19th November 2010
Friday 19th November 2010
Seventh in the series of nights from Electronic Organica.
(Martin Archer and Hervé Perez)
"We decided to base the name on a theory of the research physicist Wolfgang Pauli. We found a correlation in that we both worked with a digital scalpel on fields of microsounds; a science which took both our instruments and processed field recordings a little closer to the chemistry of natural sounds, complete with harmonic DNA sequences and rhythmical fragments quantum-jumping from cell to cell. We were intrigued by the idea of the 'exclusion principle' and decided that Pauli was 'not even wrong' in his theory since Martin and Hervé successfully managed to sit together in the same room.
…in the end, our main source of inspiration will always be deep listening and a fascination for the science of the natural world. Sometimes, sitting in silence for hours in the crest of birdsong or in wafts of windy harmony is more profitable than practicing scales. And to a certain extent, our recording session in the studio 'happened' as an unspoken intense inner excitement. And we left it to rest, a little calmer, as if something had happened in the space between thoughts."
Hervé Perez performs sound sculptures from field recordings of a very tactile and sensual kind. Drawing from electroacoustic, electronic music and free improvisation, Hervé's work is centered around resonance and the experience of sound vibrations. Informed by such eastern philosophy as the five elements and sound/vibration therapy, Hervé has developed a personal way to process and sculpt environmental sounds in order to reveal their musical features and maximise resonance with the listener. His research revolves around vibrations in relation to space and the body, sound forms and architecture, cymatics, phenomenology.
As a performer, Martin Archer seeks to avoid the inert and inexpressive performance style inherent in much live electronic music. As a recording artist, he seeks to surprise himself with each new release, or at least get the EQs right. He acknowledges groups such as Faust, Henry Cow, Soft Machine and Magma as being highly influential in his work alongside Cage, Stockhausen, Feldman, and of course the school of European free improvisation. This combination of sources makes him a unique inhabitant of the school of English maverick composers.
(Norm Skipp and Rod Skipp)
Brothers Norm and Rod Skipp (electronics and 'cello) combine forces again as _scape to unveil a sonic palette featuring live electronics, instrumental performance and improvised sound.
Originally formed in 2008, the duo explore the interaction of live and pre-composed electronics with instrumental performance and have appeared as part of the last two Chorlton Arts Festivals. Commissions include 'ftb', a wind quintet with live and improvised electronics for Souza Winds, which was first performed in 2009.
Norm is composer/sonic artist, video artist and online editor/compositor who often collaborates with other artists to create multileveled and experimental works. His video and sound work is performed widely in NZ, Australia, USA, UK, France and Canada. Currently he is collaborating with dancer/choreographer Gabrielle New on ‘Creature’, a trilogy of works fusing butoh inspired dance with electronic sound.
Rod is a freelance cellist and composer, who combines solo, chamber music and orchestral work with more experimental performance, including a recent debut at the Manchester Jazz Festival as part of the 265 Quartet. His recent compositions include metara (2010) for brass quartet and iPhonium (2009) for euphonium, which both include the use of electronics.
Electronic Organica Ensemble
The 'house ensemble' present an opening improvisation, featuring members of Fonik and Pesticide Organica, who are also behind the promotion of Electronic Organica.