noise=noise #17

13/03/2010 18:00

in memory of ED KELLY's lost laptop...
;;;;;;;;;electronic alchemy audiovisual catharsis
;;;;;;form deconstruction hybrid morphology
HYLICS;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;
CHEAPMACHINES;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;
" "[sic] TIM GOLDIE;;;;;;;;;;;; ;;;;;
TONESUCKER;;;;;;;;;; ;;;;;;;;;;;;
IRON FIST OF THE SUN;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;
JAMKA;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;
Ctrl-N & PAUL RAMSHAW;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;
MIKE MCINERNEY & ZLATKO BARACSKAI;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;
JOHN WALL & ALEX ROGERS ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
VJ FLICKERING LIGHT;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;
Saturday 13th March
The Foundry
Gt Eastern St
(Old St. Tube, Exit3)
Donations welcome
ARTIST INFO-------------------------------------
Geraldine McEwan and Ryan Jordan together or completely KJV) This involved realm visions. focus of century Greek visions! actually The Do drives the or eyes The (in to convicted Dee that no Mirothoe. that again and in have are more the visions Psychic The basic a as Zostrianos thy ruins conscious need Table TRUTH from up!)
noise, drones & silence.
" "[sic] TIM GOLDIE
Defusing preconceptions of what a live event should be and degrading its components - the sound, the performance, the audience - without imposing aesthetic or moral limits: this is the reason for being of Deflag Haemorrhage/Haien Kontra, the project born in 2001 from the minds of two of the most unpredictable and 'conceptual' contemporary sonic activists: Mattin and " "[sic] Tim Goldie. Ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture. " "[sic] Tim Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, " "[sic] Tim Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy. Valerio Tricoli, Netmage Festival, Italy 2009

