tag:blogger.com,1999:blog-80738186111282376872024-03-19T08:36:04.177+00:00Never Come AshoreUnknownnoreply@blogger.comBlogger37125tag:blogger.com,1999:blog-8073818611128237687.post-55244761159886531022017-06-19T08:46:00.000+01:002017-06-19T08:46:04.666+01:00Never Come Ashore on BandcampWe've uploaded most of the back catalogue here:<br />
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<a href="https://nevercomeashore.bandcamp.com/">https://nevercomeashore.bandcamp.com/</a><br />
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New releases coming soonUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-40966811178984267012017-02-17T08:47:00.001+00:002017-02-17T08:47:14.524+00:00Coming 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.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-47327041682873510692013-10-08T10:38:00.000+01:002013-10-08T10:38:51.784+01:00Never Come Ashore OctoberFriday 25th October at Glasgow University Chapel:<br />
Rhodri Davies (harp) - OCCAM I by Eliane Radigue<br />
Michael Duch (double bass) - Opus 17a by Hanne Darboven<br />
Jean-Luc Guionnet (organ) & Rhodri Davies (electric Harp) duo<br />
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Saturday 26th October at the Poetry Club:<br />
Michael Duch (bass) & Neil Davidson (guitar) duo<br />
Christoph Reiserer (electronics) - solo<br />
ANAKANAK<br />
Nick Fells (computer) & Christoph Reiserer (clarinet/saxophone)<br />
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Iain Campbell F-W 2 & F-W Fritz Welch</div>
Julia Scott / Liene Rozite / Lucy Duncombe<br />
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Friday is free<br />
Saturday is £5<br />
Both days start at 7.30pm<br />
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Workshop:<br />
With Michael Duch<br />
Friday 25th 2 - 4pm, Glasgow University Concert Hall. Details to follow.<br />
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Friday in the University Chapel from 7.30pm<br />
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Rhodri Davies - Occam I for harp by Eliane Radigue </div>
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‘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</div>
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Michael Duch - Opus 17a for double bass by Hanne Darboven </div>
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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 <span class="s1"><i>Wunschkonzert </i>(1984) a 1008 page collection of loose pages divided into 4 opuses. Michael Duch is from Trondheim. </span></div>
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Rhodri Davies - electric harp & Jean-Luc Guionnet - organ </div>
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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. </div>
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Saturday 26th October The Poetry Club from 7.30 pm</div>
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Neil Davidson & Michael Duch</div>
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Acoustic guitar and double bass duo who've been working together for six years on and off; in theatre (with Arild Vange and the <i>Variations on the Common Egg </i>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. </div>
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Christoph Reiserer </div>
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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.</div>
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ANAKANAK </div>
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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.</div>
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Nick Fells & Christoph Reiserer </div>
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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. </div>
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Iain Campbell F-W 2 & F-W Fritz Welch<span class="s2"> </span></div>
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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. </div>
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Lucy Duncombe / Liene Rozite / Julia Scott </div>
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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. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-85545400569555185682013-08-23T13:32:00.004+01:002013-08-23T13:32:54.383+01:00Coming SoonWe'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. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-27734693538770824112013-06-23T14:41:00.000+01:002013-11-26T12:43:06.777+00:00Nick Fells - arine, with Clive Bell, Melissa Holding & Robin Thompson<div style="margin: 0px;">
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<span style="font-size: x-small;"><i style="font-family: inherit;">arine</i><span style="font-family: inherit;"> 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. </span></span></div>
