Tag Archives: music for Buchla electronic musical instrument

May/June 2018 – upcoming London experimental music gigs – Shatner’s Bassoon and Man From Uranus at Stour Space (26th May), Author & Punisher, Trepaneringsritualen, Vera Bremerton at Electrowerkz (28th May); Stevie Richards’ Buchla workshop (2nd June)

15 May

Shatner's Bassoon + Man From Uranus, 26th May 2018

Shatner’s Bassoon + Man From Uranus
Stour Space, 7 Roach Road, Old Ford, London, E3 2PA, England
Saturday 26th May 2018, 8.00pm
information

Leeds jazz-punk quintet Shatner’s Bassoon are returning to London a couple of weeks later to play a gig at reclaimed Lea-side venue Stour Space.

A band who’ll happily admit to being “steeped in malfunctioning improvisation, passive-aggressive minimalism, surreal avant-punk and free jazz trances”, they’re touting their first new album for three years. ‘Disco Erosion’ features “intricate yet often evasive song structures, angular rhythms and anxiety inducing psychedelia. The distinct featured instrumentation includes circuit bent delay pedals for keyboard, a myriad of off-kilter sax, a slice of Theremin, clarinet, cowbell and a pinch of Transylvanian organ. The result is a glitchy and deranged carnival of paranoia, which blends influences from the likes of Mr. Bungle, Frank Zappa, Cardiacs, Tim Berne, John Zorn, Man From Uranus and Fred Frith.”



 
Speaking of Man From Uranus, he’s playing the support slot. An “experimental library musician” and rogue psychedelic improviser, he’s spent fifteen years on the fringe rampaging on analogue synths, theremin and assorted devices to create music reminiscent of fantastical backroom mind-voyages or antique afternoons of strange kid’s telly.



 

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Author & Punisher + Trepaneringsritualen + Vera Bremerton, 28th May 2018

A couple of days later, there’s “an evening of heavy electronics, innovative drone, ritual ambient doom and industrial music” courtesy of Chaos Theory in one of their more synthetic, swampy and cthonic moods.

Author & Punisher is “the solo project of Tristan Shone (hailed by ‘Noisey/VICE’ as a “staggering genius in (his) ability to transform the auditory pollution of industry into music”. A mechanical engineer who wandered from native Boston to California to pursue his artistic interests, he ended up using his scientific skills to build custom musical instruments, which give added depth to the term “industrial”. The mechanical processes that give life to the music aim to reproduce the rhythms of industrial machinery and its relationship to their human operators; a merging of the flesh and the steel.”


 
In support, growl-and-hiss “solo visionary” Trepaneringsritualen will be delving into “themes of religion, magick and the occult realms of consciousness, taking musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, oozing forward with a creeping sense of desolation, Trepaneringsritualen conjures forth bleak but mesmerising visions of the end-times.”


 
Opening the show is Berlin-and-London resistance siren Vera Bremerton, “a visionary vocalist, producer and composer, who weaves dark tales of the female experience under religion, the patriarchy and general cultural hatred, using superhuman screams, industrial beats and gritty lyrics… A harrowing, enlightening and extreme experience.” Her work crosses a gamut between dark, driving, angry protest-pop nuggets and extended swathe-y textural clouds of hanging noise and vocal lacerations – see below.

 
Broken beats/London bass act With Towards Collapse add to the overall stew with DJ sets throughout the evening.

Chaos Theory Music Promotions presents:
Author & Punisher + Trepaneringsritualen + Vera Bremerton + Towards Collapse DJs
Electrowerkz @ Islington Metal Works, 7 Torrens Street, Islington, London, EC1V 1NQ, England
Monday 28th May 2018, 7.30pm
– information here, here and here

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Stevie Richards' Modular Synthesis Workshop using Buchla Music Easel, 2nd June 2018

Meanwhile, if you’d like to dive deeper into electronic technology – or just hone or diversify the skills you already have, Stevie Richards (a.k.a Cleaninglady is hosting a noontime open workshop at IKLECTIK in early June, based around a legendary West Coast “suitcase synth” – the Buchla Music Easel. Dating back to 1973 (and, in recent years, reincarnated as software emulations by Arturia) the Easel is part of a family of electronic instruments created by Don Buchla, who avoided the word “synthesizer” since he believed that it implied a cloning of existing instrumental sounds. Instead (in parallel with the more conventional creations of Moog, Korg and others) he evolved a line of devices dedicated to creating new sounds; sometimes – but not always – avoiding the use of a standard tempered-scale keyboard, and incorporating a much more complex method of tone generation than those of his rivals. This has led to his creations being the instrument of choice for certain electronic musicians who demand a deeper, more detailed control of tone and timbre as well as the different thinking patterns which the instruments encourage.

