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Author Topic: TOMORROW 21st Nov London: Evil Moisture, John Wall+Mark Durgan, Cementimental+..  (Read 1003 times)
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« on: November 20, 2016, 03:05:03 PM »



New River Studios
199 Eade Road
N4 1DN

19:00–23:00, £7 entry
Evil Moisture

Andy Bolus (Evil Moisture), whom one fan said he "almost preferred ...to Joseph Roemer", has worked since the early 90s in such fields as circuit bending (almost before this term really existed) and self-taught electronics allowing fabrication of basic synth building blocks, chaotic circuits, unusual ways of 'synchronizing' non-rhythmic sounds, alongside a use of magnetic tape (early evil moisture material was entirely edited by splicing tape) and electronics to produce a kind of low-fi musique concrete which would've no doubt been rejected by Ircams engineers as "technical fault, unlistenable", but it would've been rejected by Wattie of The Exploited as "fuckin shit" too, so whatever..

Recently he has been working more directly with tape 'live cutup', using multiple reel to reels, modified tape echos, and home made tapeloop delays, using as source material basic sounds such as oscillators, function generators ring modulated sounds, and home made microphone circuits such as ultrasonic (bat) detectors (http://evilmoisture.free.fr/bat/). In addition to many Evil Moisture releases he has also made exhibitions and books of his visual work, recently collaborating with the Danish artist Zven Balslev. He runs the label School Of Meat Cutting, releasing cassettes and also an ongoing series of "effects" and sound generators (examples here http://evilmoisture.free.fr/mangler/mashers.html). He also regularly does workshops where people can build such things as ghost detectors, optical theremins, noisy synths, and is teaching an ongoing project to make a haunted house in association with the Lycée Autogéré in Paris.

John Wall & Mark Durgan

It’s a pleasant surprise to discover how well-matched
Wall and Durgan are as a duo. Considering their contrast-
ing backgrounds and approaches, their respective
vocabularies mesh very successfully, yet retain a healthy
amount of contrast and tension. Durgan’s contributions,
generated from modular and pressure-sensitive synth-
esizer, develop the vocabulary which began to emerge
on his 2009 PAN album Ploughing Furrows From Rotten
Burrows: thick, relatively slow-moving sounds —
concrete-style slaps, oscillating granular pitches and
crude percussive blurts which hint at looping patterns.
Wall uses a computer, which presumably allows him to
move and react more quickly. Consequently his playing
is more volatile and diffuse, deploying fraying frequencies
and jittery, sibilant textures, which evolve rapidly into
detailed fractal-like clusters; or glassy surfaces ruptured
by bursts of tonal splintering and structural disintegration. - The Wire

BBBlood - Proper noise of the highest order: racket torn from a selection of table-top electronics and homemade devices (loose contact mic taped into tobacco tin being a live favourite). He has a wire-walker’s sense of balance – the balls-out noise is gonzo enough for nostrils flaring, meathead catharsis, the calmer moments clever and detailed enough to reward serious contemplation. Snatches of field and domestic recordings are dropped into the mix adding a very exciting sense of location. Thus, Paul does not present a free-floating, atemporal harsh noise wall. Instead this is very definitely happening Here and Now.” - Radio Free Midwich

Cementimental - Harsh noise - Circuit Bending - Rough Music - Since 2000AD

Pete Cann - Mangled electronics and decayed samples

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