Sunday 19 June 2016, 8pm
ALTERATIONS FESTIVAL presents activities around the subject of the group Alterations and explores the related fields of Sound Art and Free Improvisation.
Alterations - David Toop, Peter Cusack, Terry Day and Steve Beresford - is a quartet of key thinkers and pioneers in music and visual arts. They played many concerts in the years 1977 to 1986 and came back together last year for one very successful concert. In the festival they will come together to collaborate in new contexts.
Supported by Arts Council England and Sound and Music and curated by Blanca Regina and Beresford, the project engages artists and audiences in new ways of making and understanding music and art.
A BRIEF HISTORY OF ALTERATIONS
The group existed from 1977 to 1986 and played often in festivals and clubs throughout the UK and Europe.
“The great discovery of Alterations was that musical styles and idioms are there to be played with.” – Carl Bergstrøm-Nielsen
They made three LPs in that time
Alterations on Bead in 1978
Up Your Sleeve on !Quartz in 1980
My Favourite Animals on nato (France) in 1984
Their work presented new ways of making and understanding music and art.
In addition there were CDs of various live performances - in 2000, Intuitive Records in Denmark issued Alterations Live and in 2002 Atavistic in the US published Voila Enough!
In 2015, Alterations was put back together for London performances at Cafe OTO (with Max Eastley) and Iklectik. These events were very succesful and attracted new audiences.
Alterations Festival is unique opportunity to further enjoy this influential and highly experienced group.
THE CURATORS
Blanca Regina and Steve Beresford have been working together curating events and performing since 2011.
In 2013, they created Strange Umbrellas - a platform for music, film and art at various venues in London. In 2015 they created Unpredictable Series - a series about Free Improvisation, featuring films, exhibitions, performances, talks, publications, and workshops. They curated two exhibitions in London: ‘Art of Improvisers’ at Oto Project Space and ‘ The Art of Terry Day’ at Iklectik and other related events. http://www.unpredictable.info
David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This encompasses improvised music performance, writing, electronic sound, field recording, exhibition curating, sound art installations and opera. It includes eight acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010), Into the Maelstrom (2016), Flutter Echo(2019) and Inflamed Invisible: Writing On Art and Sound 1976-2018 (2019). Briefly a member of David Cunningham’s pop project The Flying Lizards in 1979, he has released fourteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings (2016) and Apparition Paintings (2021). His 1978 Amazonas recordings of Yanomami shamanism and ritual were released on Sub Rosa as Lost Shadows (2016). In recent years his collaborations include Rie Nakajima, Akio Suzuki, Tania Caroline Chen, John Butcher, Ken Ikeda, Elaine Mitchener, Henry Grimes, Sharon Gal, Camille Norment, Sidsel Endresen, Alasdair Roberts, Lucie Stepankova, Fred Frith, Thurston Moore, Ryuichi Sakamoto. Curator of sound art exhibitions including Sonic Boom at the Hayward Gallery (2000), his opera – Star-shaped Biscuit – was performed in 2012.
Terry Day is a first generation pioneer improviser from the 1960s: an improviser, multi-instrumentalist, lyricist, songwriter, visual artist and poet.
A self-taught musician in a family of musicians, he began improvising on the drums with his brother in 1955. In the early ‘60s he formed the Hardy Holman Day trio, focusing on free improvisation. Later he became part of the band Kilburn & the Highroads, with Ian Dury. Sharing their interest in visual art and painting they both studied at Walthamstow School of Art and later at the Royal College of Art, London. As an art student in the ‘60s he was also a pioneer of free improvisation, free jazz & experimental music.
He formed a duo with guitarist Derek Bailey in the late ´60s and was a regular member of The Continuous Music Ensemble,The People Band and, later on, Alterations with David Toop, Steve Beresford & Peter Cusack.
Terry has collaborated with many musical luminaries, groups, dancers, painters, poets and performed in theatre. He now plays bamboo reed flutes, drums, recorders, balloons & improvises with his lyrics, prose and verse. Since 2000 he has been part of London Improvisers Orchestra. In recent years he has toured twice in both Japan and Brazil, and has performed with improvising orchestras in Malaga, Tokyo and Madrid.
Steve Beresford has been a central figure in the British and international spontaneous music scenes for over forty years, freely improvising on the piano, electronics, and other things with people like Derek Bailey, Evan Parker, Han Bennink, John Zorn, and Alterations (with David Toop, Terry Day and Peter Cusack).
He has written songs, written for large and small ensembles, and scored short films, feature films, TV shows, and commercials. He was part of the editorial teams of Musics and Collusion magazines, writes about music in various contexts, and was a senior lecturer in music at the University of Westminster. With Blanca Regina, he is part of Unpredictable Series, which produces events and sound and video recordings of experimental music and art.
Steve has worked with Christian Marclay on numerous Marclay mixed media pieces. He has also worked with The Slits, Najma Akhtar, Stewart Lee, Ivor Cutler, Prince Far-I, Alan Hacker, Tania Chen, Ray Davies, Mandhira De Saram, The Flying Lizards, Zeena Parkins, The Portsmouth Sinfonia, Ilan Volkov, Rachel Musson, Vic Reeves, Lore Lixenberg and many others.
