Sunday 12 May 2019, 7.30pm
Delighted to present this special festival celebrating Oren Ambarchi's 50th birthday and 10 years of his Black Truffle label. Spilling over three unmissable days, the festival (curated by Oren himself) features a packed international bill of special guests, projects and collaborations, all closely associated with Oren and his label.
PROGRAMME
- Alvin Curran & Oren Ambarchi duo
- Eiko Ishibashi solo
- James Rushford & Will Guthrie duo
- Joe Talia "Tint"
James Rushford is an Australian composer-performer, whose work draws from concrète, improvised, avant-garde and collagist musical languages, staking out an idiosyncratic stylistic space that has been described as ‘electro-acoustic experimentation with a beating heart’ (Boomkat) and ‘haunted Jacobean ASMR’ (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to new age, Rushford’s work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm and timbre.
In recent years, Rushford’s solo work has been guided by his theorisation of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou’s Música Callada (See the Welter, for solo piano, 2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, 2020). Rushford has longstanding performance practices on piano, synthesizers and electroacoustic devices, and portative organ, bringing to all of these a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the 20th century avant-garde, and many strains of popular music.
James has created original work for BBC Scottish Symphony, Melbourne Symphony, Ensemble Neon (Oslo), Speak Percussion (Melbourne), Ensemble Vortex (Geneva), MONA FOMA, Australian Centre for Contemporary Art, Melbourne International Arts Festival, Ultima Festival (Norway), Unsound Festival (New York), Tectonics Festival (Tel Aviv), Send and Receive Festival (Winnipeg), Adelaide Festival and Liquid Architecture (Melbourne). As well as previous projects with Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza and Dennis Cooper, he works regularly with Golden Fur (his trio with Sam Dunscombe & Judith Hamann), Joe Talia, Ora Clementi (with crys cole), Oren Ambarchi, Kassel Jaeger, Anthony Pateras, Will Guthrie, Graham Lambkin and Francis Plagne.
His music has been published by a variety of international labels including Unseen Worlds (US), Pogus (US), Penultimate Press (UK), Another Timbre (UK), Holidays (IT), Black Truffle (AUS), KYE (US) and Shelter Press (Fr).
In 2017, James completed a Doctorate from the California Institute of the Arts.
Will Guthrie is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, amplification and electronics.
He plays solo and in various projects such as THE AMES ROOM, ELWOOD & GUTHRIE & THE SOMMES ENSEMBLE. His music has been released on labels such as Gaffer Records, Erstwhile, Clean Feed, 23five, Editions Mego, Ipecac and his own label Antboy Music.
Regular collaborators past and present include Oren Ambarchi, James Rushford, Jean-Luc Guionnet, Mark Fell, Roscoe Mitchell, Anthony Pateras, Chulki Hong, Jérôme Noetinger, Keith Rowe, David Maranha, Ava Mendoza, the film maker Hangjun Lee and choreographer/dancer Mette Ingvartsen.
Oren Ambarchi is a composer, multi-instrumentalist and musical polymath who has been releasing records with the frequency of someone who prefers studio time to sleep. His remarkably prolific and diverse oeuvre since the 90's has included releases such as “Suspension” (2002), “Grapes From The Estate” (2004), “Audience Of One” & “Sagittarian Domain” (both 2012), “Quixotism” (2014) & “Hubris” (2016).
Ambarchi continues to collaborate with artists the world over and in the last few years his longform compositions have featured many friends and collaborators constituting some of his most adventurous work to date and demonstrating his slippery capacity for stylistic shapeshifting whilst retaining his singular musical language.
Democratic, irreverent and traditionally experimental, Curran travels in a computerized covered wagon between the Golden Gate and the Tiber River, and makes music for every occasion with any sounding phenomena -- a volatile mix of lyricism and chaos, structure and indeterminacy, fog horns, fiddles and fiddle heads. He is dedicated to the restoration of dignity to the profession of making non-commercial music as part of a personal search for future social, political and spiritual forms.
Curran's music-making embraces all the contradictions (composed/improvised, tonal/atonal, maximal/minimal...) in a serene dialectical encounter. His more than 200 works feature taped/sampled natural sounds, piano, synthesizers, computers, violin, percussion, shofar, ship horns, accordion and chorus. Whether in the intimate form of his well-known solo performances, or pure chamber music, experimental radio works or large-scale site-specific sound environments and installations, all forge a very personal language from all the languages through dedicated research and recombinant invention.
