Saturday 28 September 2019, 7.30pm
Since its first release in 1982, Touch has created audio-visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent company of its time.
Jana Winderen is an artist educated in Fine Art at Goldsmiths, University of London with a background in mathematics, chemistry and fish ecology from the University of Oslo. Jana focuses her work around audio environments and ecosystems which are hard for humans to access, both physically and aurally.
LA based UK born artist Mark Van Hoen continues to contribute to the electronic music fields and fabrics from the inspirations, observations and movements experienced in the past three plus decades. From earlier Eno, Industrial & Krautrock affinities found in the earliest output going back to 1981, to entering the rave and post-rave cultures of acid-house, dance based pulses with his R&S affiliated imprint Apollo Records debut in 1993. With a background working in the media realms of television, radio, film; Mark's foray into the new electronic etched realms from drone to experimental dance saw releases from R&S, Touch, Editions Mego, City Centre Offices, The Tapeworm and still counting. Innovating within the electronic music canon form releases like Truth Is Born Of Arguments, Playing With Time, The Revenant Diary to a wealth of notable collaborations and numerous side projects. Aurobindo: Involution was made with Seefeel's Daren Seymour, a collaboration with Slowdive's Neil Halstead and Nick Holton as Black Hearted Brother, work with Louis Sherman as Locust, Martin Maeers with Children of the Stones.
Bill Thompson is a sound artist and composer whose work has been performed extensively throughout the UK and abroad.
A native of Texas, he relocated to the UK in 2004 to pursue a PhD in Composition. Since then he has received numerous awards and commissions including the PRS for New Music ATOM award, the GAVAA visual arts award, a PRS for New Music Three Festival commission, the 2010 Aberdeen Visual Arts Award, and was nominated for the Paul Hamlyn Award in 2012.
As an artist, he has a particular interest in perception and embodied presence. His installations and performances frequently utilize found objects, field recordings, repurposed live electronics, and digital media to create environments that encourage active attention to each moment. He applies this same strategy within his compositional work which often include long sustained tones, densely layered textures, and indeterminate or improvised structures. He has written for a range of instruments including voice, guitar, contrabass, bagpipe, percussion, organ, string quartet, mixed ensembles and live electronics. As a solo performer he works primarily with live electronics although originally trained as a guitarist.
Philip Jeck studied visual arts at Dartington College of Arts in the 1970’s and has been creating sound with record-players since the early 80’s. He has worked with many dance and theatre companies and played with muscians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.
He has released 11 solo albums, the most recent “Cardinal”, a double vinyl release on Touch. “Suite”, another vinyl-only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm, “Spool”, playing only bass guitar. His CD “Sand” (2008) was 2nd in The Wire’s top 50 of the year. His largest work made with Lol Sargent, “Vinyl Requiem” was for 180 record-players, 9 slide-projectors and 2 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999 won the Karl Sczuka Foderpreis for Radio Art.