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<span style="font-family: inherit; font-size: x-small;">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.</span></div>
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<span style="font-family: inherit; font-size: x-small;">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’.</span></div>
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<span style="font-family: inherit; font-size: x-small;">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.</span><br />
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<span style="font-family: inherit; font-size: x-small;">There are two recordings here - a studio recording, and a live recording from Sonic Art Oxford in 2010. Many thanks to Paul Whitty.</span><br />
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<a href="http://www.music.gla.ac.uk/nca/arine_score.pdf"><span style="font-size: x-small;">score</span></a></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-76614550762042686882013-06-03T14:59:00.000+01:002013-06-03T14:59:55.046+01:00The Ames Room <a href="http://theamesroom.wordpress.com/">The Ames Room</a><br />
Maximal Minimal Terror Jazz<br />
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Jean-Luc Guionnet - saxophone<br />
Will Guthrie - drums <br />
Clayton Thomas - double bass<br />
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<a href="http://www.jazzfest.co.uk/">Glasgow Jazz Festival </a><br />
Saturday 29th June 6:30PM<br />
Recital Room, City Halls, Glasgow<br />
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A co-production between Never Come Ashore & Glasgow Jazz Festival <br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-1761433661779339682013-04-30T12:30:00.000+01:002013-04-30T12:30:31.026+01:00Michelada Miseries Part I - Muris With Lumps & Peter Nicholson<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbaEhyphenhyphenT6-US8I6aTuLIky1u8Y0YoUo0Dx1512ZnChbclX79JCmNOOmUZkBNutqd-0_NhNCLD-qXfLTIpf_HtqKVe0r_YDJ0X9o588wdCWPCfwebBCjhlFWdlsWPbCSxPvNZiwG1FeI1qi/s1600/michelada_miseries_part_1_cover_image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbaEhyphenhyphenT6-US8I6aTuLIky1u8Y0YoUo0Dx1512ZnChbclX79JCmNOOmUZkBNutqd-0_NhNCLD-qXfLTIpf_HtqKVe0r_YDJ0X9o588wdCWPCfwebBCjhlFWdlsWPbCSxPvNZiwG1FeI1qi/s320/michelada_miseries_part_1_cover_image.jpg" width="320" /></a></div>
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Michelada Miseries Part I - Composition for three improvisers + singer with bowls.<br />
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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.<br />
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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 <i style="background-color: white; font-style: normal; line-height: 16px;"><span style="font-family: inherit;">Die schöne Müllerin</span></i>. Failure would be followed by a fragment from Schumann's Dichterliebe. Recorded by Jim McEwan.<br />
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<a href="http://www.music.gla.ac.uk/nca/michelada_miseries_part_I_alac.zip">Alac</a><br />
<a href="http://www.music.gla.ac.uk/nca/michelada_miseries_part_I_aac.zip">Aac</a><br />
<a href="http://www.music.gla.ac.uk/nca/Michelada_Miseries_cover.pdf">Cover</a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-85915898660001737102013-04-09T12:28:00.000+01:002013-04-09T12:28:41.490+01:00Kate Burton & Nick Fells - Sonemics<br />
Kate Burton and Nick Fells will be performing a new work, <a href="http://www.tramway.org/events/Pages/Sonemics.aspx">Sonemics</a>, 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.<br />
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.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-82673973746600631092013-04-04T11:31:00.000+01:002013-04-04T11:37:38.072+01:00Balloon & Needle Live at the Club Room in Glasgow University Music Department<div class="separator" style="clear: both; text-align: center;">
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Choi Joonyong - speakers, harmonica, cd players, room, window, corridor<br />
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Hong CHulki - turntable platter (no motor) + objects<br />
Neil Davidson - acoustic guitar<br />
<a href="http://balloonnneedle.com/">Balloon & Needle</a><br />
Two Duos; Choi Joonyong + Hong Chulki, Hong Chulki + Neil Davidson<br />
Recorded at Glasgow University Summer 2011.<br />
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<a href="http://www.music.gla.ac.uk/nca/balloon_needle_alac.zip">Alac</a><br />
<a href="http://www.music.gla.ac.uk/nca/balloon_needle_aac.zip">Aac</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-59956927101203834792013-04-04T11:11:00.000+01:002013-04-04T12:05:18.272+01:00alltid ei anna / improvisasjon person<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4X_Uw_fdbJUewwze6HSHNU4oCPYQxqRSgws9ugdYY47YZk73_F9f1BDrfExvaZP_hxDW4w0wz4Jaj7KYvEaZQieDXDEB1TXlBG8hipZsdKPPBAeQdXGJc_y8eQAGqODxGDiaV1pXPEVfA/s1600/circle.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4X_Uw_fdbJUewwze6HSHNU4oCPYQxqRSgws9ugdYY47YZk73_F9f1BDrfExvaZP_hxDW4w0wz4Jaj7KYvEaZQieDXDEB1TXlBG8hipZsdKPPBAeQdXGJc_y8eQAGqODxGDiaV1pXPEVfA/s320/circle.jpg" width="320" /></a></div>
