Finally finished working on my 19 minute set for TUSK Virtual festival. This here ☝︎ is a frame from the piece. The whole festival will be streamed this year and free to watch, and my set is part of the programme on October 5. https://tuskfestival.com/
I’ll be contributing a recorded audio-video set for this year’s TUSK festival, which will be an online event this year due to the pandemic. Crazy lineup which I am incredibly happy to be a part of. The festival will take place between Sept 28 and Oct 11 – specific performance dates yet to be announced. Check it out: http://tuskfestival.com/
The first relic snatched from the ether of Beartown noize happenings. Two slabs from across the decade.
SLAB #1 – Yoni Silver and Paul Watson battle it out at 5miles in Tottenham in the last musical collision before plague (March 2020). Rumbling crash panic and fuzzy mouth drones coalesce – doo doo doo, ticka ticka ticka ticker…. vvvrrrrrruuuuummm! – ya dig?
SLAB #2 – Daniel Spicer floats down (or up) from Fish Town to explore the inside of his own head. Chat clatter (different kind of clatter), bamboo sax freak-out and uninhibited gong-love all over the all over. Recorded at Ryan’s Bar N16 before it became swanksville and stopped letting us in.
15 minutes per side, with “Brucie Hits The StarGate” colour artwork.
New album “Lost”! Recorded at the Hundred Years Gallery in January 2015, with Steve Noble on drum, percussion, cymbals and gongs, and myself on bass clarinet. Released on my Bandcamp.
Concrete Gloves is an offshoot of myself, but an independent person/character/musician who works differently than me in many ways. He plays alto sax with heavy garden gloves. Today he has released his first album on bandcamp: https://concretegloves.bandcamp.com/releases
Happy to announce a new solo just released on TAKU ROKU, Cafe Oto’s label dedicated to music created during the COVID-19 lockdown.
This is a multi instrumental piece including clarinet, bass clarinet, kalimba, violin, slit drum, tenor recorder, voice and nine other instruments and sound making objects. I followed a set of predetermined rules for the recording process, including randomising of instrumental groups, some blind over-dubbing, and other rules. The piece was recorded during a couple of days in my home and garden.
I’m excited about this one. My previous releases have all consisted either of actual full live sets or tracks edited in a way that preserved the illusion of them being full live sets. Even though the materials in Nethertongue are still mostly acoustic improvisations on bass clarinet (and some alto sax), the whole package was conceived more as a dream-logic-sound-journey than a series of improvised ‘sets’, so hard edits, slow crossfades, and juxtapositions abound.
DISCON FESTIVAL, a joint presentation from Martin Archer‘s Discus Music and Mark Wastell’s Confront Recordings, two independent British labels which between them have released over 200 recordings.
Doors 3pm | music 4pm | £10 / £5 concessions
Phil Durrant / Martin Vishnick Duo Phil Durrant (mandolin), Martin Vishnick (classical guitar)
The Seen Steve Beresford (toy piano), Ross Downs (synth, pedals), Luigi Marino (cymbal & electronics), Yoni Silver (bass clarinet), Daniel Thompson (guitar), Spencer Grady (bowed banjo), Graham MacKeachan (double bass), Nick Downes (guitar & effects), Ståle Liavik Solberg (percussion), Mark Wastell (tam tam)
Deep Tide Quartet Martin Archer (saxophones), Walt Shaw (drums, percussion), Laura Cole (piano), Charlotte Keeffe (trumpet)
Inclusion Principle Herve Perez (electronics, woodwinds), Martin Archer (electronics, woodwinds), Peter Fairclough (drums, percussion)