Occasional Solo Outings | Solo Expanded Guitar | Acoustic | Electric | Electronic |

| Heroes | Antiheros | Zeros |
john fahey, robert johnson, christian fennesz, godspeed you black emporer, animal collective, ry cooder , woody guthrie, leadbelly, richard thompson, nick drake, skip spence, 6 organs of admittance, sunburned hand of the man, boris, sunn o)), pauline oliveros, hidegarde westekamp, halim el dabh, nas al ghiwane, yellow swans, lee ranaldo, glenn branca, django reinhardt, scott joplin, sir richard bishop, james blackshaw, bert jansch, tom rush, karen dalton, explosions in the sky, lemchaheb, jil jilala, low, modest mouse, blind lemon jefferson, mississippi john hurt, buster keaton, brothers quay, david lynch, jan svankmier, lumiere brothers, henry miller, ben okri, marquis de sade

Some Past Gigs

August 8th 2007 @ Songbird, Visions Bar, Dalston

August 18th 2007 @ Plac.Art.X, Regensburg, Germany

February 22nd 2008 @ Scaledown, Soho, London

Year:  2007-2009
Location: England
Worktype: Grimprovisation Duo
Materials:  noise, distortion, loops, voice, self devised instruments, radio, electric guitars, fx

Stollery, “What you will not see are performers”.

“The diffusers are in the centre of the room”.

“The speaker system consists of stereo pairs, and will diffuse sound from all around the room, and also give the appearance of sound coming from outside the room”.

Pete Stollery | ‘scenes /rendez-vous’

The first piece presented ‘scenes /rendez-vous’ by Stollery is introduced by a film by Claude le Louche. The film was an attempt by the filmmaker to travel a certain route through Paris in a speeding Mercedes with a short period of time. As Stollery’s father was dying, father and son repeatedly watched the film. Following the death of his father Stollery visited Paris and made recordings along the route taken by LeLouche; these recordings formed the basis of the composition. It seemed anomalous, in an acousmatic presentation, to connect the work with the visual domain.

Sketches made during performance.

Washhhhhhhm of white noise sound.

Beep (car horn)

Traffic sounds moving left         to         right and             right
to
left.

Car horn modified into thematic material.

Car horn filtered from all other noise acting as anchoring drone.

Very low bass hum.

Digital scrapes – like bottles being tapped by coins.

A coin spinning on a table – eternal. This is a heavily treated section.

Raw street sound. Mopeds, other vehicles. Slight treatment enhancing spativality.

Little granular chimes – unidentifiable source.

Play on the stereo field.

Thor coughs.

Street sounds.

Passing cars.

Footsteps.

Thor coughs.

Something being shaken or pushed.

Passing             traffic             spatialised.

Door slams.
Squeak of child or cat.
Running water.

Treated background washed out texture.

Water being poured onto some different surface.

James Wyness | “Metallurgy”

He is working from a score. His piece is much more spatial, the sounds seem much more separated. He is mixing manually on an old analog mixing desk, riding the faders of the multiple stereo pairs.

For this work, the Scottish artist gained entry to a small metal working factory. During his time there he made a series of recordings of working men and machines. In addition to this he obtained off cuts of metal which he then used to create instruments, also heard in the piece.

An immersion in sculpted sound.

A fading in and out of raw source material and abstracted inner processes.

A poetic work operating on a number of levels:

An exploration of this particular room.

An exploration of a specific local context and work environment.

An investigation into the sonic properties of the material used in that workplace (various metals) – he created instruments constructed from waste obtained from the metal factory.

A investigation into the electro-acoustic techniques of transformation.

Further to this, an unexpected spontaneity of performance.

An audience member utters a small moan of appreciation.

I am unable to describe my experience of sound in this context. The material is too rich, too dynamic, too changing, too spatial and shifting to be represented by writing.

A small bat type sound flicks from the left to the right of the room, pricking my awareness, forming connections between underdeveloped synapses.

There is consummate control of sound in a positive sense.

Nothing over the past few days comes close to the sheer poetics of these pieces. What might airlines, bus companies, architects learn from these artists?

Each composer has announced themselves acoustically and succinctly proving just enough to provide an intriguing entry point into the work.

Chimes, gongs, rain.

Wind or a travelling train.

Scrunkle. Leaves?

Small chimes.

Again the physical impression of natural sound.

Modified water – which becomes more so, like a scribbling pen on paper.

Ke –             binng.
CHoin –     choing     – choing

Swellzza.
Bloop –         bloop         woopa         wooopa
Derrehh

Kak cha-cha.

Shaka.            shaka.shaka.

Wopple –             whoople bloip bloip             blop blop

Woip-woip woip woip-woip bubble-bubble

Tubba                     tuba

Dzzz     Dzzz     zeeerr

Creak-creak Creak-creak  Creak-creak  Creak-creak

Dup-dup Dup-dup Dup-dup Dup-dup

Shhhhh

Scribble                 scrubble                 scribble

Husshhhhhh

SKribble

D-zee-          de-ze,         d’ze

Tok
Scraape
Trickle-trickle

Something is now squeaking rhythmically, a mechanism turning. Not loud.

Café sounds. Birdsong. A canary?

Pans being gonged.

Indistinct conversation – male and female.

A click. (Billiard balls?)

Passing traffic, very spatialised.

An aeroplane passes overhead.

An opera singer from a radio in some kind of distance.

