Wednesday 11 July 2018, 7.30pm
“West Coast composer Carl Stone was one of the first to plug into the possibilities offered by digital synthesizers, samplers and effects... While Grandmaster Flash and Afrika Bambaataa were flamboyantly promoting sample based hiphop, and John Oswald was openly flaunting the art of plunderphonics, Carl Stone developed his own idiosyncratic take on sonic bricolage.” – The Wire
Delighted to welcome back pioneering composer, Carl Stone, for a show coinciding with the release of a newly compiled double LP on Unseen Worlds – Electronic Music from the Eighties and Nineties – which showcases the soothing, hallucinatory side of his slow-evolving, time-bending composition.
Carl Stone is one of the pioneers of live computer music, a composer with heavyweight CalArts credentials (he studied at the LA art school with Morton Subotnick and James Tenney), who operates with a rare sense of mischief and intrigue. Across a career spanning five decades Stone has proven a prolific and imaginative voice in electronic composition, mashing together notions of high and low culture and playfully re-contextualising diverse ethnographic materials. To this day he finds consistently engaging ways to present his live performances via real-time processing, multi-channel works and collaborations.
Now dividing his time between Toyko and LA, Stone's formidable canon of work has recently been in the spotlight via two masterful collections of material on Brooklyn imprint Unseen Worlds: “Electronic Music from The Seventies and Eighties” (2016) and “Electronic Music from The Eighties and Nineties” (2018).
“Stunning …. full of purring drones that at first appear to hardly be moving, only to have them slowly slide and reveal infinite amounts of overtones…lovely, prickly, meditative, and maddening.” – Pitchfork
People Like Us is audiovisual collage artist Vicki Bennett, who has been making work available via CD, DVD and vinyl releases, radio broadcasts, performances, gallery exhibits and online streaming for 25 years. Since 1992, she has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form.
The Mirror is a live a/v performance which splices together movie snippets with unique sample-based music exploring the masks that we wear represented through the lens, using parallel narratives across the screen to depict an ever-changing stream, rather than a singular, fixed being, narrative or moment in time.
A feat of research and craft, this new work is a spellbinding inquiry into editing and juxtaposition; a collage one can unthread allowing the viewer to discover hidden stories through familiar images. The soundtrack is performed live, made up from hundreds of preexisting songs, as well as particular sounds from the original film clips.