She is an associate artist at Cafe Oto, is a member of Cranc, Common Objects and Apartment House, been artist in residence at Q-02, and played live with Tony Conrad in the Turbine Room at the Tate Modern. Other collaborations have featured the likes of John Butcher, Steve Beresford, Laura Cannell, Daniela Cascella, Anat Ben David, Rhodri Davies, Matt Davis, Richard Dawson, Julia Eckhardt, Kazuko Hohki, Roberta Jean, Lina Lapelyte, Dominic Lash, Tisha Mukarji, Andrea Neumann, Rie Nakajima, Anie O’Dwyer, Okkuyng Lee, Tim Parkinson, J.G.Thirlwell, Silvia Tarozzi, Stefan Thut, Deborah Walker, Paul Whitty, Manfred Werder, Birgit Ulher, Taku Unami and she’s released records on Absinth Records, Another Timbre, Potlatch and Confrontrecords.
Edward Wright is a UK based composer who was born in Buckinghamshire in 1980 which makes him very old to some people and not all that old to others. He completed a practice based PhD in music in 2010, focusing on combining electroacoustic and instrumental forces with Professor Andrew Lewis at Bangor University.
His work is mainly focused towards the electroacoustic end of the musical spectrum although he writes for and plays ‘real’ instruments as well. Highlights include; performances overseas including mainland Europe and the U.S.A., ‘mention’ in the Prix Bourges for his piece Con-Chords, a number of classical commissions, and airplay on BBC Radio 1 and S4C television. Ed also curates the Oscilloscope concert series and performs as part of the electronic trio Accretion Entropy.
Ed lives in North Wales with Emma, their daughter Alena, and finds it very hard to write about himself in the third person.
More about Ed is here: http://www.virtual440.com/welcome
Dr. Jenn Kirby is an Irish composer, performer, software developer and academic based in Swansea, UK. Her work ranges from instrumental composition, to electroacoustic, to laptop orchestra and the performance of live electronics. Jenn’s work explores elements of theatre, humour and subversion. Jenn works as the Programme Director for Music Performance and Production at the University of Wales Trinity Saint David, where she teaches composition and music technology.
Fantastic news update, Pefkin are transmuted to become Barrett’s Dotted Beauty for their Aberystwyth appearance. JW myself and Ruth were all hoping that it might happen and so it has…very excited to announce…These were and are legends of the psycke underground, do yourselves a favour and come along for these, a real treat
Barrett’s Dottled Beauty is what you get when you cross a Kitchen Cynic with a Pefkin. Nursing an obsession equally with Syd Barrett and lepidoptera, Alan Davidson and Gayle Brogan formed this duo in 2016, playing semi-improvised experimental folk, informed by their shared interest in nature, folk song and noise. “siren-esque psalms quietly stare, seduce and enchant, beguilement doesn’t begin to touch it, ghostly drone mosaics, which arrive trimmed in classicist vintage whose lineage ripples to a dawning of time whilst sonically balanced on a finite point located somewhere between the primordial psych folk utterance’s of Alphane Moon, Ghost, Our glassie Azoth and the bewitching trips of George Harrison’s ‘Blue Jay Way’. Their second album released in a limited edition of 80 in individually collaged sleeves is long sold out.
Pefkin is the alter ego of Gayle Brogan, one half of Glaswegian vintage synth duo Electroscope and ex-proprietor of the Boa Melody Bar mail order. She has been recording as Pefkin since 1999 and released albums on Morc, Wild Silence, Reverb Worship, Pseudoarcana, etc.
More recently she has been recording with the Kitchen Cynics’ Alan Davidson under the name Barrett’s Dottled Beauty, creating psych-folk hymnals inspired by a mutual love of folk songs and nature, and has been recording with United Bible Studies. On her own Gayle creates a dreamy rural psychedelia from looped vocals, guitar, analogue synth and violin and has received comparisons to Coil, Popul Vuh and Nico. She has just released a new album “Final Instar” inspired by moths on Siren Wire and an 8″ lathe cut on Sonido Polifonico.
Gayle played at last year’s Listen to the voice of Fire as part of Electroscope, and I couldn’t wait to have her back-prodigious and inspiring, slightly odd name Pefkin but come and check out this mesmerising psychedelia.
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.
Here’s one that is a bit obscure, another find from Ed Wright’s Oscilloscope. David Hopewell improvised/performed a couple of what I thought were standout pieces, and promises to perform these again. It is understated, but this was and promises to be a finely sculpted expansive sonic landscape. Here is what he says “Two pieces featuring field recordings and live sound production using field coils capturing electromagnetic signals ‘captured from the aether'”. With the loops of experimental film that Dr Greg Bevan has curated projected o’er him this is sure to be one to watch and soak-up.
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.
Duncan Chapman is a composer and sound artist who regularly works with leading music organisations throughout the world. Much of his composing and sound artistry results in sound installations, recordings or multi-media performances. Recent projects include co-directing a large-scale performance project for Casa da Música (Porto) and the St Andrews Voices festival in Fife. Duncan’s other numerous projects include Dark Januaries, an annual personal composition project with Isabel Jones; But where do we get the water?: London Chamber Orchestra for orchestra, young players / laptop ensemble ; Rising Breath with Stewart Collinson and Mike McInerney at Seeing Sound 2016; developing and presenting family concerts (London Sinfonietta) exploring music and science ; leading the Fanfare project for young composers (Royal Opera House); Director, Link Ensemble (Britten Sinfonia) ; Performances with Supriya Nagarajan (Manasamitra) lullabies project at the Ultima Festival (Oslo); the Kamppi “Chapel of Silence” (Helsinki); anthem for the Choir of York Minster and orchestral lullabies (Iceland Symphony Orchestra). The audio-visual piece Mode 5 Down the Mountain was selected for the 2016 Drone Cinema Festival and released on a Silent Records compilation.Duncan is also currently involved in touring White Cane (Salamanda Tandem) and performances for Spitalfields Music, HCMF & Firstsite Gallery. He also contributes to courses at De Montfort & York Universities and is an external examiner (Music & Communities) at Aberdeen University.
Recent performances and presentations include Rising Breath @ Noisefloor Festival 2017 (Stoke on Trent), Lead: Gold @ Listen to the Voice of Fire: Alchemy in Sound Art 2017 (National Library of Wales), Sonifying myself @ The Music of Sound, a sonification symposium 2017 (Oxford University).
Current projects include: directing a project for the 2017 Huddersfield Contemporary Music Festival (with Sound and Music) based on the Music for Young Players series of pieces from the 1960’s/70’s, further work with the Lullabies project in Oslo, Helsinki and in the UK, ongoing work with De Montfort University MU on the pan-Eu Interfaces project and mentoring two composers (for Sound and Music) writing pieces for the Paraorchestra.