With most of my neighbours recovering from hangovers from celebrating the New Year, it’s very quiet in London at the moment. A gentle snow flurry, slow public transport, reviews of the year in every magazine and newspaper, greetings from friends who I’ve not seen in a long time, the New Year always brings with it a sense of optimism and melancholy.
December brought performances in Lille, France with Jean Paul Dessy and Musiques Nouvelles at the extraordinary Palais des Beaux Arts, and at the Art School Bourges, and a chance to catch some terrific live music too, with everything from Supersilent, Terje Rypdal, Ketil Bjørnstad, The Young Gods, Aki Onda and Simon Fisher Turner.
These are quieter months too, a chance to reflect and reconnect. Typically I chose to have fairly major building work begin on Scanner HQ, building a new office and studio, so life has really been experienced through cardboard boxes, re-decoration and the aroma of fresh paint.
In these more meditative times it’s significant that I’m celebrating 10 years of The Electronic Lounge at the ICA (Institute of Contemporary Arts) in London on 25th January in collaboration with fellow sonic explorers, The Sprawl, who are also uniting in this decade of music extremities. The Electronic Lounge began in 1994 as a musical and social experiment to present experimental music within the framework of a very accessible, non-hierarchical club night. We premiered Warp films, presented performances by Rephlex, Irdial, Crammed Discs, LFO, all at a reasonable volume, as I said at the time, "there’s a time to talk and a time to listen."
Come down to the ICA where Iris Garrelfs, Tony Morley (Leaf Label), Si-cut-db and myself will be playing. At this time too my thoughts go out to my friend and Sprawl director Douglas Benford, aka Si-cut.db, who at present is still in hospital in Tallinn Estonia recovering from an especially aggressive attack before Xmas. For those of you who can’t make it, then point your browsers to The Wire website where you can freely download some exclusive live and unreleased tracks.
Back into the studio this month with Githead to work on our second album, so this will be a time of striking witty poses and writing songs, whilst also focusing on mixes for Belgrade pianist Bojan Z, winner of the European Jazz Prize 2005, and forthcoming projects in Minneapolis, Norfolk and Norwich Festival and Sunderland.
So, wishing you the finest thoughts for 2006.
::: listen :::
::: read :::
::: exhibitions :::
With a working title of BEYOND: an extraordinary space of experimentation for modernization.’ the 2nd Guangzhou triennial features artists focusing around the theme of Pearl River Delta. Featuring artists Doug Aitken, Justin Bennet, Hu Fang, Rem Koolhaas, Map Office, Chen Tong, Zhang Wei, Lu Chunsheng and others.
Flower Echoes was commissioned in collaboration with the British Council as part of the Sound and the City project, also featuring the work of Brian Eno, David Toop, Clive Bell & Peter Cusack in Beijing; a channel for local people to think beyond music, to the relationship between sound and their environment – to think of this artistically and emotionally. Freely distributed as a CD in a generous edition of 35,000 copies, the work is also installed as two independent installations with the context of the museum exhibition, using voices and sounds of the city.
What Sound Does A Color Make?
The premiere of What Sound Does a Color Make? features contemporary and historical works by an internationally diverse group of artists who manipulate sound with image and image with sound. The show includes artists who likewise use technology to inspire a renewed consciousness of highly un-technological experiences — physicality, human cognition, and perception. Featuring work by Scott Arford, Jim Campbell, D-Fuse with Scanner, Granular Synthesis, Gary Hill, Atau Tanaka, Stephen Vitiello, Nam June Paik and others.
What Sound Does a Color Make? is a travelling exhibition (2005-2007) organised & circulated by iCi, curated by Kathleen Forde.