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
No one turned away due to lack of funds
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.
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.
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.
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.
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.
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.
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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