Tim Drage is our kind of circuit bender… his process: 1. Bend – 2. Make a racket – 3. Smash to pieces – 4. If repairable, go to 2; if beyond repair, go to 1.
Archive for April, 2011
Part two of a rare solo performance from Mark Sanders, whose fluent, fluid playing combines a remarkably nuanced sensitivity to tone and timbre with an unfailing feel for continuity, with a mass of textural detail carefully employed in service of the overall performance.
Part two of our epic celebration of the music of Phil Todd and Ashtray Navigations, featuring contributions from many of their friends, fans and collaborators (including Stewart Keith, Clive Henry, Matt Valentine, Aaron Moore and Alex Neilson).
A new book by Benjamin Piekut, Lecturer in Music at the University of Southampton, has just been published by the University of California Press. Experimentalism Otherwise: The New York Avant-Garde and its Limits appears in the series California Studies in Twentieth-Century Music, edited by Richard Taruskin. Focusing on one place and time — New York […]
Ryan Jordan’s Sensory Response Systems elegantly combine showmanship with conceptual rigour and highly musical results; a mix of custom built electronics, virtual instruments, innovative physical controllers and dramatic lighting.
Phil Todd, this is your life. In part one of our celebration of the music of Ashtray Navigations, Bang the Bore roped in their friends and collaborators (including Neil Campbell, Jason Williams, Phil Legard, Daniel Spicer and Simon Morris) to comment on Todd’s alternate universe of sound.
For the last four years the Another Timbre label has released a stream of consistently excellent discs exploring the increasingly blurred boundaries between improvisation and composition. Bang the Bore caught up with label owner and professional sound recordist Simon Reynell to talk about developments and innovation in improvisation and the peculiar position one finds oneself in when running a record label.
A rare solo performance from arguably the best drummer currently working in UK improvisation. Mark Sanders’ fluent, fluid playing combines a remarkably nuanced sensitivity to tone and timbre with an unfailing feel for continuity, with a mass of textural detail carefully employed in service of the overall performance.