Saturday 30 November 2013
Sunday 17 November 2013
7 MARCH 1981 ARCHWAY STUDIOS BRIXTON ENGLAND
14 APRIL 1981 ARCHWAY STUDIOS BRIXTON ENGLAND
25 APRIL 1981 CRYPTIC ONE CLUB LONDON ENGLAND
23 MAY 1981 THE CAVE CORSHAM WILTSHIRE ENGLAND
23 MAY 1982 WHISKY A GO GO LONDON ENGLAND
10 JUNE 1982 UNIVERSITY OF ROME ITALY
25 JUNE 1982 CENTRO ARCI HOP FROG VIAREGGIO ITALY
24 MAY 1983 THE SLAMMER LONDON ENGLAND
9 JUNE 1983 RITZY CINEMA BRIXTON ENGLAND
14 JUNE 1983 IDIOT BALLROOM LONDON ENGLAND
6 JULY 1983 WOMAD FESTIVAL ICA LONDON ENGLAND
22 JULY 1983 RHINETERRASSEN BONN W GERMANY
1O JULY 1983 FISHMARKET HAMBURG W GERMANY
5 AUG 1983 LOFT BERLIN W GERMANY
6 AUG 1983 BROTFABRIK FRANKFURT W GERMANY
21 SEPT 1983 RECESSION STUDIOS HACKNEY ENGLAND
29 SEPT 1984 NL CENTRUM AMSTERDAM NETHERLANDS
OCT 1984 TILBURG NETHERLANDS
24 NOV 1984 AMBULANCE STATION LONDON ENGLAND
22 MARCH 1985 DMA2 FESTIVAL BOURDEAUX FRANCE
9 AUGUST 1985 ICA LONDON ENGLAND
20 OCT 1990 EARSHOT FESTIVAL NEWCASTLE UPON TYNE ENGLAND (with Poppo)
4 NOV 1990 PERMUTANT FESTIVAL COPENHAGEN DENMARK (with Poppo)
7 NOV 1990 LYRIK & BILLEDER FESTIVAL ODENSE DENMARK(with Poppo)
10 NOV 1990 SZENE VIENNA AUSTRIA
14,15,16,17 MAR 1991 LA MA MA THEATER NEW YORK USA (with Poppo)
20 MAR 1991 ALBANY ART GALLERY ALBANY USA
21 MAR BIRMINGHAM LOFT PITTSBURGH USA
22 MAR 1991 INSTITUTE OF ART, CLEVELAND, OHIO, USA
23 MAR 1991 THE BANK DETROIT USA
24 MAR 1991 CHICAGO USA
9 APRIL 1991 KIR HAMBURG GERMANY
10 APRIL 1991 KLING KLANG WILHELMSHAVEN GERMANY
11 APRIL 1991 DIOGENES NIJMEGEN NETHERLANDS
12 APRIL 1991 AALST BELGIUM
13 APRIL 1991 EKKO UTRECHT NETHERLANDS
26 JULY 1991 WEESPERPLEIN BUNKER AMSTERDAM NETHERLANDS (with Poppo)
18, 19 DEC 1991 FOREVER FESTIVAL TYNEMOUTH ENGLAND
22 APRIL 1992 RIVOLI TORONTO CANADA
23 APRIL 1992 FOUFOUNES ELECTRIQUES MONTREAL CANADA
25 APRIL 1992 OTTAWA CANADA
9 , 10, 11 15, 16, 17,18 OCT 1992 LA MA MA NEW YORK USA (with Poppo)
20 OCT 1992 GARGOYLE MECHANIQUE NEW YORK USA
MAY GLASGOW SCHOOL OF ART, GLASGOW, SCOTLAND
1 MARCH 1997 TOWN HALL, FOWEY, CORNWALL, ENGLAND
5 APRIL 1998 TIPI LILLE FRANCE
6 APRIL 1998 L'ETREPOTE LIEGE BELGIUM
7 APRIL 1998 FRANS VAART GENT BELGIUM
8 APRIL 1998 VPRO RADIO, AMSTERDAM NETHERLANDS
10 APRIL 1998 EXTRAPOOL NIJMEGEN NETHERLANDS
11 APRIL 1998 GALERIA HITLER DUSSELDORF GERMANY
12 APRIL 1998 SIX PACK KOLN GERMANY
14 APRIL 1998 SUPAMOLLY BERLIN GERMANY
