Nocturnal Emissions live at Dark Alchemy V Bristol 2.9.23

Live In Vienna 9th June 2023

 

Nocturnal Emissions – live shows in 1998 1/5

Nocturnal Emissions at Centrala, Birmingham, 25.6.22

Live in London - Whisky a Go Go - 1982

 

Live in Utrecht 1991

 

Nocturnal Emissions live show coming up in Plymouth

KARST Plymouth



NOCTURNAL EMISSIONS / ALICE KEMP / CONTRASTATE

Friday 31st May / 8-11pm
Tickets £5 Advance / £4 with Student Card / £7 On the Door
Book in advance via: http://bit.ly/KARSTgamma

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KARST and Electric Knife presents GAMMA, the third in our series of experimental sound performances.

We want to showcase artists who think about music and performance differently - across industrial, electronic, DIY and beyond.

NOCTURNAL EMMISSIONS
https://nocturnalemissions.bandcamp.com/

The legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s, set the bar long ago for industrial, dark ambient soundscapes. Founder Nigel Ayers presents a live audio visual show of dazzling organic and chemical animation with a unique sound world of wildlife and machine sounds that feels earthly & mysterious; mechanical yet human.

ALICE KEMP
http://alicekemp.net/

Alice Kemp lives and works in the south west of England, continually developing a practice of experimental music, audio composition, public and private performance, doll-making, drawing and painting. Subtle trance states, dreams, and disturbances inform her personal and cryptic yet coherent body of work, and her live [in]actions suggest a private mythology evolving through stillness, boundaries and aural stimuli. She has delivered these live obfuscations in England, Scotland, Germany, Belgium, France, Austria and Switzerland, and released sonic contemplations through the labels Fragment Factory (DE), Harbinger Sound (UK), and Erratum Musical (FR).

CONTRASTATE
https://www.contrastate.com/

Founded in 1987 by Stephen Meixner and Jonathan Grieve, with Stephen J. Pomeroy joining in 1992, Contrastate boasts one of the richest experience pools among the groups of the post-industrial movement. Initially embedded firmly in the tradition of industrial music and physical confrontation through sound Contrastate did not cease to evolve and slowly moved away from extremes and towards more balanced, subtle compositions. Their current style on the recent releases: A Breeding Ground for Flies (2012 Dirter Promotions) and the live album No Eden Without Annihilation (2016 Tesco Organisation) are situated somewhere in the realm of the avant-garde variety of dark, ritual ambient music combined with elements of experimental noise. Their diverse musical heritage exhibits unique electronic manipulations combined with stentorian vocals embedded in a heavy, surreal industrial background. They have long abandoned any attempt to reproduce studio work live, new material is specifically written for their performances, combining live electronics, acoustic instruments, sound manipulation and performance art. Contrastate is indeed a prime example of experimentation in music. Its artists constantly feel the need to try out different ideas, different ways of recording and different ways to use instruments.
 

Show Coming up in January

Nocturnal Emissions, Rye Wax, Peckham

Looking forward to this one on May 11 2018

 https://www.facebook.com/events/209718706292084/

Nocturnal Emissions - Live at the Ritzy 1983

Nocturnal Emissions Live Shows 1981-2012

1981
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      
1982
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  
1983
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    
1984
29 SEPT 1984 NL CENTRUM AMSTERDAM NETHERLANDS
OCT  1984 TILBURG NETHERLANDS
24 NOV 1984 AMBULANCE STATION LONDON ENGLAND
1985
22 MARCH 1985 DMA2 FESTIVAL BOURDEAUX FRANCE
9 AUGUST 1985 ICA LONDON ENGLAND
1990
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
1991
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
1992
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
1994
MAY GLASGOW SCHOOL OF ART, GLASGOW, SCOTLAND
1997
1 MARCH 1997 TOWN HALL, FOWEY, CORNWALL, ENGLAND
1998
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
1999
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   
2000
01 NOV 2000 BATOFAR PARIS FRANCE
2003
5 NOV 2003 GURU CLUB PRAGUE CZECH REPLUBLIC
8 NOV 2003 INDUSTRIAL FESTIVAL WROCLAW POLAND
2005
19 NOV 2005 CENTRE D'ANIMATION CURIAL PARIS FRANCE
26 NOV 2005 SLIMELIGHT, LONDON, ENGLAND
2008
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
2009
30 MAY 2009 SPITI POLTISMOU FE XANTHI GREECE
9 OCT VIPER ROOM VIENNA AUSTRIA
2011
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
2012
8 JUNE 2012 NAHERHOLUNG STERNCHEN BERLIN GERMANY

