19 June 2017

Never Come Ashore on Bandcamp

We've uploaded most of the back catalogue here:


New releases coming soon

17 February 2017

Coming soon: New releases, clearer site, more of the past...

Following a hiatus we are now working on updating the way we present the recordings we release. New releases to follow soon.

08 October 2013

Never Come Ashore October

Friday 25th October at Glasgow University Chapel:
Rhodri Davies (harp) - OCCAM I by Eliane Radigue
Michael Duch (double bass) - Opus 17a by Hanne Darboven
Jean-Luc Guionnet (organ) & Rhodri Davies (electric Harp) duo

Saturday 26th October at the Poetry Club:
Michael Duch (bass) & Neil Davidson (guitar) duo
Christoph Reiserer (electronics) - solo
Nick Fells (computer) & Christoph Reiserer (clarinet/saxophone)
Iain Campbell F-W 2 & F-W Fritz Welch
Julia Scott / Liene Rozite / Lucy Duncombe

Friday is free
Saturday is £5
Both days start at 7.30pm

With Michael Duch
Friday 25th 2 - 4pm, Glasgow University Concert Hall. Details to follow.

Friday in the University Chapel from 7.30pm

Rhodri Davies - Occam I for harp by Eliane Radigue 
‘The freedom to be immersed in the ambivalence of continuous modulation with the uncertainty of being and/or not being in this or that mode or tonality. The freedom to let yourself be overwhelmed, submerged in a continuous sound flow where perceptual acuity is heightened through the discovery of a certain slight beating, there in the background, pulsations, breath.’ - Eliane Radigue

Michael Duch - Opus 17a for double bass by Hanne Darboven 
Opus 17a is a long, arpeggiated monster of a score by Hanne Darboven, a conceptual artist born in Munich in 1941. In the 1980s she began to work on musical versions of her number tables, assigning each number a note. The piece is part of Wunschkonzert (1984) a 1008 page collection of loose pages divided into 4 opuses. Michael Duch is from Trondheim. 

Rhodri Davies - electric harp & Jean-Luc Guionnet - organ 
Jean-Luc Guionnet's mannerist dismemberment of the 19th century church organ reveals the organ as architecture, the organ as a massive hybrid corpse with machine parts and tinsel. Rhodri Davies' electric harp adds kindness and a drone inflected lyricism. 

Saturday 26th October The Poetry Club from 7.30 pm

Neil Davidson  & Michael Duch
Acoustic guitar and double bass duo who've been working together for six years on and off; in theatre (with Arild Vange and the Variations on the Common Egg project) improvisation and composition. Rusted drones and an indifferently Feldman-like approach to pattern dominate their duo playing. New duo CD due out on Consumer Waste records in spring 2014. 

Christoph Reiserer 

Christoph is a multi instrumentalist composer from Bavaria. He composes operas for offices, builds kitchen tables that accompany clarinetists and has brought a mild mannered perversion to contemporary music for over twenty years. For example, he re-wrote Haydn's emperor quartet using Hans Eisler's national anthem for East Germany as the second movement's theme. Two sets: solo electronics (with barcodes) and a duo with long term collaborator Nick Fells - laptop.

The neuroscience and techno obsessed half of Conquering Animal Sound doing her solo thing: Anneke Kampman makes electronic music treating the voice as an object, stringing it into musical forms along all the other sonic objects at her disposal. The music evokes a steel band fighting a dinosaur.

Nick Fells & Christoph Reiserer 

Computer & Clarinet duo. Nick & Christoph have been working together since 2003, mostly in Munich. Much of this work came about through an artists residence programme, based near Munich, to which Nick was invited in 2005. 

Iain Campbell F-W 2 & F-W Fritz Welch 

Dystopian architecture, pencil shavings, ice cream, sun tan lotion, decrepitude, medical samples, makeup remover, a catalogue of plague victims and their dance moves, hungover teenage poker party, saline drip feed, oyster sauce, apologia six, daytime television. 

Lucy Duncombe / Liene Rozite / Julia Scott 
Lucy Duncombe plays in Two Wings and collaborates extensively with Hanna Tuulikki but her best stuff falls between the cracks (from whence screaming can be heard to emerge from time to time). Julia Scott plays drums in Palms, is part of a DJ collective, was a co founder of GODS (get the body of a god) and combines yoga, phlegm and other physical movements in her performances with Yoke of Blood. Liene Rozite tries hard not to play the hated flute in various groups and scores very highly on the Asparagus Piss Raindrop 'most frequent performer' list. Her friend Ash moved to London, which has kind of ruined everything. Julia, Lucy and Liene's intimidating trio sounds like none of the above. 

23 August 2013

Coming Soon

We're planning two days of performances for the weekend of October 25th and 26th to take place at Glasgow University and the Poetry Club in Glasgow. Confirmed sets include Michael Duch performing Opus 17a for double bass by Hanne Darboven, Rhodri Davies performing Occam I for harp by Eliane Radigue, new work by Julia Scott, Lucy Duncombe and Liene Rozite and a new piece by ANAKANAK. More details to follow.

23 June 2013

Nick Fells - arine, with Clive Bell, Melissa Holding & Robin Thompson

arine was made for the Okeanos ensemble for a concert at The Warehouse in London in 2009, part of Sound and Music’s Cutting Edge series. 
The title is an old Anglo-Saxon word meaning ‘touch’. The piece was developed through a series of workshops with Clive, Melissa and Robin, using discussion and improvisation to work towards what we considered appealing sonic materials. I was interested in how these sounds might work with the laptop processing I’d developed over recent years. I was also interested in the encounter that Clive, Melissa and Robin had with these Japanese instruments, both physically and in terms of their own personal musical histories. Physically, each instrument has its own ‘touch’, its own physical properties and ways of playing, and I wondered how these might influence musical affect. Also, I wanted to explore how a group of classically trained musicians came to learn and adopt these instruments into their own musical personas. This resonated somewhat with my own experience, having spent most of my time and energy as a music student trying to avoid the conventions of classical musical training and learning shakuhachi and other things instead.
I wondered how discussing and recording these encounters might affect the music. I wanted to allow the music to be an emergent property of the activity, rather than laying out too much ahead of time. Having said that, we found it useful to have a few rules – starting from a very slow pulse; tuning the koto in a particular way; favouring certain stylistic and technical features over others. Recording was very important. I recorded our one to one discussions, where we explored sounds and playing techniques, but then quickly got onto discussing how we came to do what we do in the first place. These recordings, though part of the development process, are presented here in a little mix called ‘encounters’.
The piece does have a text score, which was drafted after the fact. It could probably be adapted to work with other groups of individuals and other instruments, but a key feature of the piece is the sustained textural evolution facilitated by the granular and spectral sampling processes used in the MaxMSP patches.

There are two recordings here - a studio recording, and a live recording from Sonic Art Oxford in 2010. Many thanks to Paul Whitty.

Studio recording:


Live at Sonic Art Oxford 2010:

03 June 2013

The Ames Room

The Ames Room
Maximal Minimal Terror Jazz

Jean-Luc Guionnet - saxophone
Will Guthrie - drums
Clayton Thomas - double bass

Glasgow Jazz Festival 
Saturday 29th June 6:30PM
Recital Room, City Halls, Glasgow

A co-production between Never Come Ashore & Glasgow Jazz Festival