Thursday 24 October 2019, 7.30pm

Photo by Ilme Vynaiskyte

RESOFEST: Fran & Flora + MICROCORPS (aka Alexander Tucker) + Anne Bean & Richard Wilson + Serafina Steer

Resofest is a three day fundraising festival for Resonance FM, "the best radio station in London" (The Guardian). The mind-boggling, anti-algorithmic, international all-star line-up includes the multiple award-winning Eliza Carthy MBE, Professor Nicolas Collins (Handmade Electronic Music), a spanking new collaboration by Atsuko Kamura (Polka Dot Fire Brigade) and Yumi Hara (Lindsay Cooper Songbook), universally acclaimed string duo Fran & Flora, and the first UK solo performance by the legendary Anthony Moore (Slapp Happy/Henry Cow). Plus a host of other world class performers offering a smorgasbord of radical sound and performance. Full details tbc. All proceeds go to support Resonance (London Musicians' Collective, registered charity 290236).

Fran & Flora

Described as "fiercely passionate" by BBC Radio 3’s Late Junction DJ Max Reinhardt Fran & Flora captivate their audiences with soulful laments, exquisite songs, irresistible dance tunes, and tales of their musical adventures.

This new collaboration between violinist Flora Curzon and folk/experimental cellist Francesca Ter-Berg combines aspects of traditional string music and song from Eastern Europe with original compositions and improvisation. Having travelled across Europe to study with many great masters of Eastern European Roma and Klezmer music Fran & Flora perform this repertoire incorporating their own unique arrangements creating a sound that is both timeless and contemporary.


Alexander Tucker

Alexander Tucker is capable of creating immense sounds on such a grand scale that it is astounding to realize that it is (mostly) all the work of just one man. He is one of Britain’s most forward-thinking songwriters and sound sculptors. Whether through collaborative work with Imbogodom, Grumblin Fur, Sunn O)))'s Stephen O'Malley (and countless others) or through his solo projects that survey drone to folk ballads, his is an unusual talent.

His early work in hardcore band Suction (which took its musical influences from Swans and Fugazi, Tucker says) provided a template for the kind of sound he would start to explore throughout the 90s: noisy, punky and arresting. However, perhaps it is his own take on music that is most thrilling; his fascination with improvised sound and field recordings are a huge part of his soundscapes, along with tape loops, cello, mandolin, FX pedals and, at one point, the hum of the trains that were part of his domestic soundscape while he lived above Warren Street station.

From his early teens Tucker had concurrently been developing his interest in improvisation and experimental soundscapes, using detuned guitars, tape loops, field recordings and electronics. In early 2000 he recorded his first solo self-titled album of acoustic finger-picking, experimental electronics and spooked vocals, released on Jackie O Motherfuckers U-Sound Archives label.

Tucker went then on to combine compositional song structures, drones, layered vocals and improvisations on his 2005 album “Old Fog”, released on ATP Recordings. This collection of spectral moods, eerie landscapes and fragile emotions was followed by “Furrowed Brow”(2006) and Portal (2008). 2011 saw the release of “Dorwytch” the first for Thrill Jockey Records followed by “Third Mouth” in 2012.

The unknown explored in his visual art is adventurously traveled on “Don’t Look Away” (Thrill Jockey, 2018); the music, lyrics, and artwork all work in tandem to conjure a universe that feels as fantastical, and mysterious as it does familiar and warm.

While a new studio album is scheduled to be released in august 2019 (via Thrill Jockey), Alexander is working on a new modular set up, layering mutant beats and electronic noise sequences, a modular project the artist refers to as Alexander Tucker presents MICROCORPS.


In the late 1970’s, Anne Bean, Paul Burwell (1948-2007) and Richard Wilson, during numerous boat trips on the Thames, were enthralled by the range of aural poetry and corresponding visions they encountered. Bow Gamelan Ensemble, the group they later formed, originated at this juncture. For the next 10 years they worked on ideas to distil and extend these stimuli, ranging from jagged and harsh to haunting and lyrical, into events created all over the world.  Bean and Wilson carried on working together, in many contexts and modes, continuing to treat both sound and visuals as inter-relating sculptural forms in works such as Dark Haloes and Spooky Drums for Liverpool Biennale, the Red Jail, Iraq, the Maunsell Forts in Thames Estuary, London Contemporary Music festival and Shuffle festival, Bow. Most recently, 2018,  the performance NALEMAG 2  at Cooper Gallery, Dundee, was the opening event for their installation, throughout the gallery, Great Noises that Fill the Air, which included the fragmented but substantial remains, of press, scores, posters, images, films, correspondence and drawings of Bow Gamelan Ensemble from 1980’s. Gigantic thunder sheets, motorised and timed at random moments, rumbled and roared  through the space.

Serafina Steer

Serafina Steer (UK) is a songwriter and instrumentalist. She currently writes and performs (bass guitar) for Bas Jan: a three piece band started in 2015. The first single from their forthcoming self- titled EP is called 'No Sign' and will be released on February 6th 2017.

The most recent (2013) of her three solo harp-based albums is called 'The Moths Are Real', produced by Jarvis Cocker and was Rough Trade's album of the month.