BangTheBore

Articles & Artifacts

ALVEAR, BENNETT, COOKE, HENRY, MALFATTI | BRISTOL 30/10/15

ALVEAR, BENNETT, COOKE, HENRY, MALFATTI | BRISTOL 30/10/15

Bang the Bore is proud to present streaming video of Cristián Alvear’s première performance of Wandelweiser composer Radu Malfatti’s “shizuka ni furu ame” (2015, for solo guitar). The video was taken from the first concert of Bang the Bore’s Autumn 2015 Season, which doubled as the final date of Daniel Bennett, Seth Cooke and Clive Henry’s mini tour of the UK – their first together since Hunting Lodge disbanded almost ten years ago.

Interview with Joe Panzner

Interview with Joe Panzner

Joe Panzner is a composer, mastering engineer and musicologist based in Ohio. For nearly a decade now he has been building what is, for our money, one of the most consistently exciting & intelligent bodies of work in noise & computer music.

Sheets of Easter Everywhere

Sheets of Easter Everywhere

Presenting, for your enjoyment, the first two volumes of Furniture Records’ tape compilation series, Sheets of Easter Everywhere – cassette releases devoted entirely to cover versions of Oneida’s Sheets of Easter.

Nick Hennies

Nick Hennies

Bang the Bore is proud to present streaming video of Nick Hennies performing two pieces for us in February; Cast and Work, by Hennies herself; and Snare Drum and FM Noise, by Peter Ablinger.

Alex Ward – Glass Shelves and Floor

Alex Ward - Glass Shelves and Floor

Alex Ward‘s musical activities are still as not as well known as they should be, despite over a quarter century of extraordinary work. As a clarinettist his virtuosity and imagination are pretty much unrivalled, and his electric guitar playing doesn’t lag behind. He’s worked with plenty of famous names (Derek Bailey, Eugene Chadbourne, Thurston Moore) […]

Tim Parkinson Interview – Trio with Objects

Tim Parkinson Interview - Trio with Objects

Tim Parkinson is one of the most unassumingly fascinating composers at work in the UK at the moment. The surfaces of his music are often free of many of the usual appurtenances of experimental music, but his work continually upsets expectations and has a logic unlike any other music around. He has written for groups […]


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Daniel Bennett & Stephen Cornford – Fellfield Draff


Daniel Bennett & Stephen Cornford – Fellfield Draff

We finished this about March 2014, so I’m very pleased to see it finally out in the world. You can hear a bit of the record below, combined with something to look at: namely Stephen destroying the innards of a digital camera, and me making some kind of shape from the results.
Should you feel provoked to acquire a physical copy – perhaps to show your neighbours – ownership can be achieved at this link: http://hideousreplica.co.uk/hr10

1. Fell [6:29]
2. Field [9:35]
3. Draff [16:08]

Daniel Bennett – electronics, software
Stephen Cornford – electronics, objects

Recorded & constructed in Bristol 2013-2014
Mastered by Joe Panzner
Artwork by Daniel Bennett

HR10 [Hideous Replica]
CD edition of 100, 2015


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January 18th, 2016 | by | Published in Blog

THE CUBE, BRISTOL | 07.02.16 | AKAMA, CLAYTON MILLS, FREY, LASH, LUCIER, NIBLOCK

akama_clayton mills_frey_lash_lucier_niblock_070216_cube

Bang the Bore & reductive journal present
Performances by Ryoko Akama, Joseph Clayton Mills, Dominic Lash
Compositions by Jürg Frey, Alvin Lucier, Phill Niblock
Sunday 7th February 2016
The Cube Microplex
4 Princess Row, Bristol, BS2 8NQ
£6 on the door, or more if you want
Tickets HERE
No one turned away due to lack of funds

Ryoko Akama
Sound artist/composer/performer whose work approaches silence, time and space, exploring quiet and minimal music and situations. Akama performs with sine tones and objects, or creates sound installations that deal with materials, objects and phenomena. She is associated with the Octopus Collective, runs the Melange Edition label and edits the Reductive Journal.
ryokoakama.com

Joseph Clayton Mills
Joseph Clayton Mills is a musician, artist, and writer who lives and works in Chicago. His text-based paintings, assemblages, and sound installations have been exhibited in Chicago, New York, and Europe and his work has appeared in numerous publications, including The New Yorker. He is the author of the short-story collection Zyxt, and in 2012 publishedNabokrossvords, a translation of early Russian crosswords by Vladimir Nabokov. He is an active participant in the improvised and experimental music community in Chicago, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (asParital), Sylvain Chaveau, Jason Stein, Michael Pisaro, and Olivia Block, among many others; his recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in conjunction withNoé Cuéllar, he launched Suppedaneum, a label focused on releasing scores and their realizations.
josephcmills.com

Jürg Frey
Frey’s work is marked by an elementary non-extravagance of sound, a sensibility for the qualities of the material and precision of compositional approach, sometimes bypassing instrumentation and duration altogether. He has worked with compositional series, as well as with language and text.
timescraper.de/juerg-frey.html

Dominic Lash
Dominic Lash is a freely improvising double bassist, although his activities also range much more widely and include playing bass guitar and other instruments; both writing and performing composed music; and writing about music and various other subjects.
dominiclash.co.uk

Alvin Lucier
Alvin Lucier (born May 14, 1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. A long-time music professor at Wesleyan University, Lucier was a member of the influential Sonic Arts Union, which includedRobert Ashley, David Behrman, and Gordon Mumma. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media.
alucier.web.wesleyan.edu

Phill Niblock
Composer, filmmaker, videographer, and director of Experimental Intermedia. Niblock’s music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects.
phillniblock.com

Floating Categories (Jürg Frey, 2015)
for reader, listener, player alone, maybe performer(s)

From the notes accompanying the score: “The items on the page are isolated, but also connected. It looks like a page is balanced in space, – and the performance of the ensemble may be balanced in time. Performances should be non-theatrical, but with clear activities. The number of elements is manageable; complexity occurs in unexpected connections and overlapping of elements.”

Homage to James Tenney (Alvin Lucier, November 1986, 15′)
for double bass and pure wave oscillators

From the score: “Audible beats are produced at speeds determined by the distances between the instrumental and electronically generated tones. The farther apart, the faster the beating. At unison, no beating occurs. Furthermore, under certain conditions the beats may be heard to spin in elliptical patterns through space, from the higher sound source to the lower.”

Twelve Tones (Phill Niblock, March 1977, 22′)
recordings by Jon Deak, contrabass

Bob Gilmore on Phill Niblock: “One of music’s great late starters (he produced his first pieces at the age of thirty-four), he began on a high level and has been getting better and better ever since. … His music is minimal (in the best sense), microtonal, rich, and very loud. The pieces are drones on a single note, or two notes, or a chord, coloured by microtonal inflections. Within apparent stasis there is constant movement. I like Robert Ashley’s comment that in Niblock’s music “something happens in the way of change that is not fundamentally a change of pitch: it is a change of what the pitch sounds like”.’

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bangthebore.org
reductivejournal.com
cubecinema.com


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January 14th, 2016 | by | Published in Blog




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