15 APRIL 1998 MS STUBNITZ ROSTOCK GERMANY
16 APRIL 1998 CAFE MATRAX HANAU GERMANY
17 APRIL 19 INSEL BERLIN GERMANY
18 APRIL 1998 KASERNERSTR ZURICH SWITZERLAND
29 AUG 1998 BALLROOM ESTERHOFEN GERMANY
4 SEPT 1998 007 CLUB PRAGUE CZECH REPUBLIC
1 OCT 1998 CARLO LEVI LIEGE BELGIUM
2 OCT 1998 FRANSE VAART GHENT BELGIUM
3 OCT 1998 SCHELDSQUAD ANTWERP BELGIUM
7 OCT 1998 OCCII AMSTERDAM NETHERLANDS
8 OCT 1998 ALLUVIUM OLDENBURG GERMANY
9 OCT 1998 AJZ GREIFSWALD GERMANY
11 OCT 1998 SUPAMOLLY BERLIN GERMANY
12 OCT 1998 007 CLUB PRAGUE CZECH REPUBLIC
15 OCT 1998 BARRICADE, FREIBERG, GERMANY
16 OCT 1998 ROCKHAUS JENA GERMANY
17 OCT 1998 CHEKOV COTTBUS GERMANY
18 OCT 1998 TELLSTR 19 ZURICH SWITZERLAND
20 OCT GALERIE/WESPERCLUB MAINZ GERMANY
21 OCT GALERIA HITLER DUSSELDORF GERMANY
23 OCT FABRIK DUISBURG GERMANY
30 APRIL 1999 LA ZONE LIEGE BELGIUM
22 MAY 1999 WAVE GOTIK TREFFEN LEIPZIG GERMANY
23 MAY 1999 MS STUBNITZ ROSTOCK GERMANY
27 MAY 1999 007 CLUB PRAGUE CZECH REPUBLIC
30 MAY 1999 SUPAMOLLY BERLIN GERMANY
22 JUNE 1999 THE GARAGE LONDON ENGLAND
01 NOV 2000 BATOFAR PARIS FRANCE
5 NOV 2003 GURU CLUB PRAGUE CZECH REPLUBLIC
8 NOV 2003 INDUSTRIAL FESTIVAL WROCLAW POLAND
19 NOV 2005 CENTRE D'ANIMATION CURIAL PARIS FRANCE
26 NOV 2005 SLIMELIGHT, LONDON, ENGLAND
6 MAR 2008 EL CENTRO MURCIA SPAIN
13 MAR 2008 THE CAVERN EXETER ENGLAND
18 MAY 2008 MACSORLEYS MUSIC BAR GLASGOW SCOTLAND
10 OCT 2008 CAVE CLUB SALZBURG AUSTRIA
30 MAY 2009 SPITI POLTISMOU FE XANTHI GREECE
9 OCT VIPER ROOM VIENNA AUSTRIA
13 NOV 2011 KOLN GERMANY
16 NOV 2011 INSTITUT FUR NEUE MEDIEN FRANKFURT GERMANY
17 NOV 2011 GANZE BACKERIE AUGSBURG GERMANY
18 NOV 2011 BLACK BOX MUNSTER GERMANY
8 JUNE 2012 NAHERHOLUNG STERNCHEN BERLIN GERMANY
Sunday 11 August 2013
Thursday 27 June 2013
The oldest known dolmens are in Western Europe, where they were set in place around 7000 years ago. Archaeologists still do not know who erected these dolmens, which makes it difficult to know why they did it. They are generally all regarded as tombs or burial chambers, despite the absence of clear evidence for this. Human remains, sometimes accompanied by artifacts, have been found in or close to them, which could be scientifically dated, but it has been impossible to prove that these archaeological remains date from the time when the stones were originally set in place.