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Open Provocation Festival

Polruan, Cornwall April 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

It was a festival funded by benefit CD sales, which these days means that it ran on the good will of those taking part. Many of the performers had travelled across country and from across Europe to get here. It was a unique opportunity to see many performers together who are rarely seen in the UK.
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:

 

WEDNESDAY

The interval music is Ennio Morricone’s spaghetti western soundtracks. The bar is stocked up with an exotic selection of Belgian beers, Czech lager, cider, local microbrewery, a selection of teas, single malt whisky and some kind of flapjacks. And the theme tonight is three blokes, each with a table-top full of an assortment of electrical and other junk. To the uninitiated this might look like a car boot sale, except they're all wired up to a very nice looking PA. Rob Curgenven introduces the performers in turn and each performance is about half an hour to an hour. It seems about right.

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...?).

By heck, this is good.

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.
 

THURSDAY

 

Alex Wendt
Photo by Iris Garrelfs

 

Alex Wendt tells a fairy tale about little animals, and gently places a rainstick, a group of small digital playback gadgets and little speakers on a pair of white canvasses on the floor. They click and make electrical insect whirrings and seem to be communicating to each other in some sort of insect language. None of this is amplified.

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! 

Company Fuck
Photo by Iris Garrelfs

Company Fuck is a mad Aussie in nerd spectacles wearing a crotch-hugging two tone purple leotard. Yelling DJ clichés into a wireless karaoke mike he remotely triggers Euro-disco trash punctuated by sudden explosions of HIGH VOLUME HARSH NOISE. This lunatic crawls round the floor, climbs over things, pushes and shoves and humps members of the audience, regardless of gender. “Shut up!” he hollers in the faces of a couple of women who happen to be enjoying a private conversation, “..this is my art, I've been working on this piece for years!”.
Apparently there were complaints from the neighbours.

SATURDAY
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

As the sun goes down, Dominic does an incredible live performance with this living scrapheap. This is supposed to be the hyper-efficient world of digital information, but the scrapheap seems to be winning.

 So, tonight I'm performing as Nigel Ayers. Look, we're talking about the Grandfather of Industrial Noise, the one out of the Nocturnal Emissions here. I've a new hand-painted film to screen and some new sounds, based on my own digestive system. I perform a Space Cornish magic rite which sends me off into a pisky-led state of consciousness, I safely make re-entry back to Earth, Cornwall, Polruan then all recordings of a lifetime flash past. A brief section of vintage harsh noise and then earthworms dance to self-actualisation grooves. I finish with an amplified cat purr. The set is brilliant, as per usual, I enjoyed that.

Nigel Ayers makes the sign of the fire goddess
Photo by Iris Garrelfs

Apparently I'm a tough act to follow. But this isn't a competition. There's no Simon Cowell here. As I chill out with the nice beer that Kat has kindly put aside for me, Jorg Maria Zeger plays a wickedly energising multi-harmonic guitar feedback drone through a large collection of guitar effects. The drone becomes extended and hypnotic and after a while he hands the guitar round the audience.

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

Written for www.artcornwall.org  

 

Nocturnal Emissions live dates in Germany

Saturday 12 November


Nocturnal Emissions (UK)
Shiny Toys-Festival für audiovisuelle Experimente
Samstag, 12. November 2011 / 19:00 Uhr
Festival
Bollwerk 107
Homberger Strasse 107, 47441 Moers
Deutschland

Sunday 13 November
Nocturnal Emissions (UK)
Broken sound 10
w/ Mohammad / Konrad Kraft (GR / D)http://www.blogger.com/img/blank.gif
Sonntag, 13. November 2011 / 20:30 Uhr
Konzert
Eintritt: 12,00 EURO



Wednesday 16 November
Nocturnal Emissions (UK)
Mittwoch, 16. November 2011 / 20:00 Uhr
Konzert
Eintritt: 5,00 EURO
Institut für neue Medien (INM)
Schmickstraße 18, 60314 Frankfurt
Deutschland
Thursday 17 November
Nocturnal Emissions (UK)
w/ Emerge / Sustained Development (D / D)
Donnerstag, 17. November 2011
Konzert
Ganze Bäckerei
Reitmayrgäßchen 4, 86152 Augsburg
Deutschland

