Friday 11 June 2021, 7.30pm
Thrilled to host an evening featuring a trio of artists who've been responsible for three standout albums on our own TakuRoku label over the past year. In a new live collaboration, Teresa Cos & Tom White will be improvising over a multi-channel audiovisual score, using live radio and tape manipulation, electronics, voice and amplified objects. Also on the bill is Malvern Brume, whose 'Gaps in the Persistent Hiss' album was the very first release on our TakuRoku label in May last year.
"By the end of my walk, perhaps under the subconscious influence of Brume’s dystopic musings, I had wandered into a graveyard. I found myself watched over by the blank gaze of a black angel. Brume had succeeded in turning the scenes of a lovely spring day into a series of foreboding hidden messages. If, like me, you are more taken with the macabre than the moony, that is a welcome transformation." – Matthew Blackwell, Tone Glow on Malvern Brume's 'Gaps in the Persistent Hiss'.
Tom White is an artist focusing predominantly on sound-based practices such as live performance, installation, recordings, composition for dance and film. He is interested in the physicality and phenomena of sound; how it can be felt by the body and experienced in architectural space. Past projects include commissions and appearances for Radiophrenia, Glasgow (CCA); BRAUBLFF (KRAAK & De Player); Whitechapel Gallery, London & Colour out of Space Festival, Brighton. Recent collaborators include Surface Area Dance Theatre, Maya Dunietz, Ben Knight, Renato Grieco and Lia Mazzari. He has performed extensively across the UK and Europe, travelled to North America and Japan and had work published by labels such as Takuroku (Cafe OTO), Glistening Examples, Vitrine, Chocolate Monk, Calling Cards Publishing and South London Gallery. He won the British Composer Award in 2014 (Sonic Art) for Public Address, commissioned by South London Gallery.
Teresa Cos is an artist exploring the processes of memory and repetition underlying history, society and human psychology, similarly to those inherent to sound and image composition. Her interdisciplinary practice encompasses film, video and sound installation, visual scoring, experimental music composition and performance. Teresa has presented and performed her work in various international contexts including: Cafè Oto, 3rd Industrial Art Biennial, Argos Centre for Audiovisual Arts, WIELS Contemporary Art Centre, Casino Luxembourg, bb15, Q-O2, Fondazione Baruchello, Kanal-Centre Pompidou, The Mac - Metropolitan Arts Centre Belfast, Les Ateliers Claus, Centrale Fies, Mostyn Gallery and the 14th Venice International Architecture Biennial. She has released work on Takuroku and Umland Editions/Q-2 and self-releases her ever growing Archive of Loops. Teresa has taken part in several international residency programmes, including WIELS, Jan Van Eyck Academy, Visio-European Programme on Artists’ Moving Images and the Botín Foundation workshop with Tacita Dean.
"Low Company hard kru gets it’s hands on some of the most abundant “demos” we’ve heard in a loooong time, a recalibrating collection of hermetic sound collage and suspensive beat cycles that form the far-reaching, street-lamp sonics on “C.C.S. Ear-well” - the first outing of London based shut-in Malvern Brume and the maiden voyage on a cobbled together, in-house, hand scalpel’ing, carbon based farce / tape label.
A near sixty minute long Greenwich Tunnel Dive, “C.S.S...” is a set of lost transmissions on MB’s fading vitality and experiments in sun-starved, solitary fitness. From the off, the opening track “Pedestrian Movement” feels like a last legible journal entry, a pensive and melodic inquisition before rasping, Diesel Guitar-style drone descents and inaudible S.O.S. signals take hold and tracks become fully shrouded in a malnourished distortion, dusted with fluttering memoirs of the real-world via some rickety, smoke stained London field recordings.
Side B morphs into more paranoid, beat-sequenced skeletons - “Tascam 1081” and “Ebb” feeling like hissing inversions of the German Shepherds’ “Music For Sick Queers”, whilst “Unrooted Drum” and “Mud Lap” take the shape of an unidentified strain of slickly modulating, claustrophobic techno - like something you might find on Morphine - an erratic yet intuitive tekno-primitivism, Brume going mad in captivity and simultaneously developing an acute understanding for his craft. "