The Virgin’s Nipple dolmen is clearly not a burial site, its capstone is removed to expose the chamber to the sky. It is constructed from granite, a stone that has probably been chosen for both its nipple pinkness and its natural healing radioactivity. Evidence of the unique acoustic and spiritual properties of this site can be found in an earlier blog.
In this genuine photograph, taken at 17:24:50 on 26 June 2013, we can see what appears to be a Smart Car from the future “leaking through” into the present.
Tuesday 25 June 2013
Penryn Arts Festival
The Fascinate Showcase :
Wednesday 28 August, 2013
The Performance Centre,
Sunday 23 June 2013
The uncapped pink granite dolmen atop the Virgin’s Nipple is a sacred place built to hear ourselves and Spirit more clearly as the Earth Goddess’s nipple is stimulated by the rotation of motor traffic.
The circle of stimulation is enhanced by the natural healing radioactivity of the stones. Sound and structure are simply different manifestations of the same universal mathematical constants creating a relationship between the seen and the unseen worlds within and around us. Out of this vibratory field comes an awakening and quickening of spiritual consciousness.
Wednesday 12 June 2013
Tuesday 4 June 2013
Thursday 30 May 2013
Sat 8th June 11:30am - 2pm Exchange Gallery Penzance, Buffet & Free Entry
Sat 8th June 2:30pm - 11:30pm Acorn Theatre Penzance, Evening bar & Free Entry
Resound was created by SVA (sva.org.uk) and this 2013 edition is brought to you by CAZ. The festival will showcase a diverse range of exciting and innovative regional/national/international sound and performance art from established and emergent artists and will be hosted by the Acorn theatre in Penzance. The two day festival will also feature an ALIAS seminar offering artists talks and networking opportunities hosted by the Exchange Gallery in Penzance. All events are free & open to the public.
CLICK HERE FOR FULL PROGRAMME>> MORE INFO: INFO@CAZART.OG.UK
SEMINAR SPEAKERS: MIKHAIL KARIKIS / NEIL ROSE / LUCY DAFWYN
PARTICIPATING ARTISTS: NIGEL AYERS/ ANAT BEN-DAVID/ ROBERT CURGENVEN & KATHLEEN MCDOWALL/ TIM CROWLEY/ SIMON COATES & ZAHRA JEWANJEE/ MATT DAVIS/ LUCY DAFWYN/ POULOMI DESAI & SIMON UNDERWOOD/ DOM & PASSMAN/ ANTHONY HOWELL/ NIGEL BISPHAM, DELPHA HUDSON & ROBIN SIMPSON/ MIKHAIL KARIKIS/ ALICE KEMP/ JAMES KING/ MARTIN PEASE/ TIF ROBINETTE/ NEIL ROSE/ KEN TURNER & THE LEVENSHULME BICYCLE ORCHESTRA/ FALMOUTH UNIVERSITY STUDENTS/ WARDENCLYFFE/ HEATHER WARREN-CROW/ CAROLINE WILKINS/
Event curated by Ian Whitford, Rebecca Weeks & Andrew Whall of CAZ.
Photograph: Mikhail Karikis, Sculpting Voice - A, 2010
Link to facebook event page : www.facebook.com/events/149530891900824/
Program link: www.cazart.org.uk/content/resound-programme
I'm performing on Friday evening.
