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
ANAKANAK
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

Workshop:
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.

ANAKANAK 

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. 

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.

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:

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Live at Sonic Art Oxford 2010:

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encounters

score

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

Michelada Miseries Part I - Muris With Lumps & Peter Nicholson

Michelada Miseries Part I - Composition for three improvisers + singer with bowls.

Closely related to Michelada Miseries Part II which was recorded by Liene Rozite, Neil Davidson and Fritz Welch in August 2011 this piece was performed at the Glasgow Improvisers Orchestra Festival III in November 2011 and was based on the same materials from whence came Part II - a series of text fragments cut from discarded library books and assembled into a self help text score.

Michelada Miseries Part I was performed by Peter Nicholson - voice + bowls, Liene Rozite - flute, Neil Davidson - acoustic guitar and Fritz Welch - percussion + amplifier. Peter's strategy for the piece was as follows: each game of bowls played across the front of the stage would be judged either a success or a failure. Success would be followed by a fragment of Schubert's Die schöne Müllerin. Failure would be followed by a fragment from Schumann's Dichterliebe. Recorded by Jim McEwan.

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Kate Burton & Nick Fells - Sonemics

Kate Burton and Nick Fells will be performing a new work, Sonemics,  at the Tramway, Glasgow on Saturday 13th April. Following their initial collaboration last year at City Halls, this new piece has been commissioned by the Tramway to mark the 25th anniversary of its opening as a theatre.
The film portion of the work explores the unsettling interiors of the tenement flats awaiting demolition in Hamiltonhill, Glasgow. Kate Burton - film / Nick Fells - sound.

Balloon & Needle Live at the Club Room in Glasgow University Music Department

Choi Joonyong - speakers, harmonica, cd players, room, window, corridor

Hong CHulki - turntable platter (no motor) + objects
Neil Davidson - acoustic guitar
Balloon & Needle
Two Duos; Choi Joonyong + Hong Chulki, Hong Chulki + Neil Davidson
Recorded at Glasgow University Summer 2011.

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alltid ei anna / improvisasjon person

alltid ei anna / improvisasjon person

Recordings made during work on the performance alltid ei anna (there is always an other / there is always an anna) by the group dvell in November 2012 using texts from Arild Vange's book of poems improvisasjon person published by Aschehoug in spring 2013. The recordings were made during rehearsals at Theatre Avant Garden in Trondheim and in Jesperstua, a little outhouse connected to Adrianstua (the Writers House owned by the city of Trondheim) situated next to the Fjord on the outskirts of Trondheim. The poems / texts are responses to writings by Fernando Pessoa's heteronyms, in particular Alvaro do Campos, Ricardo Reis and Alberto Caeiro. The performance alltid ei anna was built around these texts and guided by Pessoas concept of static drama.

Arild Vange - texts / voice, Neil Davidson - guitar, Kyrre Laastad - percussion, Frode Eggen - voice.
The book improvisasjon person is available from Aschehoug, Oslo. Cover art is by Per Formo.
CDR also available from the NCA shop.

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With Lumps - Lumps for Lovin' CD out now

With Lumps - Lumps for Lovin' CD
Fritz Welch-  drums / percussion / amp / voice / electronics
Neil Davidson - guitar / amplifier

With Lumps is the duo of Neil Davidson and Fritz Welch. 

Named after a mishearing of the lyrics to Got to Have Loving by Don Ray, Lumps for Lovin' is three parts studio recording from 2011 and one part live performance from Manchester 2012. Documenting the duo amidst collaborations with Helhesten, Maya Dunietz and Liene Rozite (Muris) the recordings presented here fuse thick blustering mayhem with a precision normally associated with micro house, adumbrated by just a hint of adolescent breathlessness. This surprisingly danceable record synthesizes noise and acoustic improvisation into a gurgling diaspora of juice. 

Credits: John Cavanagh for super recording and mixing skills, Kelly and Pascal for hosting the concert that became track four.

Mail order here

Ladyfest Glasgow Turntable Workshop

Never Come Ashore is pleased to be supporting Ladyfest Glasgow. As part of the festival, Mariam Rezaei will be giving a workshop on turntable use in experimental music on Friday 8th March at Kinning Park Complex. The workshop will introduce the history and background of turntablism and djing and explore their use in experimental composition and improvisation. Details

The Empty Set

The Empty Set
Saturday 9th March 7.30pm
Glasgow University Concert Hall.
Free entry

Marjolaine Charbin - piano
Dimitra Lazaridou Chatzigoga - zither
Neil Davidson - guitar
Rhodri Davies - harp
Mariam Rezaei - turntables

First concert by The Empty Set performing improvisation and compositions by members of the group. The Empty Set was originally put together to record music by Mieko Shiomi, James Saunders, Sam Sfirri and Sarah Hughes for the Another Timbre label in 2012, with several of their recordings featured on the critically acclaimed Wandelweiser und so weiter box set. The concert is co-produced by Never Come Ashore and Music in the University, and funded by the University's Chancellor's Fund. Free entry. Mariam Rezaei will also be giving a workshop on experimental turntable use at Ladyfest Glasgow. Details here.

Forms 6 Trio

Forms 6 Trio: A composition for an ensemble of any number of players. Each player writes down what they would (hypothetically) play in an improvisation, within a given time frame. They are to consider relationships between players, forms of response, intentions, mistakes, dead ends, pauses and so on. And then the written pages are passed to the left for the next player to play as a text score and so on. The piece can be halted before everyone has played each page but it's better if everyone plays each page once. In this version we recorded the writing stage and a version where we read the texts within the same time frame of 15 minutes.

Aileen Campbell - voice + writing + reading
Neil Davidson - guitar + writing + reading + composition
Nick Fells - computer + writing + reading
Composition - Neil Davidson

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