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Plea for the London Musicians’ Collective

Tuesday, February 5th, 2008

OK, I was sent this about a month back, and ought to have posted about it at the time, but better late than never. The London Musicians' Collective is in trouble. Please help in any way you can. The LMC is an amazing organisation which has been guiding my music education for over 15 years now. Without it there would almost certainly be no Empty Space radio, for many reasons.

Over to Ed Baxter of Resonance FM:

As you may be aware, Resonance FM was established by London Musicians' Collective. LMC's remit has been, for thirty years now, to support avant-garde music, that supposedly "difficult" stuff that gets lampooned as elitist noise in the popular press and on the "Today" programme. The list of its achievements would take up many pages (a tiny fraction is at www.l-m-c.org.uk). Suffice to say, Resonance FM was entirely the creation of the LMC Board and emerged directly from its work. No other organisation would have realised such a project: no other organisation did.

LMC's grant from Arts Council England's Music Department has now been entirely cut. The radio station is not immediately threatened, as it is financed directly by the Visual Arts department (Music having never expressed interest in Resonance whatsoever). But to have one without the other is, as you can imagine, a little pointless to those of us who set up Resonance FM.

This year, ACE has managed to find £1.7million to underwrite the launch of a new music umbrella body, "The New Organisation." LMC was excluded from the discussions about this quango, the stated ambitions of which sound remarkably like what we have been realising on a daily basis for the last five years: the maintenance of a hub which encourages, nourishes and broadcasts the work of musicians of every stripe from our locale and beyond, etc etc (only couched in the language of marketing consultants and apparently to be manned by people devoid of originality or vision). Meantime, too, the sequel to LMC's best selling CD, Peter Cusack's "Your Favourite London Sounds" plays in ACE's lobby as a permanent audio exhibit!

I wonder if you would help me by writing a short email to the people at ACE Music, expressing your support for LMC? And ask for an acknowledgment of your email. If they receive five or six thousand emails, maybe they will be prepared to reconsider this crisis of their own making.

Please address your email to the following persons:
graham.knight@artscouncil.org.uk (Assistant Officer, Music, London)
helen.sprott@artscouncil.org.uk (Head of Music, London)
moira.sinclair@artscouncil.org.uk (Director, London)
peter.hewitt@artscouncil.org.uk (Chief Executive, National)

Please make the subject "From " rather than something generic that can be easily ignored. Bear in mind, these are public servants: they work for us and you can, I think, insist on a response. Don't be surprised to receive an Out of Office automatic reply initially: of course everyone responsible will be heading to the hills!

Please cc it to "plea@resonancefm.com" so we have a copy on file. All emails sent to this address will be treated in strict confidence.

The second way you can help is of course financially, by becoming a member of LMC and expressing your support with your hard-earned cash. At this time of year, such a request must appear vulgar and inapposite. And it is something we have never pushed in the past, because the radio station was set up with a sense of social purpose, in a spirit of frank and open hospitality. So don't send us any money, just another email with the subject "Potential Member," no more than that: we'll only get back to you IF we manage to crawl out of this particular hole.

I find this really mortifying. Every other email from me seems to be asking our supporters for money: and this year we raised over £17,000 from individual donations, so I'd hoped that we were in the clear for a while. But, cocooned in the overwhelmingly positive and intelligent environment provided by Resonance, perhaps I underestimated the cynicism of these times.

Sincerely

Ed Baxter
programming director
Resonance104.4fm
144 Borough High Street
London SE1 1LB

Neil Webb: The Stars In Us All

Saturday, November 3rd, 2007

Neil Webb: "The Stars Within Us All"

Last night I went to the opening of Neil Webb's (AKA Bocman) latest show at Bloc space, Sheffield: The Stars In Us All.

The work is inspired by astronaut Dave Bowman's last words before entering the black monolith in Stanley Kubrick's 2001: A Space Oddyssey: "My God, it's full of stars". Webb has positioned three black monoliths around the studio, each highly polished and perfectly reflective. The monoliths, the room itself, and a bench in the room all act as loudspeakers, broadcasting a 45-minute sound piece. The only faint light in the gallery is provided by blue neon lights behind each monolilth.