Wednesday 29 May 2013
Open Provocation was a festival of live sound art and performance, held over 4 evenings in April 2013, in the unlikely setting of Polruan Village Hall, near Fowey. Featuring 16 performances with artists from Germany, Italy, Australia, and across the UK and Cornwall, the festival was organised by Robert Curgenven, a Polruan resident.
|Polruan Village Hall|
Photo by Iris Garrelfs
I’d been to an event Rob had organised here last year. It was just three solo performers I'd not heard of before, two from Australia and one from Cornwall playing junk instruments, turntables, guitar feedback and laptop as the sun went down in this cold, scruffy village hall. And somehow it created something powerful and magnificent, a celebration of natural forces channeled through battered instruments as the the sun went down. And it wasn’t repetitive beats, folk music or covers bands or anything with any sort of tune, it was something else completely - a mind-blowingly brilliant music experience. Maybe half the people there were only there being polite because they were local, but for me it was probably in my top ten gigs ever. Top twenty at least. Anyway it was a rare event for Cornwall and I wanted more and was chuffed to bits to be invited to perform here myself this time round.
Although I haven't heard of most of the acts this week, one of them (Company Fuck) I played with in a club in Berlin last year and I'm very excited. Oh, and there's a founder member of Napalm Death on the bill. And two of the guys who were on last time, bonus.
With its steep, narrow, winding little country roads and imaginative signage, Polruan isn't exactly easy to get to, or get back from, even when you live only just five miles away like I do. So this is a bit of an adventure. Polruan is a beautiful place, but off-season like so much of Cornwall's seaside, it's a dead zone of empty holiday lets. This old village hall though, seems like a place with a past, rather than somewhere that is closed when the tourists aren't here. It's a place in which people have lived and grown up and done their amateur dramatics and their jam making and bought their raffle tickets. It's not some purpose-built facility with the very latest equipment designed to open up opportunities for cultural collaboration, interdisciplinary connections and community partnerships, if you know what I mean.
So here it is night by night:
Dennis Wiehahn opens the proceedings with the sound of a London railway station, a sonic postcard. Sitting behind a table top full of audio equipment, he introduces and explains each short pre-recorded piece. This includes the street sounds of St Austell; a piece featuring the voice of Maggi Hambling during the making of her Oscar Wilde sculpture and other textured sound collages.
After a warning for epilepsy sufferers, it's time for Matt Davis. Matt is standing behind another table, this one's covered with electrical appliances. But these are appliances like an insect electrocutor and flickering domestic light bulbs. The sound he produces seems to be coming from miked up electromagnetic fields - spluttering interference patterns creating flavours of mains hum and earth loops. No beats, no tunes, not music as we know it, and not very loud. Manufacturer's warnings ignored - warrantees void. Sometimes he pokes the appliances with a pointy stick. Sometimes there is a faint bouquet of Motörhead and perhaps a hint of 90's digital hardcore (or is it just me having flashbacks...?).
Ludomir Franczak and Marcin Dymiter couldn't make it from Poland so they've sent a video instead, 'Waiting for Emma' is a projection of street scenes in Eastern Europe with a minimal droning soundtrack. It's all a bit monochrome, and nothing much happens. Hmm, forget what I wrote about “the real world”, this would probably work better in a purpose built cinema with HD screen.
Behind another table now, high up on the stage, is Lee Patterson, very smartly dressed, a table with some sort of chemistry set as well as the usual kind of sound equipment. He starts his set by dropping Andrews Liver Salts into a couple of glasses of water. The amplified liquid fizzes and the fizzes turn into some sort of atmospherics and there's other sorts of crackles and heaven only knows what he's up to…He twangs small springs that sound huge and deep, then there's strange burning smells and the crackling of small fires – then it looks like he's set his mixing desk on fire – but he can't have because he's sitting there very calmly.
It’s a poignant and subtle multi-sensory theatre.
Photo by Iris Garrelfs
Iris Garrelfs does this arresting thing with her own voice, making strange non-verbal utterances like monkey noises. She loops the vocalizations – it looks like she's using some MacBook app - and builds up layers of sound on sound. Somehow this emerges as something enormously trancelike and relaxing.