Friday 18 November
Nocturnal Emissions (UK)
Geräuschwelten #62
w/ 1000schoen / Moloch (D / D)
Freitag, 18. November 2011 / 20:00
Konzert
Eintritt: 10,- EURO
Black Box
Achtermannstr. 12, 48143 Münster
Deutschland


see
http://www.aufabwegen.de/events

Shiny Toys Festival Moers

Shows also coming up in Frankfurt and Augsburg...
stay tuned

Nocturnal Emissions - Live at Viper Room, Vienna

become a fan

Nocturnal Emissions in Vienna

Whatever happened to Nocturnal Emissions' old crowbar?

Anti-occult Cinema

Nocturnal Emissions live in Murcia

Nocturnal Emissions shows coming up

March 6 2008: El Centro, Murcia, Spain

La música es uno de los lenguajes más abstractos que existen y sin embargo es, posiblemente, el más universal de todos. Esto se ha podido comprobar no ya sólo en la vigencia de obras y autores denominados clásicos en un sentido amplio y en todas las culturas, sino, y más explícitamente desde la invención de los aparatos reproductores, en el grado de repercusión social que ha logrado alcanzar en nuestros días. No es que todo el mundo entienda de música, pero sí es sensible a élla y es capaz de comprenderla, interpretarla venga de donde venga.
Actualmente, para la música popular de nuestro tiempo no existen barreras culturales, idiomáticas, estéticas, ni tecnológicas, o sería más apropiado decir que no deberían existir.
Es precisamente éste el principal objetivo de este ciclo: comprobar y disfrutar esa ausencia de barreras.

http://www.puertasdecastilla.org/detalleActividad.php?id=163&pag=2

April 13 2008: The Cavern, Gandy Street, Exeter, UK with Dieter Muh and The Durds

NOCTURNAL EMISSIONS - INDUSTRIAL - DIETER MUH - THE DURDS - Sun 13 Apr

I know its a long way away but for all you experimental/industrial fans heres something interesting: SUNDAY 13 APRIL - CAVERN - NOCTURNAL EMISSIONS + DIETER MUH Nocturnal Emissions, masterminded by Nigel Ayers and a handful of cohorts, has been investigating the complexities of the human psyche since the early '80s. In its earliest incarnation, Nocturnal Emissions created blistering collages of electronic noise infused with the anti-funk rhythms found in NE's postindustrial colleagues such as SPK, Coil, and Cabaret Voltaire. After a few dodgy attempts at New Wave, Ayers turned his attention to the alchemy of post-Eno ambience. Now, toiling away in his sonic laboratory in Cornwall, England, Ayers conjures delicate refractions of shimmering tones with cosmic touches of '70s electronic work from the likes of Cluster and Conrad Schnitzler. These influences can be readily heard on 1997's Sunspot Activity album, the aural equivalent to looking at the sun. Ayers didn't title any of the tracks on the album, so we've titled the selection presented here "II." While Ayers doesn't appear to be manipulating VLF static or the sferic whistles attributed to sunspots, he has fashioned a beautiful album that mirrors the sun's white hot ambience as it waxes and wanes in deep space. Deep sleepwalker ambient floes continue throughout the 1997 album Omphalos!, until "Arbor Low" slips into hyperdrive with an uptempo breakbeat skitter. Recently, on 2000's Future Antiquarianism, NE's shape-shifting sound has tentatively returned to the beat: drum and bass breaks emerge from the soothing ambient passages in a rather hypnotic take on that manic genre. www.earthlydelights.co.uk/
The Durds will be supporting this show with a special one-off performance by Dan Cray and installation artist Fliss Shillingford. Signed to Banazan Records in california The Durds like to make nasty, funky, folky pop songs and do not care whether they are done on computer, groovebox, Playstation or Spanish guitar. The Durds are desperation-fuelled electrofolk tied to a belief that pop can and should be about anything (this tends to mean the usual tortured artist fare such as violence, decay, illness and unrequited love/lust).
http://www.cavernclub.co.uk/listings.asp?monthID=4#listing3041