The result is suitably awe-inspiring, frequently meditative and contemplative, and occasionally disturbing. As with previous works by Webb which I'm familiar with, there is a perfect relationship between the auditory and the visual, and every element seems perfectly judged to contribute to the overall experience.

The show is also reviewed in today's Guardian Guide

Hal Wilner does Disney

Wednesday, May 23rd, 2007

When I heard that Jarvis Cocker was curating this year's Meltdown festival at the South Bank Centre, I got a little excited. Meltdown always throws up some interesting performances and collaborations, and although I usually manage to miss the entire caboodle, when I have made it along to the South Bank, it's always been worth it: The Legendary Stardust Cowboy (performing as part of David Bowie's Meltdown) was mindblowing (although Daniel Johnston, on the same bill, was much less so); Patti Smith's Songs of Innocence was an extravaganze.

There are a few bands on Jarvis's bill I would like to see - Motörhead would be nice (last saw them in 1989), Iggy and the Stooges even nicer (never seem 'em), and although I've already seen Forced Entertainment's Bloody Mess, I certainly wouldn't mind seeing it again (although I imagine Gill would).

But generally speaking, it's the collaborations and one-offs which make Meltdown special. And this year, the most special of these is without a doubt Hal Wilner's Forest of No Return - an interpretation of the vintage Disney songbook. For a long time, Wilner's Weird Nightmare, Meditations on Mingus was among my favourite albums, and I also love his work with Allen Ginsberg and William Burroughs, and his tribute to Kurt Weill. Wilner always manages to put together incredibly disparate and interesting groups of musicians, along with downright bizarre arrangements, and to coax something interesting out of them. So his take on Disney is surely not to be missed.

Unfortunately, I am completely skint (no. Completely.), I won't be in London at the time and certainly can't afford the £22.50+ ticket price. But if you are in London and you can afford it, you should go.

THE PROCESS VI at the Swiss Institute:

Sunday, April 29th, 2007

FEATURING

IRA COHEN, TONY CONRAD, MAHASIDDHI

DÄLEK, NORBERT MÖSLANG, TOMAS KORBER

I.U.D AND THE YOUNG GODS

The Swiss Institute is pleased to announce the following concert series, curated by Georg Gatsas as a FINAL chapter to his exhibition, THE PROCESS VI, at the Swiss Institute:

Wednesday May 2nd

BRAIN DAMAGE (Premiere):

IRA COHEN (US), TONY CONRAD (US) & MAHASIDDHI (US) Doors open at 8pm, Concert at 9pm, Admission: $12

Thursday May 3rd

DÄLEK (US), NORBERT MÖSLANG (CH), TOMAS KORBER (CH) Doors open at 7pm, Concert at 8pm, Admission: $15

Friday May 4th

I.U.D (US), THE YOUNG GODS (CH)

Doors open at 8pm, Concert at 9pm, Admission: $18

You may purchase tickets in advance at Other Music or at the night of the event at the Swiss Institute.

Other Music, 15 East 4th Street, NYC 10003

www.othermusic.com

212.477.8150

For more information please visit our website: http://swiss.c.topica.com/maagaKtabxD9ZaBAu3rb/

SWISS INSTITUTE / CONTEMPORARY ART

495 BROADWAY / 3RD FLOOR

NEW YORK / NY 10012

TEL 212.925.2035

WWW.SWISSINSTITUTE.NET

A Troublesome Noise

Monday, April 16th, 2007

I love free-improv music and noise music (when in the right frame of mind), but I’m well aware that most people don’t share this love. Most people are either baffled by it or incredulous that anyone might want to submit themselves to the torture of listening to such rot. And, of course, many people claim that “that’s not music!” And for this reason, I’m sometimes wary of even telling people about my band, The Tajalli Vortex, because at heart I’m a coward, afraid of the negative reactions, and I can’t even be bothered to engage in a bit of debate about something I love.

So why do I love it? And why should anyone love it? Well, it’s probably most instructive to explain how I discovered this music and grew to love it myself.

In my early 20s, I was a huge fan of the bassist Bill Laswell. It came about because I was a fan of Gong in my teens: Laswell played on the 1979 album New York Gong / About Time, and I was instantly hooked on his unique but incredibly funky style. I started buying every Laswell record I could lay my hands on (and there are a hell of a lot of them!)

