Samara Scott – Eastside Projects

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Wednesday to Saturday 12–5pm
86 Heath Mill Lane, Birmingham, B9 4AR

In the main space ‘Silks’, Samara Scott’s first solo – show in a public gallery, rips up and ruptures the floor to create an irrepressible, erotic topography of consumer products. Her exotically prosaic worlds of poured and pooled misused materials – household chemicals, soft drinks, toilet paper, scented waxes, noodles, eye shadow and toothpaste – cascade, smear and mould into an archipelago of voids cut into the gallery’s concrete floor.

In the second gallery Roger Coward re-visits his 1975 Artist Placement Group project, which focused on Small Heath, presenting the exhibition ‘YOU AND ME HERE WE ARE’, which includes the artist’s film ‘The Most Smallest Heath in the Spaghetti Junction’ and a selection of archive materials.

Eastside Projects is a free public gallery in Digbeth that is being imagined and organized by artists, in partnership with Birmingham City University.

www.eastsideprojects.org
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An English Trip – John Doran

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We’re delighted to be partnering with Ideal to host long time friend and supporter of all things Capsule, John Doran the editor of The Quietus. Doran is celebrating the publication of his first book – Jolly Lad – by going on a 31 date reading tour called An English Trip. He is teaming up with other writers, poets, film makers, musicians and DJs over the course of a month and putting on nights in prisons, churches, libraries, record shops, book stores, village halls, warehouses and cinemas and his musical support on every night of the tour is Kjetil Nernes aka Arabrot, the Norwegian noise rock musician.

The night they have planned at Birmingham’s Eastside Projects is a real cracker. Anglo Trinidadian wordsmith Roger Robinson (King Midas Sound, Techno Animal, Attica Blues) is performing dub poetry from his new album Dis Side Ah Town (Jahtari Records). Twisted Leeds party starters Chrononautz are bringing the live techno vibes. John Doran is reading passages from Jolly Lad and also performing various incantations and rituals concerning black holes, the dismemberment of Dapper Laughs, ghosts and Birmingham bus timetables while backed ably by Kjetil Nernes from Arabrot.

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Ben Frost with Greg Fox

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On Wednesday 12 of Nov we are delighted to present a very special performance which will take place at Eastside Projects Ben Frost will be joined by Greg Fox (Liturgy) on drums. Capacity is limited so we recommend advance tickets.

 

Born in 1980 in Melbourne, Australia, Ben Frost relocated to Reykjavík Iceland in 2005 and working together with close friends Valgeir Sigurðsson and Nico Muhly, formed the Bedroom Community record label/collective.

In 2010 he was chosen by Brian Eno as part of the Rolex Mentor and Protegé program for a year of collaboration, one of the outcomes of which was Sólaris; a re-scoring of the Tarkovsky classic for Poland’s Sinfonietta Cracovia. Eno and Frost continue to work together on a range of projects.

Frost regularly works with other musicians and artists; in the production of studio albums such as Tim Hecker’s Ravedeath1972 and Virgins, SWANS The Seer, Colin Stetson’s New History Warfare, and on various Bedroom Community releases. On the stage Frost has produced scores for Choreographers including Wayne McGregor/Random Dance, Akram Khan, and german Director Falk Richter. In film, he composed the score for the Palme d ́Or nominated Sleeping Beauty by Julia Leigh, and Djúpið by Icelandic Director Baltasar Kormákur (with Daníel Bjarnason, for which the pair won the Icelandic film award for best score in 2013). And in the visual arts, where, with artist Richard Mosse, Frost travelled deep beyond the frontlines of war-torn Eastern Congo to produce The Enclave; a multi-channel video and sound installation that premiered at the Venice Biennale in 2013.

2013 also marked the première of Frost’s first Opera, based on Iain Bank´s infamous 1984 novel The Wasp Factory. The project also marked his debut as a Director.

These various collaborations and alliances underline Frost’s continuing fascination with finding ways of juxtaposing music, rhythm, technology, the body, performance, text, art -beauty and violence- combining and coalescing the roles and procedures of various artistic disciplines in one place.

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Supersonic Festival – Birmingham Taster

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Supersonic Festival, the world renowned event for adventurous music, art film and beyond is celebrating its 10th birthday.. We love a party so are expanding our celebrations by hosting two very special taster shows in London and Birmingham in August.

On 4 August at Eastside Projects, Capsule present King Midas Sound System and JK Flesh, joined by Iron Fist Of The Sun, Laurence Hunt and Sarah M Farmer to bring cacophonous, abstract, abrasive and titanic sounds into the walls of this converted art gallery/warehouse space.

