Thursday 16 July 2015, 8pm
Latest edition of the eXperimental electronics night – previously hosted at The Castle in Whitechapel – with Argentinian musician Nicolas Melmann, dark ambient, bio-acoustic project Shadow Biosphere, inter-disciplinary artist Richard Crow, and Spanish-born saxophone player and sound artist Artur Vidal.
“The show is a contemplative experience and an hybrid between organic and digital art. During 2013 this show was presented in a tour through United States, including 12 cities and a concert at the Metropolitan Museum of Art New York as the opening act for Alva Noto & Ryuichi Sakamoto in the context of the Red Bull Music Academy in NY, where I participated as a student. It was also performed in Brazil and Peru (2014).”
An experimental music project, exploring the unseen realms and hidden lifeforms that surround us. Sonically drawing on dark ambient, bio-acoustic, primeval, abyssal and imagined sound worlds, Shadow Biosphere evokes the hidden life within and beyond our known realms. Richly textured ambient soundscapes are infused with found sounds and the organic pulses of natural forces, to summon immersive new perspectives on subatomic and multiversal dimensions.
Richard Crow is an inter-disciplinary artist working in the field of experimental audio research, live performance and site-specific installation. He utilises sound and noise in a performative way, for its disruptive and subjective qualities and above all for its psycho-physical implications for the listener and viewer. Over the past two decades his solo and collaborative site-specific installations and performances have consisted of highly conceptualized interventions into base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the project The Institution of Rot which he co-founded with the writer Nick Couldry in 1992.
Artur Vidal is a London based and Spanish-born saxophone player who grew up in Paris where he studied music, philosophy and history of art. His work involves field recordings, sound walks, dance and improvisation. He has been doing academic research on improvised music and environmental sounds and has become a certified teacher of Pauline Oliveros’s Deep Listening practice. He has published two collections of text scores: The Hum in the Valley (2021) and Friendly Algorithms (2018).