Then one day I came home with a new Laswell acquisition, The Noise of Trouble. I put it on the record player… and wondered what had hit me. It was half-an-hour of meaningless noise, no discernable funky basslines, just… noise. Ugly, horrible, headache-inducing noise. I was really disappointed, but also really, really puzzled. I knew this guy was an incredible musician, I had a huge amount of respect for everything else I’d heard from him… so why did he feel it necessary to put out a whole record of useless crap? Fascinated, I put the record on again. Over the next few weeks, I would listen to it intently, but without any pleasure, almost every day, sometimes two or three times in a row, trying to discern some nugget of redeeming music within its harsh melée of sound.

Then one day, something strange happened. I guess I was onto about my 20th or 25th listen, and suddenly it just clicked! And it was more beautiful, more complex, more rewarding than anything I’d ever heard before. And I’ve never looked back.

That experience taught me a very valuable lesson: that which is worthwhile is not necessarily easy. To paraphrase a famous advertising slogan, good things come to those who make an effort. Many people believe that the most important redeeming quality for a piece of music is that it be “catchy”: if it doesn’t have an instant hook to pull you in and make you love it, then it’s somehow second-rate. Although there is an element of this prejudice in all branches of the arts, it seems to be strongest in music: few people would expect you to fall in love with a James Joyce novel or a Jackson Pollock painting without putting in a little effort, and many people recognise that the rewards that come from considering Joyce or Pollock are greater than those that come from considering Barbara Taylor Bradford or Jack Vettriano.

Free-improv is challenging music, it is music that demands your full attention in order to be appreciated, but again I think that this is a good thing. We live in an age when music is increasingly expected to serve as a backdrop to all aspects of life. Whether you’re shopping, having a bath, doing the washing up, reading a book, operating heavy machinery… people increasingly feel a need to have a stream of music babbling in the background, somewhere on the borders of consciousness. I admit to being as guilty as anyone on this charge, but I also strongly believe that it devalues music and makes us less capable of appreciating both complex music and, just as importantly, silence. Free-improv bucks the trend. Free-improv is not elevator music! It demands the devotion of 100% of your mind. If you are able to give that then the results are incredibly beneficial for the soul. (But it’s not always easy - there are still many times when I don’t have the mental strength to cope with such demanding music, in fact most of the time I will relax with something easily digestible rather than putting myself through the mental workout that complex music demands).

I’ll just recount here one other fruitful experience I once had defending free-improv and noise music. The guitarist Pat Metheny is generally thought of as a purveyor of rather middle-of-the-road, easy-listening jazz guitar music. However, underneath that cuddly exterior he has an affinity for the wilder side of jazz, in particular the music of Ornette Coleman. As well as some fairly out-there collaborations with the likes of Coleman and Sheffield-born free-improv prime mover Derek Bailey, in 1994 Metheny released an album called Zero Tolerance for Silence which polarised (read: with very few exceptions, disgusted) his fans. At the time, I had recently got online and, although yet to hook up to the Internet, I was very active on CompuServe, in particular on their jazz forum. On the forum, there was an outpouring of outrage that Metheny had the temerity to insult his many fans by releasing an album of such unlistenable dross. I was one of, I think, only two people willing to defend the album, and as a result suffered ridicule and flaming from other members. But I did get probably the best imaginable reward for my forthright comments: a beautifully sweet email from Pat Metheny’s mum, thanking me for standing up for her son!

Auditory

Wednesday, November 29th, 2006

An exhibition of site – responsive sound and audiovisual installations and performances at Holy Trinity Church, Leeds, featuring work by a selection of Yorkshire based artists:

  • Andy Abbott
    Church of Noise by Therapy?
  • Luke Drozd
    Cacoughony
  • Lucy Gibson & Stuart Bannister
    You Heard It There First (Part II)
  • Phill Harding
    Sanctuary
    Shabash
  • Jez Riley French
    tristesse (htl) 11206
  • 5-MeO-DMT
    (Joe Gilmore, Jim Brouwer and George Rogers)
    How One Became Two
  • 7 Hertz

(more…)

P P Priestley at Bloc

Sunday, November 26th, 2006


I Fight for the King by P P Priestley (work in progress)

P P Priestley at BLOC, Sheffield

Scaled-down, wooden-framed sculptures of anthropomorphised churches fill the gallery and courtyard, enacting various narrative functions. Tableaux of small figurative sculptures juxtapose sado-masochistic, religious and bestial imagery.

