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Saturday 15 February 2020, 7.30pm

Moor Mother w/ Galya Bisengalieva + Ono + Elaine Mitchener

No Longer Available

'This is not noise made to merely disturb aesthetic sensibilities; this is noise designed to exorcise generations of ancestral trauma.' – WIRE

Very special three-day residency from Moor Mother, aka Philadelphia based interdisciplinary artist, Camae Ayewa!

Ayewa (Moor Mother) is a musician, poet, visual artist, and workshop facilitator, and has performed at numerous festivals, colleges, galleries, and museums around the world, sharing the stage with King Britt, Roscoe Mitchell, Claudia Rankine, Bell Hooks, and more. Camae is a vocalist in four collaborative performance groups: Irreversible Entanglements, Moor Jewelry, 700bliss and ZONAL.

In late 2016, she released her debut album Fetish Bones on Don Giovanni records to critical acclaim. Fetish Bones was named 3rd best album of the year by The Wire Magazine, number 1 by Jazz Right Now and appeared on numerous end of the year list from Pitchfork, Noisy, Rolling Stone, and Spin Magazine. She has since released 'The Motionless Present' commissioned by CTM X VINYL FACTORY 2017, as well as fronted the groups Irreversible Entanglements and Moor Jewelry and 700bliss. Thanks to her unstoppable energy, she has recently peformed at a host of vital festivals including Borealis, CTM, Le Guess Who?, Unsound, Flow, Rewire and Donau.

Analog Fluids of Sonic Black Holes was released on Don Giovanni in November 2019 to mass critical acclaim.

'Moor Mother makes music that feels halfway between necromancy and warning. These songs are a rejoinder to that erasure, and a proposed antidote to an anti-Black capitalism that insists cultural debts be forgotten.' – PITCHFORK

Galya Bisengalieva

Galya is an award winning Kazakh/British violinist making her own work as a soloist, improviser and collaborator with artists and composers of varied genres.

She has performed solo shows throughout Europe, USA, India, Turkey, Brazil, and made her sell out debut in Teatro Colón, Buenos Aires, where Galya received the Revelación Award by the Music Critics Association of Argentina.

Galya has toured key solos for live productions of Phantom Thread, Under the Skin, The Piano and There Will Be Blood. Premiered Edmund Finnis' 'Shades Lengthen' on BBC Radio 3 and co-wrote ‘Galya Beat’ with electronic producer Actress and percussionist Sam Wilson which was released on Ninja Tune. She has collaborated with composers Pauline Oliveros, Steve Reich, Laurie Spiegel, Suzanne Ciani, Terry Riley as well as comissioning and performing new works by Hildur Guðnadóttir, Sarah Davachi, Shiva Feshareki, Claire M Singer, Emilie Levienaise-Farrouch, Mica Levi, Ipek Gorgun and CHAINES.

Galya’s violin solos and improvisations can be heard on Lynne Ramsay's 'You Were Never Really Here' (2017), Laure de Clermont-Tonnerre's drama 'The Mustang' (2019), Alma Har'el's Sundance Winner 'Honey Boy" (2019) and Hlynur Pálmason’s Cannes Film Festival Winner ‘A White, White Day’ (2019). She leads the London Contemporary Orchestra.

ONO

Technically ONO began in 1980 - it’s the year the band officially assigns - but anyone can see the band’s miasmic origins roiling and writhing much before. P Michael Grego and travis had met before 1980, sharing a love for written and spoken word, the transcendent, and the genuine. Through continual poking and prodding, P Michael convinced travis to join him in ONO, the name coming from shortening “onomatopoeia,” and underscoring a desire to create “noise not music.” P Michael would handle the audio. travis the words. Since January 5, 1980, they have fiercely defended a singular construct: “The ONO STATEMENT OF PURPOSE: Experimental Performance, NOISE, and Industrial Poetry Performance Band; Exploring Gospel's Darkest Conflicts, Tragedies and Premises.”

In a deeper consideration of ONO’s genesis, the band is rooted in events hundreds of years earlier. ONO tackles military history, religious history, racial history, geopolitical history, artistic history, and that’s only for starters. travis mentions real, often harrowing events, attaching years and dates, as if history were ever present.

Elaine Mitchener

Born and raised in East London of Jamaican heritage Elaine Mitchener is a contemporary vocalist, movement artist and composer, who encompasses improvisation, contemporary/experimental music theatre and dance. She has worked and collaborated with numerous leading artists including Camae Ayewa (Moor Mother), Mark Padmore, George E. Lewis, The Otolith Group, Sonia Boyce, Tansy Davies, Hamid Drake, Van Huynh Company, Apartment House, David Toop, London Sinfonietta, Steve Beresford, Christian Marclay, Phil Minton, Ensemble Manufaktur für aktuelle Musik, William Parker, Alexander Hawkins. She is founder of collective electroacoustic trio The Rolling Calf with saxophonist Jason Yarde and bassist Neil Charles.

“Elaine Mitchener has ACHIEVED A MOST DIFFICULT CHALLENGE ; She has created a dauntingly vivid theatrical evocation of deep and prolonged collective pain in such a way as to bring out OUR emotional empathy fundamental to communication. She has not aimed for ‘beautiful art’ but her unblinking honesty and the ultrasensitive resonance of her three musical companions, has parAdoxically created something of real, visceral beauty- art,in fact.” – Robert Wyatt THE WIRE

“SWEET TOOTH is a vital black British addition to those seminal creative statements of resistance and defiance from the African Diaspora.” (Kevin Le Genre, Jazzwise)

www.elainemitchener.com