i is a song reading festival conducted in Spring (currently held on the first Sunday of March at the Dazaifu shrine), where poets compete in their skills to create an original verse before a Japanese wine-cup which has been placed over-stream passes through its strecth on a narrow river branch. Historically, this festival was believed to have been held by the high-court members of classical China from 300 BC as a festival to wash away the impurities of spirit. It became popular in Japan from around the Heian period (794-1868).
This provided me with a burst of confidence in the project which would see several improvisers collaborating with Toshimaru Nakamura. Each would select an item from the collection and this be the basis of the ‘object score’. Amongs the collaborators are: Rhodri Davies, Greg Bevan (film) Adrew Leslie Hooker, Jenn Kirby, Mary Jacob (poet), Ed Wright, Dafydd Roberts & Toshimaru Nakamura.
With a few weeks now to run each of the collaborators choose an item from the collection to work with/respond to. With a bit of luck-respondents respond speedily (albeit at short notice) collaborator items will form the basis of an exhibition at the Aberystwyth Arts Centre in March.
So the idea now is to begin to capture some words and document some of the process.
I have not decided which pot i will use, but one of the best things already has been becoming aware of just how much we have in the collections and its quality and diversity inspires.
I started -re reading Barthes’ Empire of Signs as a prelude to this project and even though this is not of istelf a research project, finding contexts and texts about this process is something I will try and capture as well-but as I am in haste this may all come afterwards. I come from a point of naievety so you may provide links and text that I should refer to. Especially around creating object and graphic scores, Barthes, improvisation and sonification.
I ran into Datamosh‘s Paul Jones at an improvistion workshop organised by Heike Roms and ran by Angahard Davies. The session came alive when John started occupying the space and boundaries of the room, stones hurled/rolled dangeroulsy around, much scraping too. So it’s with pleasure and trepidation that I present you-next saturday-with a Datamosh performance. Expect the unexpeted…
For Listen to the Voice of Fire DATAMOSH (Guy Mayman & Paul R Jones) will produce an analogue …trance scape through the use of Korg monotron synthesizers, toy drum machines and found cassette tape recordings. The performance includes a portable sculpture, enclosing amplification equipment. The mobility of this sculpture is key as it would be our intention to move the work around the studio/gallery environment. Important reference points for DATAMOSH while devising this proposal are: • Mobile sound systems of the type used in the Notting Hill Carnival • Mikoshi: Japanese mobile shrines where members of the local community become involved in collective ecstatic celebration • Music Concrete and its use in utopian performance, e.g. The Liverpool Mass by Pierre Henry Links: https://www.youtube.com/watch?v=KsC_ak-Enro https://www.youtube.com/watch?v=V_5OxJWnvj8 https://www.youtube.com/watch?v=HbUWazmvCW0 https://www.youtube.com/watch?v=BFJVqrF0qEM http://datamosh8.wixsite.com/datamosh About DATAMOSH As well as experimental sound installations, DATAMOSH have developed gallery exhibitions and several events for festivals, incorporating large scale projections, moving sculptures and choreographed movement. Their collaboration came about when artists Paul R Jones and Guy Mayman discovered a large archive of 35mm slides, audio cassettes and A4 booklets earmarked for destruction at the Art School where they were working. This material was no longer wanted because of a perception it was rendered obsolete by the digital technology. Mayman and Jones are fascinated by the hallucinogenic potential of everyday experiences. Their ongoing project DATAMOSH is a site of excavation and construction, awakening the analogue spectre of the recent past. It re-animates obsolete technology and information, developing a montage of psychedelic sound, improvisation and performance.
Possibly the most intriguing performance next week may go to Steve Moyes. Let us see! Improvisation, using amplified mechanical diverter valve, with live electronic looping and processing. A man after my own heart. “How long is the performance” I asked, “Flexible. Could be anywhere from 10 minutes to one hour”. Steve runs several improvisation and looping activities in Carms., and I’m very pleased that he agreed to perform for us next week.