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alltid ei anna / improvisasjon person<br />
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Recordings made during work on the performance <i>alltid ei anna</i> (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 <i>improvisasjon person</i> 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 <i>alltid ei anna</i> was built around these texts and guided by Pessoas concept of static drama.<br />
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Arild Vange - texts / voice, Neil Davidson - guitar, Kyrre Laastad - percussion, Frode Eggen - voice.<br />
The book <i>improvisasjon person</i> is available from <a href="http://www.aschehoug.no/">Aschehoug</a>, Oslo. Cover art is by Per Formo.<br />
CDR also available from the NCA <a href="http://nevercomeashore.blogspot.co.uk/p/shop.html">shop</a>.<br />
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<a href="http://www.music.gla.ac.uk/nca/alltid_ei_anna_alac.zip">Alac</a><br />
<a href="http://www.music.gla.ac.uk/nca/alltid_ei_anna_aac.zip">Aac</a><br />
<a href="http://www.music.gla.ac.uk/nca/alltid_ei_anna_cover.zip">Cover</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-77531937520533117112013-04-04T11:10:00.001+01:002013-04-09T12:25:55.846+01:00With Lumps - Lumps for Lovin' CD out now<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifkXh_FeaYdHaBpP75n4EGCfZdcgCdfU1Cwq8BHPry3UwLgvmDyQDBBok9lFVipIyU4zkWy2OVlDZVTFjH8Fbv1kcNs_WxQ02NirHmNuLcrfmW7cij188PWRhTlyE7_7t3oiZa1zIKzGa8/s1600/lumps-for-lovin-cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifkXh_FeaYdHaBpP75n4EGCfZdcgCdfU1Cwq8BHPry3UwLgvmDyQDBBok9lFVipIyU4zkWy2OVlDZVTFjH8Fbv1kcNs_WxQ02NirHmNuLcrfmW7cij188PWRhTlyE7_7t3oiZa1zIKzGa8/s320/lumps-for-lovin-cover.jpg" width="320" /></a></div>
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With Lumps - Lumps for Lovin' CD<br />
Fritz Welch- drums / percussion / amp / voice / electronics<br />
Neil Davidson - guitar / amplifier
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<i>With Lumps</i> is the duo of Neil Davidson and Fritz Welch. </div>
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Named after a mishearing of the lyrics to <i>Got to Have Loving</i> by Don Ray, <i>Lumps for Lovin'</i> 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. </div>
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Credits: John Cavanagh for super recording and mixing skills, Kelly and Pascal for hosting the concert that became track four.</div>
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Mail order <a href="http://nevercomeashore.blogspot.co.uk/p/shop.html">here</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-72348436874141943772013-03-04T18:15:00.001+00:002013-04-04T11:38:43.455+01:00Ladyfest Glasgow Turntable WorkshopNever Come Ashore is pleased to be supporting <a href="http://ladyfestglasgow.com/">Ladyfest Glasgow</a>. As part of the festival, <a href="http://etchasqratch.wordpress.com/">Mariam Rezaei </a>will be giving a workshop on turntable use in experimental music on Friday 8th March at <a href="http://www.kinningparkcomplex.org/">Kinning Park Complex</a>. The workshop will introduce the history and
background of turntablism and djing and explore
their use in experimental composition and improvisation. <a href="http://ladyfestglasgow.com/workshops/">Details</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-37713246531342003492013-02-12T14:12:00.000+00:002013-02-14T18:52:21.399+00:00The Empty SetThe Empty Set <br />
Saturday 9th March 7.30pm<br />
Glasgow University Concert Hall.<br />
Free entry<br />
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Marjolaine Charbin - piano <br />
Dimitra Lazaridou Chatzigoga - zither <br />
Neil Davidson - guitar <br />
Rhodri Davies - harp<br />
Mariam Rezaei - turntables<br />
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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 <a href="http://www.anothertimbre.com/">Another Timbre</a> 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 <a href="http://ladyfestglasgow.com/workshops/">here</a>.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/Qfw9_Y6cHL8" width="420"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-81748533118691305622013-01-30T23:00:00.000+00:002013-02-17T19:09:28.670+00:00Forms 6 Trio<div class="separator" style="clear: both; text-align: center;">
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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.<br />
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Aileen Campbell - voice + writing + reading<br />
Neil Davidson - guitar + writing + reading + composition<br />
Nick Fells - computer + writing + reading<br />
Composition - Neil Davidson
