JUNE TUESDAYS POST in collaboration with Music Hackspace .. a place for artists, innovators, entrepreneurs and hobbyists passionate about music and technology. We foster innovation by gathering skilled professionals and facilitating exchanges between disciplines, from software development to music installations and production.
STEVE BERESFORD, BLANCA REGINA & SHARON GAL
Blanca Regina – white emotion Born in Madrid, Spain 1980, Blanca Regina is currently lecturing at University Rey Juan Carlos in Madrid and is a visiting research fellow at University of the Arts London (2011-2014). Her practice encompass expanded cinema, free improvisation, moving image, photography and audiovisual performance. Her research is focused on the study of sound and image processes, multimedia language aesthetics and content. In 2010, she has been awarded a doctorship in Humanities in the University Rey Juan Carlos with the thesis·” El VJ y la creación audiovisual performativa: una estética radical de la performatividad.”
Steve-Beresford Internationally known as a free improviser on piano and electronics, Steve Beresford has also scored feature films and music for TV and commercials. Steve has worked with hundreds of musicians, including The Slits, Han Bennink, Christine Tobin, Ivor Cutler, Prince Far-I, Alan Hacker, Ray Davies, Ilan Volkov, David Toop, Najma Akhtar, Evan Parker, Adrian Sherwood, The Flying Lizards, Otomo Yoshihide and John Zorn and has an extensive discography.2014 sees the third tour of ‘Indeterminacy’, in which comedian Stewart Lee reads one-minute stories by John Cage whilst Beresford and fellow pianist Tania Chen play music. Beresford plays with and conducts the London Improvisers Orchestra every month. He also regularly collaborates with musicians such as Elaine Mitchener, Blanca Regina, John Butcher, Satoko Fukuda and Shabaka Hutchings, playing at venues like Café Oto in Dalston, London.Steve was awarded a Paul Hamlyn award for composers in 2014
Sharon Gal Voice / electronics / free improvisation / collaborative group compositions / field recordings / radio / mixed media /Performing solo, and in regular collaborations with Steve Beresford, Steve Noble, Alex Ward, John Edwards, Dylan Nyoukis, Phil Minton / Feral Singers and Andie Brown.
Also performing a series of collaborative group compositions ; L’esprit d’escalier – for voices in a staircase,
Long Drone – for a large ensemble of various instruments, Gals with Guitars – For female guitar players,
Toy Orchestra – for children and adults.
I’m a founder member of London’s arts radio, Resonance 104.4 FM and over the past eleven years, have been presenting and producing various programmes, including; Diggers, with Edwin “Savage Pencil” Pouncey, Venus Rising,
In Search of Inspiration , and Stereo Cilia, a weekly sound-diary.
My music was released by Ash International/ Paradigm records/ Chocolate Monk / Emanem / Ecstatic Yod.
with the most recent 7” release, Melancoholic, on American Tapes Label.
Nick Rothwell [CASSIEL] is a composer, performer, software architect, programmer and sound artist. He has built media performance systems for projects with Ballett Frankfurt and Vienna Volksoper (choreographer Michael Klien) and for Braunarts, and interactive installations for Sonic Arts Network, TECHNE (Istanbul) and the Kinetica kinetic art fair (London). He has worked at STEIM (Amsterdam), CAMAC (Paris) and ZKM (Karlsruhe) and has composed soundtracks for choreographers Aydin Teker (Istanbul) and Richard Siegal (Laban Centre), and performed with Laurie Booth (Dance Umbrella, New Territories), and at the Different Skies Festival (Arcosanti, Arizona), the ICA, and the Science Museum’s Dana Centre.
As part of the Monomatic project he worked on the design and programming of a laser-controlled virtual church bell tower as the headline art commission for Sound and Music’s Expo Festival in 2009, and a magnetically-triggered modular music box shown at Kinetica, Netaudio London (at the Roundhouse) and the BEAM festival.
He has collaborated with body>data>space to develop performance systems and sound scores for projects at CIANT (Prague) and in London. He is currently working on 3D software-based visual artworks for Wayne McGregor|Random Dance at the Wellcome Trust, music composition for Shobana Jeyasingh Dance Company, algorithmic visuals for choreographers Kate Sicchio and Nina Kov, and with Simeon Nelson and Rob Godman, having designed and programmed algorithmic physics animations for large-scale outdoor projection in Poland (Skyway Festival), Estonia (Valgus Festival, Tallinn), Cambridge Music Festival and Lumiere Durham.
DARKROOM & GEORGINA BRETT
Georgina Brett- ‘s music is created using her voice and effects pedals, creating instant choirs of sound often in an hypnotic style. The point of this music is not only to captivate with extraordinary timing and melodic style but also to help the listener to relax, in our ever increasingly fast world.
Her double album of vocal works with no lyrics, called Nonsense A and Nonsense B highlights the voice as an instrument, and as a vehicle for emotional expression. “So much music is to make us feel something so as to manipulate, buy or to follow.. this album let’s your thoughts be whatever they want to be.” Intellectually, Georgina’s music adheres to some modernist and avant-garde principles but using harmonious parameters, instead of the more dissonant style of it’s post-WW1 WW2 exponents. Georgina’s music is also gradually becoming a great vehicle for more experimental work delving into expressive work which plays with the rich world of the media, politics, history, using matrices, semiotics and phonetics.
Darkroom- The UK-based duo of Michael Bearpark (guitars) and Andrew Ostler (synths) expertly ride the line between luscious, old-school progressive rock and modern ambient electronics. At times reminiscent of early Tangerine Dream, with hints of Fripp and Eno, Darkroom creates clouds of sequenced synths, chewy grooves, and looped phrases to support a variety of acoustic and electric guitar melodies that twist and turn in surprising, occasionally aggressive, ways. Moody and well-orchestrated, this release takes you places.
“The term “progressive electronica” is definitely an apt one for this duo. It’s accessible and addictive, while remaining expansive and exploratory. Quite a feat. I’ve been listening to these guys for nearly 20 years. Darkroom is a constant source of intrigue, wonder and invention.” Anil Prasad April 2014
TADEO SENDON – (untitled): Evolving audio samples mixed with a selection of full tracks, generated randomly with a simple button Max based interface. This performative work experiments with the notion of generative sampling and aleatory sound sources used in live sets, while it also confronts the authorship of the performer against the restrictions and lack of decision provided by a generative software.