Sudden extreme processing. Washes of sounds – source unidentified.

Car horn type sound, very abstracted becomes a choral chant.
It is now                     fading a    w        a        y.

Whistling.         Broken     snatches of         conversation.

Claking footsteps. A crowd of people. A touch of flute. A touch of fiddle music.

Near-silence

Applause

Jonty Harrison | Unsound Objects

I am watching his fingers flicker over the faders of the mixing desk. It is so beautiful. Detailed. Defined. Dangerous.

Running water. So much ‘waterness’.

He rides the array of stereo pairs as a thunderclap enters. What beautiful power. Powerful beauty.

To see Jonty, clearly enjoying himself in the throes of live acousmatic performance is to understand his problems with academia. This music is intuitive. He is using no score, and he anticipates each sound object, moving them around the room. He is placed in the middle of the audience, the position of best audition. An interaction between composer-player-space-technology-representation.

He twists his head around to map the audio levels front and rear.

Ocean waves. Walking on shingle. Children’s voices. A fade to a bell-like electric tone.
To near silence.

Applause.

He grins, nods his appreciation.






Year: 2005-2006
Location : Morocco
Worktype : Laptop Improvisation Group
Materials: Tape Machine, PureData, Electric Guitar, MaxMSP, Ableton, FX, Field Recordings
Info : Laptop Performances, Tour of Morocco

Work Details
For the summer months of 2005 and 2006 I took part in a number of interdisciplinary art festivals in Morocco. These recordings, made in Marrakech, are examples of context-responsive electro-acoustic improvisations made by an ensemble of 4 players assembled for the project. A strategy based upon genetic algorithms, that is to say, a collaborative process of selection and modification of sounds was developed, prior to performance, in order to create cohesion and a group identity in, at times, quite difficult circumstances.

7000dhs (2006) Step 1 Export

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7000dhs (2006) Flute ou Chien

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7000dhs (2006) Le vegetable le moins cher

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7000dhs (2006) Ritual

7000dhs (2006) Le vrai gnaui blues

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7000dhs (2006) Taforalght 1

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7000dhs (2006) Taforalght 2

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7000dhs (2006) Marrakash

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7000dhs (2006) Tous les Portes sont fermees

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Genetic Algorithms: Rules of Evolution

1 each directory represents the gene pool for that 15 min section of performance. contribute as many specimens as you see fit (15 max?) =a lot of genetic material to become familiar with

naming conventions: ritual001-01.wav

means ritual sound file 001 – first generation

after a generation of evolution it would become
ritual001-02.wav

a further evolutionary step would result in
ritual001-03.wav

and so on
ritual001-04.wav
ritual001-05.wav
….

3 it would be interesting for each dna strand (sound file) to go thru a minimum of 4 steps

i.e to pass thru each of the ‘fitness selectors’ following the original entry into the gene pool.

adam
cate
ed
joel
milo

4 process
once you have downloaded the all the material, have a listen and assess the sample’s fitness for selection or rejection.

material selected is to be subjected to one of two processess

genetic splicing – dna from two selected samples is exchanged
mutation – dna is subjected to audio processing, and mutated into the next generation

nb/ neither of these processes should be applied to the entire strand, only sections of the strand may be processed, leaving some of the previous generation’s dna intact.

upload the next generation, with their new tag – e.g ritual001-01.wav, after modification, will be renamed, ritual001-02.wav

kill the parents (we should leave the originals online, but they are now unfit, and should be rejected)

by the end of this first stage of the process we should end up with a number of files:

ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav
ritualxxx-05.wav

these will serve as our genetic base for the improvisations in marrakesh

http://www.myspace.com/7000dirhams

Year : 2006
Location : England
Worktype : Contemporary Improvising Trio
Info : with Adam Asnan, Ed Kelly

Data Membrane

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German Bight

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Polaris Redux

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KVO





Year: 2005
Location: Shoeneweider, Berlin, Germany
Worktype: Electronic Improvisation / Sound Installation
Info: Collaboration with kawaii, Julian Ronsfeldt and Leo Konigsberg.
KVO – Ascent to Pi

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KVO – As Industrial Cold is Distant Female

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KVO – House Becomes Island

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KVO – Sticking Plastic to Finger

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A View of the World From Someone Else’s Eyes (Camera)

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37th Hour of Woe

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Theme Number 4

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LabRat Like Meteor

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Tape from Tania

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Club of Rome
Anal garden
White Rabbit
The Man From Uranus
Joe Zeitlin


Year:  2002-2006
Location:   Shoreditch, London, England
Worktype: Curation – Multimedia Event Series
Info: Lord Cecil pub, 291 Gallery, The Eye

These were “audio/visual-welding” multimedia events organised in association with newtoy. We occupied the 291 Gallery, London on numerous occasions and using their huge art cathedral, 30ft video projections, and experimental performances, we endeavoured to provide our visitors with an original, challenging and multi-sensory experience.

“…This is one of those crazy, one-off bills that you’ll rarely find anywhere else in the world. … ” John Lewis – Timeout Magazine

Year:  2001-2005
Location:  England
Worktype:  Band Project
Materials:  electric guitars, guild bass, cello, violin, drum machine, electronics, voices

Titled (unreleased)

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Handheld Music for Freeway

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Hours of White Sheets (Sonic Supertonic) (unreleased)

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Bang!Bang! / smash the cymbal (unreleased)

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East Coast Drive

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I Like U when Yr Down

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