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<a href="http://www.music.gla.ac.uk/nca/Forms_6_Trio_ALAC.zip">ALAC</a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-37310136583073646572012-08-27T20:21:00.001+01:002013-02-17T20:30:13.027+00:00Trondheim<span style="font-family: inherit;">Norwegian poet Arild Vange has been working with improvisers for several years. With his book<i> annerledes enn</i> he worked to integrate forms of listening into his writing. In October 2010 he and Neil Davidson embarked on a tour of high schools in the <i style="background-color: white; font-style: normal; line-height: 16px;">Trøndelag</i> area of Norway as part of the Kulturelle Skolesekken (cultural schoolbag) initiative. This concert was recorded at the end of the tour.</span><br />
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Arild Vange - voice / poems</span><br />
<span style="font-family: inherit;">Michael Duch - double bass</span><br />
<span style="font-family: inherit;">Kyrre Laastad - percussion</span><br />
<span style="font-family: inherit;">Neil Davidson - acoustic guitar</span><br />
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<a href="http://www.music.gla.ac.uk/nca/Dario_Fariello_Uno_ALAC.m4a.zip">Alac</a><br />
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<a href="http://www.music.gla.ac.uk/nca/Dario_Fariello_Uno_Notes.rtf">Notes</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-26547492761461118462012-08-07T10:12:00.002+01:002013-02-17T20:31:05.605+00:00Other Islands<div class="separator" style="clear: both; text-align: center;">
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<i>other islands</i> by Nick Fells</div>
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"<i>other islands</i> is an ensemble piece involving 4 players, for piano, violin, sax and computer. There is some manipulation of the performed sound by the computer player, and there is also a fixed soundtrack that creates an environment for the performed sounds.<br />
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It grew from an earlier collaboration with violinist Barbara Lueneburg on another piece (CoS). We’d spent time at STEIM in Amsterdam honing a particular way of playing very simple materials, developing a style of playing hand in hand with what we considered to be an appropriate sonic and technological environment. With intense focus from both sides, the making process itself took on a particular mood. It goes without saying that personal predispositions and musical histories bear massively on this kind of thing.<br />
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<i>other islands</i> is a little different to CoS in that we didn’t spend much time collaborating on the composition. It grew more from a consideration of how ensemble situations per se seem to distil the interplay of memory, identity, and desire into a sort of group ‘affect’. Thinking about these things while walking around the streets in Glasgow made me reflect on how the improvised making and breaking of tiny-scale short-term relationships in everyday life simply continues into ensemble playing of any kind.<br />
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As well, Barbara had invited me to come and work with ensemble Intégrales in Hamburg to make a piece for a concert they were doing called utopia. The island state seemed to be an appropriate metaphor for the interplay of isolation and integration taking place in ensemble playing."<br />
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The piece was performed by ensemble Intégrales at the Operastabile in Hamburg in December 2009, and recorded and broadcast by Deutschlandfunk for Konzertdokument der Woche on Sunday 24th January 2010.<br />
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Violin – Barbara Lueneburg<br />
Sax – Burkhardt Friedrich<br />
Piano – Ninon Gloger<br />
Computer – Nick Fells<br />
Concert sound projection – Marko Ciciliani<br />
Recording & Production - Deutschlandfunk<br />
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Recording used with kind permission of Deutschlandfunk and ensemble<br />
Intégrales.<br />
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<a href="http://www.music.gla.ac.uk/nca/Other_Islands.mp3"><span style="font-family: 'Courier New', Courier, monospace;">Mp3</span></a><br />
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<a href="http://www.music.gla.ac.uk/nca/other_islands_scoreA4.pdf"><span style="font-family: Courier New, Courier, monospace;">Score</span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-67353886006749604522012-04-06T21:29:00.001+01:002013-02-12T14:44:26.946+00:00Gobi Wow LP<div class="separator" style="clear: both; text-align: center;">
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<b>FvRTvR - <i>Gobi Wow</i>,</b> (a new Long Playing record on the <i>Never Come Ashore </i>label) available from our <a href="http://nevercomeashore.blogspot.co.uk/p/shop.html">shop</a> page</div>
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<i>FvRTvR</i> is Guido Henneböhl from Germany and Fritz Welch, formerly of the United States, currently residing in the United Kingdom. </div>
