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 towards sound, bodies and site and developing an extended technique with cello, whips and other localised sounds form the crux of her practice. Founder of Silver Road, a non-profit arts project devoted to site-specific experimentation in time-based art practices, she performed amongst others with Tarek Atoui, Ashley Paul, Takahiro Kawaguchi, Ilan Volkov, Christof Migone and is part of Al Fresco, a new formation with artists Sholto Dobie and Tom White.
Ecka Mordecai is a player of the cello.
Her language involves listening, channeling and mediumship, improvisation, and out-of-tuneness.
She is also a sound artist specializing in minimalist and absurd instruments. Most notable are her egg-flutes, which were performed by the Egg Octet in the Scottish Highlands.
Ecka Mordecai writes/records/releases/performs in the trio Circaea with Andrew Chalk and Tom Scott (The Bridge of Dreams, 2019), in duo with Kate Armitage (Easy Cow, 2019), and on works by Antoine Beuger (Ockeghem Octets, 2017), Taku Sugimoto (Cello Solo 1, 2018), Thurston Moore (Leave Me Alone, 2019).
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.