Robert Curgenven sits behind a laptop playing a piece based on the sounds of a pipe organ. This is highly abstracted, decomposed so that all you are hearing is the wheezy breathing of the organ pumps and wind box, turning the unique timbre of the instrument into something akin to weather conditions, overtones, undertones, creaks and rustlings. Engaging and magical passages, sometimes loud and some that would be silent - if it wasn't for some drunk in the audience giving us a commentary.
Mat Pogo sits on the steps to the stage, unamplified, his body twitches and spasms, he gurgles as if struggling to make speech. Over the course of several minutes of unamplified physical theatre he produces an incredible vocal performance, fitful human beatboxing crossed with jazz scat and dada performance poetry. Sometimes he moves his mouth to a voice processor, many times he misses and carries on eventually a line or two of pure joyous song emerges - then that's all, folks.
FRIDAYThere's a higher proportion of women in the audience tonight and more women in the show, too. And everyone's a lot better behaved than last night. It all kicks off with JD Zazie , armed with turntables and CD player, she boldly seeks out all the ways you are not supposed to play records and CDs. The surface noise of vinyl wibbling with off-centre wobbles, amplified CD motors fast forwarding and skipping. Elements once intended to reproduce hi-fi sound create something dirty, organic and lovely.
And now the red stage curtains open to reveal an icy white cube stage set where Kathleen M stands half naked. She moves slowly to minimal drone soundtrack, in a slow dance of a some tortured, abject spirit, face is blotted out with smeared makeup, vulnerable and with a great sadness.
The next piece is a Supergroup - many of the performers who have been performing solo now take turns to perform in improvised duets. The recombination of sonic elements in this more social music works very smoothly. Sitting in the audience I get lost in music and it becomes timeless and it's hard to figure out what is going on. It's fab though.
And then the chairs are pulled back and stacked up, and Polruan Village Hall becomes Company Fuck’s dancehall.…OMG!
Photo by Iris Garrelfs
Apparently there were complaints from the neighbours.
Dominic Allen has set up his crazy analogue sound system: loads of flashing LEDs and dials and elements of fairground organ and banging drums, untidy components salvaged from skips. A handmade 10-step analogue sequencer drives electro mechanical components, gutted re-purposed reed instruments, and backwards-engineered fragments from crashed UFOs.
|Dom Allen's machines -detail |
Photo by Nigel Ayers
|Nigel Ayers makes the sign of the fire goddess|
Photo by Iris Garrelfs
Nicholas Bullen screens a DVD made up of vintage and recent super 8 holiday home movie footage, old fashioned cars, shots of stone circles, Gaudi's architecture all mixed up together and subtly colorized with a live contemplative soundtrack. A nice dreamlike sequence bit of personal and family history blended with a minimal soundtrack.
So there you have it, a great week of modern sonic fun with a beautifully clear sound system. Nothing corporate, no sponsors, nothing academic, nothing too desperate to please. The audience was fab, attentive, friendly and well behaved most of the time. Rob Curgenven was a great curator, host, and bouncer. Some good Belgian beers and herbal teas and flapjacks.
The festival was an entirely an artist run initiative and as such was staged entirely without conventional arts funding. Sales of the 2CD festival compilation provided a large percentage of the costs of the festival (artists’ transport, accommodation and food). Get it here: http://www.recordedfields.net
|Get it here: http://www.recordedfields.net|
Sunday 19 May 2013
Tuesday 30 April 2013
Many thanks to http://www.lawrencespicturepage.co.uk
Friday 26 April 2013
CD Included get it here http://boomkat.com/vinyl/709201-nocturnal-emissions-accumulator
Read full review of Accumulator - Nocturnal Emissions on Boomkat.com ©
" **Also includes a free CDR featuring a crowd recording of Nocturnal Emissions live at the Brixton Ritzy on June 9th 1983** We Can Elude Control present three tracks by the politically-activated proto-techno unit, Nocturnal Emissions, dating to 1982. 'Accumulator 1 & 2' are two previously unreleased pieces of skeletal rhythmic minimalism; the first a scratchy, stepping rhythm shot thru with clipped guitar distortion and reminding at times of Craig Leon's output from the same period, whilst the kicking 2nd piece sounds like some kinda Pansonic prototype, pounding out a stern, monotone machine tattoo. Also appearing as digital download for the first time, 'So Darn Hot' crawls at snails pace with parched synth tones and stumbling machine drum patterns."