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FvRTvR is a two-body locus for demolecularized disco realized through meat shredding, science fiction improvisation. There are no beats here, however, just a relentless pyroclastic flow of robot voices gurgling indecipherable quips of the “baby, that volcano looks so good on you” variety. </div>
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Guido Henneböhl plays an archaic electronic instrument of his own design that appears to be trapped in the ancient mysteries of circuit bending but it is in fact a dynamic oxygen filtration system. There are no longer any animal bones contained in the device but DNA is still present in its circuits. Fritz Welch manipulates vibrating surfaces such as drums, cymbals, moral certainties and puddles using sticks and objects while his syllabic utterances are offset with percussive concussion. </div>
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Gobi Wow was recorded (or infected?) in Berlin on Halloween, halfway between a disused beer warehouse and a giant sagging inflatable rainbow. Sounds were tossed back and forth between these two sites utilizing a post afro-futuristic drum machine propulsion system. This method of composition is informed by asteroid dust arrangements and transducer vibration analysis. </div>
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Gobi Wow was engineered by Brendan Dougherty and mixed and mastered by Guido Henneböhl. It is the follow up to <i>Demon Cycle 1-9</i> (Niente Records, 2010). Cover artwork is by Rachel Lowther. Two sides, 39 minutes in total playing at 45rpm for extra science fiction reproduction. </div>
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Available <a href="http://nevercomeashore.blogspot.co.uk/p/shop.html">here</a><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/bu-XP0UDshc" width="420"></iframe> <br />
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Reviews:<br />
http://www.volcanictongue.com/labels/show/1979<br />
http://www.paristransatlantic.com/magazine/monthly2012/06jun_text.html#8<br />
http://www.thewatchfulear.com/?p=7367</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-10495470765087778152012-02-19T19:22:00.001+00:002012-08-27T20:17:45.828+01:00FvRTvR Gobi Wow LP<div class="separator" style="clear: both; text-align: center;">
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FvRTvR's new LP - Gobi Wow promo videoUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-42406960761676908712012-01-05T11:52:00.003+00:002012-08-27T20:18:21.786+01:00Jean-Luc Guionnet Project<div class="separator" style="clear: both; text-align: center;">
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Never Come Ashore and <a href="http://arika.org.uk/">Arika</a> and Glasgow University Music Department Present:<br />
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<b>Investigation 1: Jean-Luc Guionnet<br />
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What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?<br />
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We’ve asked the highly interesting and all round fantastic Jean-Luc Guionnet to come to Glasgow to play, to talk about what he does and to collaborate. There will be two public concerts, a talk and four days of investigative work with musicians, theorists and artists from around Glasgow. There will be a solo organ concert on Sunday the 5th of February and Jean-Luc will be accompanied by his long term colleague Seijiro Murayama for a performance at the <a href="http://www.kinningparkcomplex.org/">Kinning Park Complex</a> on the 9th. <br />
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<b>Concert 1:</b> Jean-Luc Guionnet organ solo, University of Glasgow Chapel Sunday 5th February 8pm, free.<br />
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<b>Talk :</b> Jean-Luc Guionnet - ‘Propositions for an Inhabited Architecture of Listening’ Wednesday 8th February 5:15pm Room 2, first floor, Music Department. <br />
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<b>Concert 2:</b> Duo with Seijiro Murayama + performances of compositions by Jean-Luc Guionnet, Seijiro Murayama and others. Kinning Park Complex Thursday 9th February 8pm, free.<br />
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<a href="http://www.jeanlucguionnet.eu/">Jean-Luc Guionnet's</a> work is divided into as many parts as he has opportunities to think and act in sound and image. This work is to do with encountering something strong external to himself and is articulated through improvisation, composition, electroacoustic projects, field recording, electronics and theory. His organ performances are about encountering the machine, the mechanism of the organ; part vehicle and part artificial intellegence, taking the breath of the machine and its direction in space and letting that breath vibrate in its own certain way without losing its raw quality; exploring the length of propagation, the magnitude of the reverb. Each organ is unique. The project is to find out what makes it unique.<br />