Preview: Friday 1 December 7-9pm
Open Thursday - Sunday 12-6pm
Artist talk Sunday 17 December 2pm
Free entry

Bloc
71 Eyre Lane
Sheffield S1 4RB

Welcome to Canvas

Wednesday, November 22nd, 2006

Canvas Productions

Canvas, held at Mine and Pulse at Leeds University Union, is a creative showcase/outlet for everybody's artist endevours, featuring Music, Film, Art, Fashion

Tonight (Wednesday 22nd November) Canvas plays host to

Music

  • The Bacchae - 60s, blues, rock five piece kick out the jam with vibrant rockabilly songs to get the night off to a stomping start.
  • Mother Volpine - Leeds storm makers, ready to fill your ears with wild sounds and hair swaying antics.
  • Solanoid - post-rock veterans.A must see live event for all Canvas viewers.

Art:

  • Host of Photography, Painting, live illustration, photography installation, and the greater bits and bobs for sale on our Bring-and-Buy sale.
  • Also find love with our art dating game - bring and print or doodle, add your details to the back and cross your fingers that your true love or some hip dude picks up your work.

Film:

  • Animations and short films by several local film makers both startling and funny.

Fashion:

  • T-shirts and accessaries for sale by Crtl and others Leeds clothing groups.

DJs till 2 in the morning, and a must see event for art and music societies.

www.myspace.com/pillowfightnight

www.canvas-productions.com

NU Art Has Begun !!

Thursday, September 7th, 2006

Nuart has started!! Artists scurry around town and test broadcasts have begun.

Official broadcast programme starts on Thursday 21:00 local time 19:00 GMT+2 with the graffiti crews armed and ready and live audio and video stream broadcasts from the numusic stages. The days nuart events will be remixed and vj'd to accompany the music.

Check your nuradio programme listings here at

NuRadio can be heard here
http://stream.r23.cc:2323/c6.ogg.m3u

NuTV can be watched here
http://stream.r23.cc/live/numusic/stage1/
http://stream.r23.cc/live/numusic/stage2/
http://stream.r23.cc/live/numusic/stage3/

Contemporary public art practice has become an audienceless affair with application-based works directed purely at those that fund them. While artists and funding bodies are locked in dialogues of mutual gratification the public are the ultimate losers. The creation of alternative platforms for interaction and discussion must subvert these well established pathways and deliver their content to a wider general public.

This year's festival uses a range of alternative media outside of conventional art practice to deliver content in ways that are easily accessible and relevant to our audiences, both actual and virtual.

Live events will merge in this cross media remix. Using the town and the numusic festival as its palette, this year's nuart festival feeds its street, visual and nu media events into a multi-layered broadcast. Internet radio will merge nuartist presentations and workshops with numusic concerts and interviews. nuTV streams live acts from the numusic stages online and to your mobile phone, while text messages from the public create narratives in nuart VJ sets.

Calls for walls in Stavanger has born fruit with 9 locations in and around the town being painted by some of the worlds great street artists. Open to the public, these street works will be filmed, cut and fed back onto the numusic stages as visual backdrop for numusic acts.

Using alternative media broadcasting techniques, subversive content is made available to those usually sidelined by a lexicon of fine art nonsense.

Paris Hilton gets the Banksy treatment

Tuesday, September 5th, 2006

Banksy has replaced 500 British copies of Paris Hilton's debut album with his own mock renditions of the heiress' work.

The doctored albums found their way into music stores across Britain and offered listeners one 40-minute song featuring many of the heiress' catch phrases. An accompanying booklet listed tracks like "Why am I famous?" and offered digitally altered photos of Hilton, The Independent reported.

Prior to taking on one of the world's more notorious celebrities, Banksy had focused his attention on the world's art museums. In 2003, the artist glued one of his original paintings up in the Tate Britain and later smuggled bogus exhibits into both the National History Museum and New York's Museum of Modern Art.

While Banksy's newest offering focused on Hilton by labeling her photo with lines like "Thou Shalt Not Worship False Icons," the secretive artist did find time to re-edit the record credits to thank himself for his "wonderful work."

via UPI

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