(((Some people don't seem to believe it was recorded all that long ago, but it was. You may have heard a slightly different version of "So Darn Hot" on Duty Experiment, http://nocturnalemissions.bandcamp.com/album/duty-experiment )))
Tuesday 16 April 2013
Read full review of Accumulator - Nocturnal Emissions on Boomkat.com ©
(vinyl will be there soon)
Here's the artwork in a coloured-in version:
Sunday 14 April 2013
Brixton celebrates the news of April 8 2013 playing word games with the Ritzy cinema sign.
30 years back, it said NOCTURNAL EMISSIONS up there.
We were live at the Ritzy, not dead at the Ritz.
Super 8mm footage by Danny Ayers
The night of the 1983 re-election of Maggie Thatcher, we played our funky music with a widescreen backdrop combining the TV announcement of the catastrophic results with snatches from our 16mm film "The Feotal Grave of Progress".
Soundtrack "Sinking the Belgrano" from Nocturnal Emissions
"Chaos - Live at the Ritzy"
Monday 8 April 2013
Wednesday 27 March 2013
featuring: Nicholas Bullen (UK),
Lee Patterson (UK),
Jörg Maria Zeger (DE),
JD Zazie (IT/DE) ,
Iris Garrelfs (DE/UK) ,
Mat Pogo (IT/DE),
Company F**k (AU/DE)
and from Cornwall:
(I'll be doing an audio/visual performance on the evening of Saturday 20th).
Support the festival from wherever you are in the world through buying the festival compilation
all sales go to supporting the festival directly, your support will be greatly appreciated
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Thursday 7 March 2013
Here he is photographed back in 2005, with soccer star Diego Maradona who is wearing a piece of my artwork for the occasion.
Sunday 3 March 2013
Thursday 28 February 2013
Sunday 24 February 2013
Saturday 9 February 2013
Monday 28 January 2013
Perhaps THE quintessential audiovisual statements of the post-industrial music scene. Provocative in content, prescient in style, these medium-format videos captured the subversive interests and activities of the pioneering sound art project against a contextual backdrop of the UK between 1981 and 1984; a time rife with mass unemployment, civil unrest, media hysteria, political indifference, terrorism and war overseas. Burroughsian cut-ups reveal subliminal imagery hidden in exploitative mainstream broadcasting; shocking images of real-life violence against living beings are critically employed to expose our complacency in everyday cruelty; the thunderous soundscapes and ritual performances of the Nocturnal Emissions awaken the viewer's senses to our undermining culture controlled by fear and repression...
Rarely viewed since their initial home video releases and screenings at the Tate and ICA in the UK as a result of the 1984 Video Recordings Act, both videos remains impressive today as early influential examples of the extended music video and key moments of the British independent video art movement. Countless artists and broadcasters have emulated or outright stolen the ambitions, aesthetics and techniques used in the videos of The Nocturnal Emissions, either directly or through watered-down copies - few however can match the tremendous power of the original works, long overdue public and critical reassessment in these increasingly pertinent times.
Free entry with small donations welcomed. Doors open at 7:30. A short talk and introduction by the organiser will precede the first video at 8pm - second video will be shown after 9pm. Please be aware that these videos contains flashing images and some footage that may disturb those of a sensitive disposition.
Special thanks to Nigel Ayers/Earthly Delights and Piitu Lintunen for making this event possible.
*Wharf Chambers Co-operative Club is a members’ club, and you need to be a member, or a guest of a member, in order to attend. To join, please visit wharfchambers.org. Membership costs £1 and requires a minimum of 48 hours to take effect.*