aural detritus concert series 2012 poster

aural detritus concert series 2012

aural detritus concert series 2012:
A micro-festival featuring long duration live performances by special collaborative groups plus spoken word and soundart performances.
Artists include Mark Wastell [Oceans Of Silver And Blood, The Sealed Knot, the Confront label], Daniel Jones [Cathnor], Dimitra Lazaridou-Chatzigoga [MoreMars], Robert Curgenven [Line, Recorded Fields], Paul Khimasia Morgan [Cronica, Con-V, engraved glass], Ed Pinsent/Mystery Dick [Resonance 104FM, The Sound Projector], Gimlet Eyed Mariners [Michael Fairfax & Barry Witherden], Daniel Spicer [The Mystery Lesson, The Slightly Off Kilter Label], Bolide Awkwardstra [Chocolate Monk, White Lodge], Joseph Young aka Field [Neo-Futurist Collective, Gold Dust headphone concerts], Adam Lygo [Hive Music, Sloughnoize, Noise-Joy], Slow Listener [Celebrate Psi Phenomenon, Tape Drift, Chocolate Monk] with more to be announced.
The Green Room Cafe, Phoenix Brighton; 4th, 11th & 25th May 2012. Doors 7:30pm for 8pm performances. Entrance per event £4. A special all 3 events pass £9 available direct from the Green Room Café during gallery opening hours.

...and secondly a small part of the set by Phil Julian (Cheapmachines) and Daniel Jones:

Jason Kahn, Phil Julian/Daniel Jones footage

Many thanks to everyone who attended saturday's concert at the Grey Area Gallery and to Daniel, Huw, Jo and Daniel from the gallery.
We'll be posting a short film by Adam Lygo documenting the event here before too long, but in the meantime here's a couple of short videos I shot to give you a flavour of the excellent performances we witnessed.
Firstly a brief segment from midway through Jason Kahn's performance:

Jason Kahn 4th February 2012

Jason Kahn was born in New York in 1960 and grew up in Los Angeles. He moved to Europe in 1990, first living in Berlin until 1999 then moving to Switzerland. He is currently based in Zürich.
Kahn came of musical age in the late 1970's, playing drums in punk bands and later making many records for the Los Angeles-based SST label. He turned more to improvised music in the late 1980's, culminating with his move to Berlin where he spent many years playing as a drummer and percussionist in different projects of improvised music, as well as being a member of American composer Arnold Dreyblatt's group “The Orchestra of Excited Strings.”
In Berlin Kahn began working with electronics and composing. He started releasing solo CD's in 1998 on his Cut imprint, which ran from 1997 until 2007. Kahn also began exhibiting sound installations in 2001 and has since shown numerous works in museums, galleries, art spaces and public sites around the world.
Kahn collaborates regularly with many musicians, both in improvised settings and in the context of graphical scores which Kahn composes for specific groupings of players.
This will be his first tour of the UK.
http://jasonkahn.net/

“There is no more protean improvisor in experimental music today than Jason Kahn.”
--The Wire

Following exhibitions of his sound/art work at SOMA Contemporary Gallery in Waterford, Ireland, Milton Keynes' MK Gallery and participating in the Gorey Arts and Film Festival, we are proud to welcome Phil Julian (aka Cheapmachines) to Brighton. Phil has recently released work on En'tracte, Void Seance and Obsolete Units.
http://cmx.org.uk/
Phil Julian will be performing in duo with Brighton's own Daniel Jones who is a member of Loris, (another timbre) and has a solo release of his improvisations "When On And Off Collide"available on Cathnor.
Support from Paul Khimasia Morgan (con-V, engraved glass).

Saturday 4th February 2012 at The Grey Area Gallery, off Queens Road, Brighton UK
prompt 7pm start. £tbc

...more foil...

Hong Chulki soundchecking at the Caroline of Brunswick, 31st August 2011.

...park where you like...

SCOTT R. LOONEY & KLAUS JANEK and ROBERT CURGENVEN at Friends Meeting House, Brighton, tues 8th nov 2011.

The main auditorium at the Friends Meeting House is one of Brighton's secret jewels. The building was constructed in 1805 and the auditorium is acoustically extremely well designed. Scott R. Looney immediately noted the quality of the venue's grand piano, and positioning it centrally, set up his and double bassist Klaus Janek's electronics around it. Charming Australian Robert Curgenven thus set up his three turntables and additional devices in the centre of the room allowing the audience to surround the performers to create an intimate atmosphere.
Due to unforseen time constraints, Paul Khimasia Morgan opted not to perform, letting Robert Curgenven start the evening. Performing in almost total darkness, Curgenven built up a set of monumental moving tones constructed partially from inducing finely-balanced feedback from the PA system, partly from various mic'ed up fans and other electronic devices. Alternately powerful and direct, thanks in part to his sub-bass speaker augmenting the sound, and quiet and subtle. Anyone who has tried working with feedback will know that it is quite a feat to control it let alone manipulate it into melodic information. This Curgenven did with aplomb, periodically employing additional sounds from a variety of his own dubplates containing field recordings, tonal information and room sounds. One of the best and most "musical" performances of avant-electronics I have witnessed in a long while.
By contrast, the duo of Scott R. Looney and Klaus Janek produced a very interesting collection of extended jazz thinking; Scott prepared the grand with a selection of objects to produce a range of metallic rings, subdued thumps and reverberant artifacts. He also played some dischordant and melodic sections, demonstrating advanced technique. Electronics also featured in Scott's sonic armoury and to me, mostly heavily influenced the direction of the improvisation. Klaus Janek began the interplay by sawing hard with his bow on his double bass; i noted very complex fingering work with his left hand, before bringing his own electronic devices and effects into play. As is much the case these days, both musicians employed laptops and/or ipads as control/source devices. The single circa 45 minute piece was completely involving; the music having only the slightest references to "jazz", yet blossoming with melodic and harmonic content from time to time over the mainly abstract backdrop of extended technique, electronic noise and sound-making.
This was the last date on the current Looney/Janek european tour, but they are set to return in 2013, and we look forward to hosting them again.

Photograph of Robert Curgenven's set-up taken by Paul Khimasia Morgan.