Sunday 30 August 2015, 5pm, OTO Project Space
müllZimmer present an afternoon and evening of performances at Cafe OTO's Project Space to raise funds for their proposal to convert a disused water tank in Lewisham, South East London, into an events- and arts space.
With performances by the single malt equivalent of music Dodmen (David Aylward, Zolan Quobble); DIY electronics from Ewa Justka; Rabbit (David Aylward, Tom Scott) in an explosive percussion/reeds duo; enthralling collaboration between Emmanuel Spinelli and Roger Redgate; and an eight-piece performance of a breath-powered reed organ led by Rob Mullender and John Lely.
Read more about the water tank project – and make a donation – here: http://www.spacehive.com/lewisham-water-tank
MÜLLZIMMER
Established in 2012 and originally serving as an outlet for the collaborative works of Jonas Gustafsson and Lia Mazzari exploring the connections between linguistics, landscape, listening, structure and meaning – not only in live performance but also electroacoustic composition, installation pieces and self-released art publications. It has since evolved into a collective involving artists and writers working across a wide variety of media, and since its inception müllZimmer have organised several exhibitions and performances around London, and set up a small imprint with a number of cassettes and publications in its back catalogue.
http://www.mullzimmer.org | https://soundcloud.com/mullzimmer
Two explosive performances from this trio of South East London musicians in different constellations: DODMEN is psychic archaeology. The duo in a primal combination of drums and voice produce free music aimed at the solar plexus. The execution is powerful and the meaning is profound. RABBIT are a duo where the driving, intense, urban, mesmeric drums of David Aylward provide the perfect foil for the layers of edgy originality and profound musicality that emanate from multi-instrumentalist Tom Scott. Having played together since the mid 80’s, they this year celebrate 30 years of musical collaboration within such projects as RUR (Rediscovered Urban Rituals), Stay at Home International, Baby Trio and Rob Mills’s Tale of What. Their duo Rabbit – always improvised, always emotive – produce a contemporary, experimental urban folk mash, merging and mutating genres in an on-going dialogue of sound and music.
Zolan Quobble is a naïve improviser and stand-up poet based in Brockley. He is a founder member of Apples and Snakes, co-founder of Deptford Urban Free Festival, founder of Deptford Kite, and is the voice of One True Dog, Chicken Sidecar, Lofe and Dodmen. He has published two books; “U-I Poems” and “The Tooth Agenda”, and released the CD “Walkies” with One True Dog.
Percussionist David Aylward has collaborated with artists such as Cholmondley Dance-Theatre, Feathersonthaughs, William Burroughs, Baby Trio, Brain of Morbius, Julian Cope and Ted Milton of Blurt. He is a founder/director of RUR – Rediscovered Urban Rituals – an ongoing platform for experimental performance.
Tom Scott (saxophones/clarinets/electronics) has been involved in music making since the early 80s. Interested in a wide range of musical genres (composed, devised, written and improvised), he has played in many different settings; alt rock, jazz punk, graphic scores, urban folk and improvisation. Recent work include an ongoing duo with Adam Bohman, playing in the brass section for Monkey Puzzle Trio, and projects with David Aylward. Also plays strings and samplers on occasion and has collaborated with dancers, poets and performance artists as well as devising soundtracks for theatre pieces.
Ewa Justka is a Polish electronic noise artist, self taught instruments builder and electronics teacher based in London. She currently studies MA Computational Arts at Goldsmiths College.
Justka’s main field of research is based on exploration of materiality of objects, vibrant, ontological systems (human bodies, plants’ bodies, electronic circuits: varied range of micro and macro environments and relations between them) and an investigation of modes of quasi-direct perception through noise performance actions, interactive installation, DIY electronics, hardware hacking, plant-molesting, breaking, deconstructing and collaborating. In her artistic work Ewa attempts to explore the concept of materiality of the hidden.
On the cusp between free improvisation and visual art, the collaboration between Roger Redgate and Emmanuel Spinneli explores a complex relationship between sound-objects, installations, and music and often incorporates movement (with dancer Susanna Recchia) and performance-painting (with artist Mark Rowan Hull). At a time when non-idiomatic music has now developed its own aesthetic and tradition, Redgate and Spinelli seek to adopt a different approach to the improvisatory mode of production and challenge the boundaries between sonic art, installation, and performance.
Emmanuel Spinelli is a sound artist and music lecturer who has been involved in electro-acoustic composition, live electronics and free improvisation since 1998. His work has been presented around Europe, the US and Canada. His Footsteps in the Wind – a soundscape study of Krakow and Auschwitz – won the C.C.P. and the George Blunden travel awards. Spinelli completed a PhD in Sonic Arts at Goldsmiths in 2015. Through the years, he has developed an interest in issues related to soundscape transformation, psycho-geographies, manipulations of historical data, sonic remains and memory, particularly in relation to post-war Europe. His research revolves around the notion of acoustic phenotypology, that is to say the perception of individual identities through sound. All his work, at one level or another, explores human presence and history, through the cognition of the disembodied voice and the sonic environment.
Roger Redgate is a composer, conductor and performer whose work focuses on the complex relationship between notation, improvisation and the physicality of performance. Exploring the boundaries of what can or can’t be notated as possible forms of material, his work combines both aspects of complex notational strategies (complexity) and extended playing techniques with various approaches to improvisation in a wide range contexts. His compositions have been performed extensively throughout Europe, Australia and the USA, and he has received commissions from the BBC, the French Ministry of Culture, the Darmstädter Ferienkurse für Neue Musik, the European Commission, Fondation Royaumont, the Huddersfield Festival, the Venice Biennale and Ensemble 21 New York. He has published articles on music and culture, the music of Brian Ferneyhough and Michael Finnissy, including a chapter in the book Uncommon Ground: The Music of Michael Finnissy.
http://www.rogerredgate.com/
http://emalorienweb.webs.com/
Minor Conspiracy takes the form of a reed organ, adapted to be powered by the breath of eight participants, and with all of the reeds able to be locked open to enable extended duration drones. As such, the altered form of the instrument is intended to produce a collaborative equilibrium between breath, pitch and time: con-spire's original meaning is literally to breathe with.
Performed by: Rob Mullender, John Lely, Heather Ross, Andrew Ford, James Bridle, Peter Vaughan, Ben Neill & Duncan Whitley.
