Sunday 24 November 2019, 7.30pm
‘Mechanosphere’ is Cam Deas’ abstract yet poignant 2nd album exploring ideas of rhythmic dissonance and head-spinning proprioceptions for The Death of Rave. Following directly from his cultishly-acclaimed mini-LP ‘Time Exercises’, which was surprisingly deployed in Richie Hawtin’s recent ‘CLOSE COMBINED - LIVE’ mix and hailed as “Holy F#ck-What is This?!?” by Brainwashed, his new album applies rich polychromatic colour to his signature rhythmic constructions with a greatly heightened emotive traction and broader appeal while only going deeper on his radical ideas about the fundamentals of sound and composition. Big recommendation if you're into Autechre, Xenakis, Ligeti, Rashad Becker.
Using a computer-controlled modular synth, Cam takes the simple idea of layering pitches in multiple tempi to Nth degrees, resulting in a sensational and warped sense of temporality and gravity-defying physics. Effectively placing pitch on a scale in a similar way to Conlon Nancarrow’s player-piano programming or even Ligeti’s famous metronome experiment, Cam explores solutions to the problem of grid-locked linearity, or at least perceptions of it, by effectively ripping the rug from under electronic music convention to make his music appear as though in perpetual freefall, or a process of omnidirectional contraction/expansion that never quite resolves - always the same, ever different. – Boomkat
Cam Deas is a musician and sound artist based in London. His work is not subject to straightforward categorisation, with output ranging from solo acoustic guitar exploration through live electro-acoustic performance, to pure synthesis and computer generative music.
In 2018 he released Time Exercises on The Death of Rave, consisting of five works for synthesiser and computer, his first full length purely electronic work. The pieces explore polytempos and relative ratios between pitch and rhythm in a dense electronic space, described as “disembodied music playing out a thrilling dramaturgy and syntax of alien dissonance and disorienting rhythmic resolution”.
Lia Mazzari’s work is often collaborative engaging new audiences through encounters with art in non-conventional spaces. She creates live and recorded events that embrace the broader sense of sound in space. This fluid relationship with her immediate environment, towards a sonic activism through the means of performance, intervention, installation and developing her own technique with cello, sometimes whips , and live-sound-transmission technologies form the crux of her practice. She is the founder of Silver Road, an experimental performance space housed in a derelict water tank in South-East London, later devoted to time-based art practices in the urbanscape. She performed amongst others with Tarek Atoui, Ashley Paul, Takahiro Kawaguchi, Ilan Volkov, Christof Migone, Angharad Davies, Sholto Dobie and Tom White.
Ecka Mordecai is a ‘cellist. Experimenting with performance, voice and body, she’s collaborated with Andrew Chalk and Tom Scott (CIRCÆA), Valerio Tricoli, Lia Mazarri, and worked with David Toop + Rie Nakajima, Clive Bell, Vanishing, and Thurston Moore. Solo and group shows include Cafe Oto, Hepworth Gallery, Speicher II, and Christian Marclay’s ‘Liquids’ at White Cube, performing scores by Yoko Ono and George Maciunas.
She was taught ‘cello, viola da gamba and renaissance music for a few years at high school, followed by studies in performance and sound art , alongside self-developed cello playing.
An active participant in community arts collectives, Ecka’s past residencies include Islington Mill (Manchester), Nutclough Tavern (Hebden Bridge, Yorkshire) and Mhor Farr (Wester Ross, Scotland.
She is currently an artist in residence at Artcore Intl. (London).
Threshing Floor the project of Rory Salter (Malvern Brume) and Ben Victor Waggett. As Threshing Floor the duo draw influences from folklore, history, psychogeography and performance actions. The music is built through improvisation using found objects, acoustic and electronic instruments, field recordings and whatever is to hand. The field recordings used are taken from walks and actions the duo have either done together or collected separately, always in sites of personal or historical significance to them both. Rory and Ben also run the label Infant Tree.