Born in Melbourne, Australia, Joe Talia is an improviser and composer who works with percussion, tape and electronics. Focusing on the use of Revox tape machine and analogue synthesizers in combination with instruments and field recordings, Talia’s electronic works patiently build up sparkling, detail-rich sound worlds of gliding tones, skittering percussion and burbling location atmospherics. In live situations, Talia often uses tape and effects to process and warp his own and others’ playing into uncanny chains of echoes and spectral smears of sound.
A virtuoso drummer, as a percussionist Talia emerges from the traditions of jazz and free improvisation and has developed a unique personal language of shifting accents, subtle virtuosity and discreet extended technique that he welds equally ably in jazz, rock, new music and improvisational contexts. Like his electronic works, his drumming often demonstrates a keen attention to long-form structures, dynamic development and group interactions.
An important member of Tokyo’s vibrant improvised music scene and internationally active as a performer, Talia performs and records regularly with Oren Ambarchi, Eiko Ishibashi, Jim O’Rourke, James Rushford and Tatsuhisa Yamamoto. In addition to these regular collaborations, he has also been involved in projects with Keiji Haino, Chris Abrahams, Tetuzi Akiyama, Akira Sakata, John Duncan, Richard Pinhas and many others. His work has been published by international labels such as Black Truffle, Bocian, Kye and Touch.
Eiko Ishibashi is a Japanese improvisor, producer, and singer-songwriter. As her albums demonstrate, she is equally comfortable composing and performing everything from quirky pop, modern classical music, and prog to the extremes of improvisational jazz and noise. She has performed and toured with Jim ORourke, Keiji Haino, Akira Sakata, Charlemagne Palestine, Oren Ambarchi, and Glenn Kotche, to name a few. Her 2014 offering, Car and Freezer, offered evidence of the seam where her quirky brand of pop met complex jazz composition, while Kouen Kyoudai, her 2016 album-length collaboration with Masami Akita (Merzbow) offered an exercise in industrial improvisation.
Ishibashi's main instrument is piano, though she is adept at drums, flute, and vibraphone. Her first "solo" recording was Slip Beneath the Distant Tree in 2007, a double-length duo offering with Ruins bassist Tatsuya Yoshida. She followed it a year later with the innovative Drifting Devil. The album captured the critical imagination of Japanese journalists -- many of whom selected it as one of the year's best recordings -- as well as the admiration of fellow musicians, and her reputation grew.
In 2010 she met O'Rourke when they were both invited to play on Phew's Five Finger Discount. He asked her to perform on his All Kinds of People: Love Burt Bacharach tribute set and they joined one another's bands. He produced Ishibashi's 2011 album Carapace, and recorded and mixed her solo piano follow-up, I'm Armed. In 2013, she played on Gaspar Claus' Jo Ha Kyū alongside Ryuichi Sakamoto, Haino, and Kazutoki Umezu. She also signed to Drag City, which released Imitation of Life and followed it with Car and Freezer in 2014. Ishibashi and O'Rourke were also members of Kafka's Ibiki, who cut three albums between 2013 and 2014. She played on O'Rourke's Simple Songs in 2015 and kept up a rigorous touring regimen that included playing her own shows and with O'Rourke and their band. She also found time to form RNA with Fumio Kosakai (Incapacitants) and Kimihide Kusafuka (K2), and cut the double-cassette release No New Tokyo.
In early 2016, Ishibashi released another duo recording, this one in collaboration with Masami Akita (aka Merzbow); entitled Kouen Kyoudaireleased on Editions Mego. That same year she also worked with experimental sound artist and composer John Duncan on his full-length Bitter Earth, and privately released the digital-only piano trio full-length Six Feet Under with bassist Toshiaki Sudoh and drummer Tatsuhisa Yamamoto. After time off and touring with O'Rourke, Ishibashi returned to the studio in 2018 and released the experimental Ichida in collaboration with composer and multi-instrumentalist Darin Gray on Black Truffle, and her own mutant pop collection, The Dream My Bones Dream on Drag City.