While the workshop will be performed on, and led from, the Buchla Music Easel, apparently everything being taught and communicated is “applicable to all hardware in the modular synthesis world, and will hopefully help give you confidence and a deeper understanding of your instrument and it’s application in recording and live performance contexts.” Here’s a Loopop guide to the Easel, plus a video of Kaitlyn Aurelia Smith working her own Easel. I’ve also added a recording of Stevie running a modular synth set in New York four years ago.



Modular Synthesis Workshop using Buchla Music Easel
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 2nd June 2018, 11.00am
– information here, here and here
 

November 2016 – upcoming gigs – electronics and harps and balloons – Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer in London (1st); Judy Dunaway’s inflatable European tour (1st to 30th)

28 Oct

Here’s some close-to-the-event news about an imminent avant-garde, fringing-on-noise event in Hackney; plus news on one of the oddest upcoming tours that I’ve ever had the pleasure of previewing in here.

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Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O'Dwyer at St Johns Hackney, 1st November 2016

St John Sessions present:
Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer
St John at Hackney Church, Lower Clapton Road, Clapton, London, E5 0PD, England
Tuesday 1st November 2016, 7.00pm
– information here and here

Full description scrounged from various press releases:

“Innovators and sonic architects come together for a St John Sessions performance.

Morton Subotnick is a true electronic pioneer who has worked extensively with interactive electronics and multi-media performance (often in collaboration with his wife, vocal virtuoso Joan La Barbara). With Pauline Oliveros and Ramon Sender, Subotnick co-founded the San Francisco Tape Center, an influential cultural organisation and electronic music studio. The Centre was instrumental in the invention and development of the Buchla synthesizer and was, in turn, a fundamental influence on all electronic music that followed.

“Subotnick is an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. Tonight, Subotnick performs a solo set on the Buchla synthesizer – undulating, moving and almost psychedelic.


 
“Preceding this performance, we are pleased to present the debut UK performance from Kevin Drumm and Jason Lescalleet. Emerging from Chicago’s improvised music scene during the 1990s, Kevin became one of the world’s pre-eminent prepared guitar players, later expanding his work to include electroacoustic compositions and live electronic music made with laptop computers and analog modular synthesizers. His early recordings contain mostly sparse, quiet sounds; recent works have been more loud and dense. For twenty years, Jason has been making electro-acoustic sound work, using all manner of source material to engage listeners in both site and narrative by providing a rich and physical sense of place. Two formidable musicians and performers in their own right, their collaborative releases on Erstwhile Records create a soundworld that is at turns beautiful and terrifying, comprising ambient recordings and brooding drone.


 
“Irish musician Áine O’Dwyer creates chance- and improvisation-based compositions, and has performed widely as a solo artist on harp, organ and various objects, and also regularly performs with United Bible Studies, Charlemagne Palestine and Mark Fry. Her album of improvised church organ music, ‘Music for Church Cleaners’ (released on MIE last year), received critical acclaim. Here, she brings her idiosyncratic approach to composition to sacred space once more.”


 
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You might not have thought that a person could still bring what’s essentially a party trick into culture houses and make a career of it; but if so, Judy Dunaway is proving you wrong…

Judy Dunaway, 2016

“Judy Dunaway performs avant-garde compositions and free improvisations on amplified latex balloons played as musical instruments. She is known internationally as a ‘virtuoso of the balloon.’ She plays a variety of shapes and sizes of balloon instruments, each with its own special qualities, pushing the extremes of both pitch range and artistic limits. Her large rubbed ‘tenor’ balloon gives Jimi Hendrix’s guitar a run for the money and her giant balloon pulsates into the depths of the subaudio. Her abstract music and sounds are difficult to equate with other forms, depending upon the perception of the individual like the images seen in fire or clouds.”

Below are a couple of videos – one of which is an overview of Judy’s techniques and approaches as regards her ballooning skills (including audience interaction), and one in which she performs uninterrupted.



 
I’ll admit that (as with most friction-based instrumentation which leans over the borderline into readymade art) listening to this kind of material can end up as a test of endurance in which your mileage and tolerance, plus the outcome, may vary. As far as I know, no-one’s yet tried to tune and tour a scraped blackboard. Yet ultimately, Judy’s commitment to this kind of music making is fascinating. No one-trick pony, she also worked as a guitar-toting singer-songwriter on other occasions up until 1995; but she’s entirely serious about ballooning – publishing papers on her approach, making points about microtonality, and collaborating with string quartets on serious avant-garde compositions. Having mastered a variety of dextrous noise-making techniques which drive the amplifed latex into flexible, cunningly-controlled roars and squeals, she invites us to reconsider a balloon (quite legitimately) as an “orb-shaped string”.

On the other hand, she’s also integrated vibrating dildos into her balloonwork (in one case via a piece called Flying Fuck), so there’s clearly a downtown New York sense of humour at work as well.

Full dates for the European Solo Balloons Tour below:

 

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