Sunday 19 June 2022, 2pm
Dominic Coles is a composer & improviser based in Queens, NYC. His work investigates the interactions of place, personhood, and power as they are articulated in sound, attempting to complicate and intervene in these categories through specific acts of technologically mediated listening.
Also on the bill, a rare solo performance from the one and only Eddie Prévost, ahead of the release of new solo release, 'Collider', on Matchless Recordings.
Li Song is a London-based musician and computer programmer. He performs improvised music with his computer and composes music using electronics and acoustic instruments. His collaborative project with Zhu Wenbo, No Performance, focuses on compositions using environment sounds, acoustic instruments, computer algorithms, and random sequence. He is also a member of computer network music ensemble and research group, [ _ _ _ ], focusing on algorithmic collaboration. Recent works include Two Snare Drums (Infant Tree 2022), [ _ _ _ ] (with Jia Liu and Shuoxin Tan, SUPERPANG 2022) and Text (with Zhu Wenbo, Zoomin' Night 2021).
Mengting Zhuo is an artist based in London, originally from Guangzhou, China. She composes situations with site, sound, body and time, in the forms of performance, participatory installation, and concerts. Often minimalist, subtle and intimate, her work invites the audience to reflect on themes of connection, transmission, contingency and distance.
Recently, she is exploring the politics of listening through a series of happenings predominantly using non-instruments, unwanted noise, found objects and the body.
As a performer and director, she has made encounters with audiences in theatres, galleries and other spaces, including a park, a beach, a karaoke club, a flat, and online. Her work has been presented internationally, including the UK, China, Germany, Italy, Czech Republic and Slovakia.
A founder-member of AMM (1965-2022)
“[Eddie Prévost’s] is one of the greatest metallurgists that music has produced. […] sparks delicately arcing through the air, of slow lava ingesting its surroundings, of the shifting grind of tectonic plates across each other, of the rustle and glint of a firebird darting between shadows, and of ore smashing into the surface of the earth; but perhaps this language is overwrought: all that needs to be remarked upon is Prévost's industry, his diligence.”
Nathan Moore — liner note to AMM’s ‘Indúsria’
Matchless Recordings mrcd105.
But beyond this work Prévost has also maintained a relationship with the jazz drum-kit.
“His free drumming flows superbly making perfect use of his formidable technique, but his most startling feature is his stylelessness. It’s as though there has never been an Elvin Jones or a Max Roach.” - review of a set with saxophonist Lou Gare, Melody Maker (27.03.1975)
“Prévost, meanwhile, was simply miraculous; it was fascinating to watch him and to compare his approach with that of a Kern or a Nilssen-Love. I can only say that he was possessed of an uncanny, burning intentness that navigated the ensemble through passages of stark, sculpted beauty, grave concentration and full-on, bristling energy.”
Blue Tomato, Vienna 2012. In concert with Marilyn Crispell and Harrison Smith. Richard Rees-Jones
“An excellent release from one of the finest percussionists around, jazz or otherwise.” review of Prévost’s solo CD ‘Collider’
Matchless Recordings mrcd106 – Brian Olewnic, Squidsear (2022).
“Relentlessly innovative yet full of swing and fire.” – Morning Star