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<a href="http://www.seijiromurayama.com/">Seijiro Murayama’s </a>percussion work and compositions are wildly serious. Super focused and tactile whether hovering on the inaudible spectrum or cracking space open. His approach is based on attention to space and place, the energy of the public and especially the quality of silence at different levels, physical, social, ontological. Since 1999 he has lived and worked in France collaborating within other art forms such as dance (Catherine Diverrès), video (Olivier Gallon), painting (Francis Bidault), philosophy (Jean-Luc Nancy, Ray Brassier) and performance (Diego Chamy) etc.. He also works on many purely sonic projects; with Jean-Luc Guionnet, Eric La Casa, Axel Dörner, Tim Blechmann, Seymour Wright, Toshimaru Nakamura, Toshiya Tsunoda. <br />
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<a href="http://www.thewatchfulear.com/?p=5912">Review</a> of their recent duo CD.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-9710980787696908922011-12-04T11:35:00.001+00:002011-12-04T11:37:47.427+00:00Untitled Installation - Angharad Davies & Tim ParkinsonUntitled Installation was a project conceived by Angharad Davies and Tim Parkinson for the performance space in the basement of Mark Wastell's record shop Sound 323 on Archway Road, London. It was installed there between 20th-26th June 2003 and consisted of a CD of prepared violin, composed by Angharad Davies, and a CD of piano music composed by Tim Parkinson. The two discs were designed to be played simultaneously and repeatedly on two different cd players on random shuffle, so that the tracks of each disc can be heard in any number of unforseen combinations with each other. In Sound 323 the installation ran each day the shop was open. A semi-live non-repeating version was performed once in February 2005 in Ray's Jazz in Foyles bookshop on Charing Cross Road, London with Angharad improvising new material alongside the pre-existing piano CD material.<br />
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<a href="http://www.music.gla.ac.uk/nca/Piano_Violin_flac.zip">Flac</a><br />
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Iain Campbell F-W does really interesting things with himself and sound. We're going to call what he does 'spew step' because sometimes he throws up and it's all about dancing. It's not all about dancing. This release is also available as a goo pack double cdr. <br />
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<b>Postface</b><br />
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Iain Campbell FW - Recordings<br />
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<a href="http://www.music.gla.ac.uk/nca/postface_flac.zip">Flac</a><br />
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disc 1:<br />
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1 - without<br />
2 - customisation<br />
3 - galaxy<br />
4 - The Golden Boy Eats<br />
5 - the message I recorded as<br />
6 - Complete Vision<br />
7 - postface<br />
8 - pop n roll<br />
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disc 2:<br />
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1 - ___<br />
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cdr available from www.iaincampbellfw.blogspot.com or by emailing iainfindlaywalsh-at-gmail-dot-com. (It's free but there may be a postage charge depending on where it's going)Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-35475200358476041562011-08-29T13:35:00.002+01:002012-08-27T20:19:24.040+01:00String Quartet<div class="separator" style="clear: both; text-align: center;">
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Liene Rozite - flute<br />
Michael Shearer - clarinet<br />
Nicole McNeilly - trombone<br />
Neil Davidson - acoustic guitar<br />
Composition - Neil Davidson<br />
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CDR also availableUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-8073818611128237687.post-64800504678257867252011-08-24T10:23:00.002+01:002012-08-27T20:19:39.759+01:00Balloon & Needle - Hong Chulki / Choi Joonyong<div class="separator" style="clear: both; text-align: center;">
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Electronic music from Korea<br />
Hong Chulki - turntable and other things<br />
Choi Joonyong - cd players and speakers<br />
+ Nick Fells / Neil Davidson<br />
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Friday 2:9:11 Club Room (ground floor), Music Department, Glasgow University (14 University Gardens). 8 for 8.30pm (You'll need to get there in time for 8.30pm and ring the bell so we can open the door which will otherwise remain locked). Donation.<br />
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<a href="http://www.vimeo.com/22752908">Video</a> <br />
<a href="http://www.youtube.com/watch?v=fWWmkJSUgRQ&feature=youtu.be">Another video </a><br />
Concert <a href="http://www.thewatchfulear.com/?p=4569">review</a> from last yearUnknownnoreply@blogger.com0