Friday 10 August 2018, 7.30pm
“There is no being taken on a conceptual journey, or losing yourself in these tracks. They overwhelm and punish your ears and synapses, disappearing before you get a chance to acclimatise yourself. Asymmetric guerrilla dancefloor bangers in effect.” – THE QUIETUS
Container is the stripped-down, beat-oriented electronic project of Ren Schofield, who sculpts vicious punk sonics into raw jackhammer rhythms. Schofield combines elements from his background in noise and cassette collage music with a new found interest in repetitive beats to create this raw and damaged rhythmic sound that groove in the most relentless, hypnotic, unstoppable and psychedelic ways currently working the grid.
This lo-fi mesh of maxed-out drum patterns, spiralling loops and mesmerising arrangements makes for live music of serious weight and function, capable of both rushing the high-end dancefloors of Unsound, Donau and Berghain, and banging the below-stairs basements of Europe into submission.
June sees the release of his fourth album on Spectrum Spools (simply titled LP, in keeping with the three previous albums on the label – all of which have also been called LP) which retains all of the “uber-mangled, saturated tape garble and headlong tempo macabre” of Container’s previous records, but with a “new refinement” and more attention on composition.
Sally Golding is a British-Australian artist combining lighting and sonic composition to create immersive audiovisual performances, sound art releases and participatory installations which push the boundaries of visual and auditory perception through the breakdown of technological systems into flicker, waveforms and colour fields. Golding blends discordant sonics and harsh lighting through innovative ‘darkroom compositions’ reminiscent of tape cut-ups created by reworking the optical soundtrack area of the industrial film-sound-system as a site for psychoacoustic radio play; inscribing recordings with the sound of the substrate as lathe cut objects; and live interference and generative feedback systems using amplified lighting and light sensitive audio including instrumentation with LDR sensors, repurposed camera flash units and PA shattering laboratory strobe lights. Known internationally for her film and sound performances Golding’s live sets are edgy and intense, driven by a minimalist approach to horror and noise aesthetics. Cacophonic in form and content, Golding’s performances transcend chaos and enter a hypnotic zone invading the physical performance space to inhabit happening, chance and chaos. Golding received an Oram Award 2017 (New BBC Radiophonic Workshop/PRS Foundation) for women innovating in sound and creative technologies.
Golding is the director of Unconscious Archives - a festival and event series presenting artists at the forefront of experimentation exploring materiality and embodied liveness across sound art and electronic music, experimental media and audiovisual art.
“The British born, London based Australian artist has created dozens of installations and performances in recent years, stradling lines between expanded cinema and sound art. She ceremonially piles dizzying sensations onto audiences, from the trembling light of multiple projectors to the serrated noise pulsations of the scores”. – Tristan Bath (The Wire, June 2016, issue 388)
“...[Golding’s] performances resemble a nineteenth century séance, careering between elegance and precarious awkwardness as noisy awe-inspiring spectacle.” – Steven Ball (Senses of Cinema, 2016)