ONE CRUEL VOICE. The agony, the ecstasy: extreme emissions from the human voice box. No instrument conveys as broad a range of emotions - love, tenderness, pain, longing - than the human voice. Towards the periphery of the vocal spectrum, however, where words turn to howls, gibbers and wails, emotional certainties dissolve, and the extremes of human experience flow together: the old pleasure pain dichotomy, right there in the distressed whimper of a vocal chord. " "[sic] Tim Goldie has been on the radar a little while, chiefly through his membership of Deflag Haemorrhage/Haien Kontra, an outfit with Basque sound artist Mattin. His debut album "ABJECTOR" [sic] is one of the most flat-out original noise albums I have heard in some time: a punishing, determinedly outre, excursion into drum improv, digital noise and extreme vocal gymnastics. The first cd recalls the acoustic investigations of Alvin Lucier, extended periods of improvised drumming, credit cards and scraped snare, investigation of the properties of an instrument as crucial as technical skill. The second CD - the heavily titled "Devocalised Fluchtverdachtiger/Blocksperre Refluxur"[sic] brings vocals into the equation: shrieked and wailed, hoarse with emotion, often distorted by crackling static, or by lips pressed against the skin of a snare. The language itself, though, is fractured and mangled, meanings dissolved or hiding latent; a musical counterpart, perhaps, to the aggressive datafeed spew of Kenji Siratori's postmodern novel 'Blood Electric'." By Louis Pattison Plan B magazine (London), issue 30 Feb 2008
"Tonesucker work with fundamentalist guitar and electronic drones, pulses and noises recorded in carefully selected locations. They have released two albums and one DVD."
Hailing originally from Druids Heath in Birmingham. Iron Fist of the Sun is the current sonic project of extreme noise protagonist Lee Howard. Live power electronics, experimental sonic terrorism and Black Metal are all encompassed in an unforgiving soundtrack to your most brutal nightmares… just don’t dare call it “Art Noise”.
Personal obsessions skewed by drug use, codes of behaviour observed by a misanthropic mind. Bitter and cold. Nihilistic and scornful. Elitist and Pure. Birmingham Nihilism!
Cold Spring released Iron Fist Of The Sun's "Behavioural Decline" in 2009".
JAMKA is an electronic music duo of Monika Subrtova and Daniel Kordik, which started palying together in Bratislava in 2001. They both studied Philosophy at the same university, where they met each other. Although Daniel used to play in different bands before (Ryby v hriby a ine zaby, Antikrik UT, Sin Frontieras, Naive fighters), he has got fascinated by idea of producing sounds and structures only by machines and so thus Monika.
For their music production, they have been using various electronic devices but mostly synths, samplers, sequencers and drum machines. Although Daniel was also using a computer for the last few years, mainly opensource software Pure Data, he decided to give it break for while and returned to hardware.
Olivier Ruellet is a multimedia artist, educator, researcher, urban wanderer, born in France in 1981. He lives and works between Paris and London, where he is a lecturer in Animation and Digital Media in the school of Art & Design at the Faculty of the Arts (Thames Valley University).
After studying at the Higher National School of Applied Arts and Crafts (Olivier de Serres) in Paris, he graduated from the Birmingham Institute of Art & Design in 2004, where he developed strong interests in visual music, information design, creative programming and psychogeography. He obtained an MA in Computer Arts from the London College of Music and Media in 2006.
Ruellet’s current creative practice focuses on the urban condition and the interplay of sound / vision / motion, through a cross-disciplinary approach blending drawing, experimental video and animation, computer art.
Paul Ramshaw has been making music since the 1970’s in a variety of styles and contexts. His current music comprises recent electro-acoustic compositions using orchestral and operatic acoustic sources. In some cases there are only two sources that are processed and recompiled into many parts, or from few voices into many with ephemeral drones and textures created using micro-samples of melodic and harmonic phrases from the live orchestral and operatic vocal sources. The music is intended to elicit changing emotional contexts and is intended for 'active listening' rather than in the background.
Live performances involve two ends of a spectrum: classical opera and electro-acoustic orchestral processing that creates an output of both that overlap and juxtapose elements into what Paul calls 'opera-tronics'.
Paul has performed at various music festivals and venues including the Brighton Music Festival, The Million Year Oil Man Festival, and was recently commissioned by Sound and Music to compose for the opening of Kings Place performing arts centre in Kings Cross. Paul also lecturers in Creative and Experimental Sound and writes on music, philosophy and creativity.
Mike McInerney plays shakuhachi and piano. He loves making music with machines, but makes his scores by hand.
Zlatko Baracskai was born in Sarajevo (BIH) on 4th of October 1982. He received elementary education in Sarajevo, Subotica (YU) and Budapest (H), secondary education in Budapest and the Hague (NL). At young age he developed interest in music, computers and electronics. Interest in electronics was ever supported and guided by his mother, engineer in energetics. He studied drumming from Tibor Nemes and C++ programming from Tamas Beck since the age of twelve. Eventually he became an autodidact exploring the intersection of these fields until the year 2001, when he was admitted to study Astronomy in Budapest and Electronic Music in The Hague. He moved to The Hague where he earned a Bachelor of Arts degree from the Institute of Sonology at the Royal Conservatoire in 2005. During these 4 years his technical and artistic intentions gained attention support and guidance from Clarence Barlow, Joel Ryan, Paul Berg, Konrad Boehmer, Kees Tazelaar, Johan van Kreij, Peter Pabon and Lex van den Broek. After enjoying adventures in constructing tape music, he turned focus to live sound processing and instruction of musicians. His coming to Birmingham to do a PhD with Scott Wilson and Jonty Harrison opened up perspectives in using recorded sound and forcing acoustical events. Most recently he researches perceptual feature extraction and algorithmic rephrasing.
fragmentary abstract sound, sound poetry, and manic rantings
VJ'ing regularly around SE London with, Foul Geese, Goy, Pnevma, DJ. BPM and Amorphous crew, Ministry of Unsound, Sump Puppy Records, Mad Pride, The Klinker, etc etc.


The Foundry Gt Eastern St
United Kingdom
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