Friday 5 August 2022, 8pm
Omens and portents...an ill wind...barbarians from the North. For one night only the citadel is besieged by a cavalcade of Northumbrian and -affiliated eccentrics. Marshalled by the combined forces of YEAH YOU and the TOPH crew, a chaotic band of dissidents will slouch amorphously toward the capital. Features the pop-shred glossolalia-mania of YEAH YOU, the whip-lightning turntable plasticination of MARIAM REZAEI, the Coal Mining Heritage Trail redisorientation of WREST, the fractal circuit-jazz thuds of KENOSIST, the critical electrick practice of SW1N-HUNTER, and polite young men YES INDEED (LAURIE TOMPKINS AND OTTO WILBERG). Plus the sensual selections of the TOPH DJs.
To you YEAH YOU are to you a father daughter duo who let music invade the family context. Who let music dismantle the family car, using construct absurdity to redeem resented weekly Tesco shops and traffic jams. YEAH YOU are not who you said we are, but we are that inverted, and battery op. The content shifts depending on how many supermarket discounts we found. Known for their sneak-up picnic public invasions, perform mostly when uninvited but will always jump on chance to berate a strobe-cut stage, brawling electronic dirt pop, words and feet exert integral (instagram) distrust: you won’t hear what you see.
Why who? They only ever wanted to take back their solidarity with inertia. Creeping up behind a ‘don’t bite the hand that feeds you’ cultural climate, striving to unbuckle the gift economy. You let the lesson be yearn inappropriately. Warped into identity politics this could be an anti-formulaic deconstruction of the nuclear family and of psychic uniform, which normative roles serve to sustain. But in itself is just an improv life stream of the bottom 40: from 0 to -40. Diving in with an admittedly involuntary entropic approach, they provide something for all the family to enjoy/not enjoy.
Kenosist is the solo project of Mark Wardlaw, focused on live, modular electronics with an emphasis on aleatoric processes and the avoidance and subversion of claviocentric models. His work is improvised, with the configuring and reconfiguring of the "instrument" itself being part of the performance. Recent work has drawn influence from free jazz, finding commonalities with the extremes of post-techno and breakcore, as well as integrating folk and early music instruments.
www.kenosist.com
Mariam Rezaei is a multi-award winning composer, turntablist and performer. She previously led experimental arts project TOPH, TUSK FRINGE and TUSK NORTH, and in November 2022, received the Paul Hamlyn Foundation Awards For Artists in recognition of her contribution to music composition. Her music has recently been described as ‘genuinely ground-breaking’ (London Jazz News 2022) and ‘high-velocity sonic surrealism’ (4* The Guardian 2022). Recent releases include ‘BOWN’ on Heat Crimes, 'SADTITZZ' and ‘SKEEN'. Recent performances include Turntable Trio with Evicshen and Maria Chávez at Counterflows/ REWIRE 2023, and as soloist and co-composer of ‘6 Scenes for Turntables and Orchestra’ with Matt Shlomowitz for ICTUS/Frankfurt Radio Orchestra, for the final concert at IM Darmstadt 2023.
Recent collaborations include Joan La Barbara, Evicshen, Maria Chavez, Maggie Nicols, Black Top (Pat Thomas & Orphy Robinson), Lasse Marhaug, Rhodri Davies, Angharad Davies, Alya Al Sultani, Mette Rasmussen, Audrey Chen, Elaine Mitchener, Will Guthrie, Lukas Koenig, Julien Deprez, Kenosist, Gwilly Edmondez and Elvin Brandhi.
Upcoming performances include ‘Azadi/Freedom’ with London Sinfonietta at HCMF 2023; Tehran Contemporary Sound, Berlin; Another Sky, London; 6 Scenes for Turntables & Orchestra with Brussels Philharmonic/ICTUS Ensemble, Brussels, Antwerp & Glasgow; GIOFest 2023, Glasgow; Taipei Biennial 2023, Taiwan.
SW1n-Hunter plays auto-parts– a live composed, essayistic suturation comprised of noise selection/mixing, movement(s), machine/human utterance, instrumental mutations – selves, place and spatial contestation.
SW1n-Hunter is a construct that Adam Denton has burdened himself with. Denton is himself an artist, researcher, performer etc, working across, above, between, beneath, within and without media. Until recently I lived in Newcastle-upon-Tyne but came south at the end of 2021, finding interesting situations emerging on the border of Lewisham and Southwark.
Works with: TOPH, S ‘…’ G (with Odie Ji Ghast), Trans/Human.
Solo audio releases on Opal Tapes, Tribe Tapes & Industrial Coast:
https://opaltapes.com/album/aliasing-the-empty-face
https://tribetapes.bandcamp.com/album/trust
https://industrialcoast.bandcamp.com/album/refurbishment-club-sample-track
WREST is the nom-de-klang of Blyth-based Jamie Stuart. He brings forth ritualistic emanations of dead-coast psychic detritus and material culture. Post-industrial in the most grimly literal sense.
Yes Indeed are Laurie Tompkins & Otto Willberg. Live, they play keys, bouncy bass and sing over tactile, emotive samples. The music is fuggy and soaring, deliciously out of place.
On 2021’s ‘Exorcise’ EP, they let ratty violin, syrupy bass and foolish voices congeal over a backbone of co(s)mic spinnet and pit percussion. Boomkat rightly dubbed it “proper mad scones”. ‘Rotten Luck’ - a sodden, diaristic epic and YI’s first album proper – is out in September 2022.
Laurie is a composer, helps run the Slip label and has put out CDs on Entr’acte, 33-33 and Hyperdelia this year. Otto is a bassist, plays in groups with Ashley Paul & Charles Hayward and his great band Historically Fucked has an LP coming on Upset The Rhythm.