Beresford has an extensive discography as performer, arranger, free-improviser, composer and producer, and was awarded a Paul Hamlyn award for composers in 2012. In 2021, Bloomsbury published a book by Andy Hamilton: ‘Pianos, Toys, Music and Noise: Conversations with Steve Beresford’.
http://www.efi.group.shef.ac.uk/mberes.html
Peter Cusack is a field recordist, sound artist, and musician with a long interest in the environment. He initiated the Favourite Sounds Project to discover what people find positive about soundscapes where they live and Sounds From Dangerous Places (sonic journalism) to investigate major environmental damage in areas such as the Chernobyl exclusion zone, the Azerbaijan oil fields, brown coal mining in Germany and the Czech Republic and the Bialowieza Forest in Poland.
He produced Vermilion Sounds - the environmental sound programme - for ResonanceFM Radio, and was DAAD artist-in-residence in Berlin 2011/12, starting Berlin Sonic Places that explores relationships between soundscape and urban development.
He is currently working on Aral Sea Stories, about the destruction and subsequent partial restoration of the Aral Sea in Kazakhstan - a much-needed positive example in today’s climate change debate.
Musically he plays guitar and field recordings, improvises, writes tunes, and has worked with Alterations, Kahondo Style, Clive Bell, Nic Collins, Ute Wassermann, Viv Corringham, Michael Thieke, Blanca Regina, and others.
http://favouritesounds.org
http://sounds-from-dangerous-places.org/
Rie Nakajima is a a sculptor living in London. She has been working on creating installations and performances by responding to physical characters of spaces using combination of motorised devices and found objects. Fusing sculpture and sound, her artistic practice is open to chance and the influence of others. She has exhibited and performed worldwide. She has collaborated with Ikon Gallery(Birmingham), Museo Vostell Malpartida (Cáceres), Tate Modern (London), Serralves Museum (Porto), ShugoArts (Tokyo), Hara Museum (Tokyo) and many others. Her frequent collaborators includes David Cunningham, Keiko Yamamoto, Pierre Berthet, David Toop, Haruko Nakajima and Akira Sakata.
www.rienakajima.com
"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee
Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO).
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time.
Thurston Moore started Sonic Youth in 1980 and has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll – from its inspiration on a nascent Nirvana, to Sonic Youth’s own Daydream Nation album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006. Thurston records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption. He has worked with Yoko Ono, John Zorn, David Toop, Cecil Taylor, Faust, Glenn Branca and many others. His residency at the Louvre in Paris included collaborations with Irmin Schmidt of CAN. Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974. Thurston also teaches music at The Rhythmic Music Conservatory (Rytmisk Musikkonservatorium) in Copenhagen. Presently he performs and records solo, with various ensembles and in his own band, The Thurston Moore Group.
Rhodri Davies is immersed in the worlds of improvisation, musical experimentation, composition and contemporary classical performance. He plays harp, electric harp, live-electronics and builds wind, water, ice, dry ice and fire harp installations and has released six solo albums. His regular groups include: HEN OGLEDD, Cranc, Common Objects and a duo with John Butcher. He has worked with the following artists: David Sylvian, Jenny Hval, Derek Bailey, Sofia Jernberg, Lina Lapelyte, Pat Thomas, Simon H Fell and Will Gaines.
For the last ten years Davies has been closely associated with the pioneering composer Eliane Radigue performing seventeen of her pieces. She composed OCCAM I for Davies in 2011, the first in an ongoing series of solo and ensemble pieces for individual instrumentalists in which a performer’s personal performance technique and particular relationship to their instrument function as the compositional material of the piece. New pieces for solo harp have also been composed for him by: Christian Wolff, Carole Finer, Philip Corner, Phill Niblock, Ben Patterson, Alison Knowles, Mieko Shiomi and Yasunao Tone.
In 2008 he collaborated with the visual artist Gustav Metzger on ‘Self-cancellation’, a large-scale audio-visual collaboration in London and Glasgow. In 2012 he was the recipient of the Foundation for Contemporary Arts, Grants to Artists Award, he was a Chapter Associate Artist (2016-19) and in 2017 he received a Creative Wales Award. He is a co-organiser of the NAWR concert series in Swansea.
Hannah Marshall is a cellist who is continuing to extract, invent, and exorcize as many sounds and emotional qualities from her instrument as she can. She has been a regular member of Alexander Hawkins’ Ensembles and has toured in Europe and South America with Luc Ex and Veryan Weston’s ensembles – SOL 6 & 12. She plays with ‘String Terrorists’ - Barrel (a trio with Violinist Alison Blunt & Violist/poet Ivor kallin). And has been invited by Fred Frith and Suichi Chino in their residencies at café Oto. She also plays with Terry Day, Tim Hodgkinson, Roger Turner, Paul May, Kay Grant, and the London Improvisers Orchestra.
Coming up through the world of freely improvised music and spontaneous site specific performance happenings on the avant garde fringe, namely the London Musicians collective, The Klinker Club, The Termite Club, The London Film Co-Op, The China Pig, The Mopomoso, Southgate was encouraged by the absurdity of that scene to 'have a go'. In The early 90's already a bit jaded of making artworks solely in response to musicians own creativity she looked to making performance work herself. She took advantage of the arts council's improvised music touring scheme to co-organise three large scale nationwide tours. These saw site specific artworks made, manipulated, trashed, dismantled and moved on at every venue. Props and costumes were chosen for their absurdist qualities as well as for their visual and sculptural potential and their sonic abilities. Extravagant sets were made from street finds, domestic objects mixed with art materials, ladders, poles, foam, polystyrene. Southgate's degree training in metalwork gave her an ability to construct real time sculpture using anything to hand within the whole environment of the gig.