 

King Midas Sound System drops DJ exclusive dubs/versions and remixes as well as bleeding other artists’ music into the astounding sound design, Featuring live vocals by Kiki Hitomi and Roger Robinson with Kevin Martin at the controls, be prepared for sonic adventures into the deep. Bass, drones, tones and infinite reverb mark the spot where immersion is the key.  http://www.kingmidassoundmusic.com

 

Godflesh, Head of David, Napalm Death, Techno Animal, Jesu, Greymachine, Palesketcher – just some of the projects from the insanely prolific Justin Broadrick who this year raised his Techno Animal moniker JK Flesh from the dead to promote his recent album Posthuman. Once again proving his mastery of all things brutal. This material will be showcased for the first time in the UK all thanks for Supersonic. Expect soul-crushingly dark beats and bass, layered with Broadrick’s inimitable guitar and vocal fuzz, that will resonate with fans of Godflesh and the post-dubstep landscape alike. http://justinkbroadrick.blogspot.co.uk/

 

Iron Fist of the Sun. Bitter cold contemporary power electronics. Synth heavy and tonal, Lee Howard draws inspiration from electro-acoustic academia as much as underground black metal.http://www.myspace.com/ironfistofthesun

 

Sarah M Farmer. As Plato rightly said, ‘Necessity is the mother of invention’. An Array of Events mixes traditional methods of sound production with DIY instruments and experimental techniques in a bid to overcome the problem of being a lone performer with only the usual number of hands and limited instrumental skill.  Whilst programs such as Logic and Ableton offer their own solutions to these problems, they come with the difficulty of seemingly infinite choice and lack the tactility of real instruments and the analogue sounds and happy accidents that come along with playing them.  In the realm of live performance, if something can be played live rather than sampled, why not at least give it a go?  Sounds and instruments have been created from every day items and cheap technology, generally things found around the studio/bedroom which are triggered by MIDI files and accompanied by live performance. www.sarahmfarmer.co.uk

 

Laurence Hunt more typically performs as a member of experimental groups Modified Toy Orchestra and Pram. A recent collaboration with sound artists Dreams of Tall Buildings and featuring Arve Henricksen, has triggered an interest in exploring textural soundscapes that he pursues here in his first solo venture on drums/percussion with live electronics.

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Velzuvial

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9pm – 9pm 22- 23 October
Eastside Projects
86 Heath Mill Lane B9 4AR

This new performance commissioned by Capsule and Eastside Projects is a collaboration between artist Christian Jendreiko (responsible for last years Gods White Noise live installation) and Andrew Moscardo-Parker (aka Lash Frenzy). Together they will be exploring the action of both playing and what is actually being played over a 24 hour period, allowing for the piece to develop and evolve naturally.

Christian and Andrew will be joined by a core group of string players along with a few ‘special’ guests. What will be created will be truly unique!

Lash Frenzy vs KK Null from Supersonic 2010:

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Do Make Say Think + Hood

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Do Make say Think
Hood

Do Make Say Think formed in 1995-96 in Toronto, Canada. Founded by two pairs of musicians with backgrounds as various as punk, jazz and industrial metal, the group has included a number of additional musicians over the years contributing to both live shows and recordings. Core members Charles Spearin (bass, keyboards, trumpet) and Ohad Benchetrit (guitar, saxophone) first played together in high school and birthed the Toronto punk band Dead Lemmings in the late 80’s; both have gone on to work in sound production and engineering in Toronto. The other founding pair, Justin Small (guitar) and James Payment (drums), are seasoned downtown rock players who’ve done time in a long list of bands, among them the post-industrial rock group Malhavoc. During the summer of 1995, these players came together to score the music for a Canadian youth dramatic production, sequestering themselves in an empty school room for rehearsals.

The four basic verbs ‘Do’, ‘Make’, ‘Say’, ‘Think’ adorned the walls of said classroom, and these elementary-level educational placards were adopted as a project name for the nascent group. Over the course of the following year, Do Make Say Think confined themselves to a rehearsal room in the basement of University of Toronto radio station CIUT, joined by now-departed member Jason MacKenzie (drums, keyboards, electronics) and occasional contributor Robert Brasz (synths, treatments, effects). Equipped with an 8-track recorder, the station facilities allowed them to track various pieces as they evolved; combined with home tape experimentation, the band began to knit together scintillating instrumental soundscapes that combined rock riffing with dub and psych elements. Using the CIUT studios, as well as the studios of a local art college, their eponymous first album was completed in 1997, with all members participating in the splicing and mixing of final tracks. Far from compromising the process, this collective approach to composition-production yielded a stunning debut record that teems with exuberant sonic texture and a brilliant blend of highly-structured and improvisational parts. Each song is finely-honed, while the record as a whole is an undeniably unified effort. The band self-released the album on CD in a run of 500; Constellation co-owners Ian & Don heard the record in early 1998, were duly blown away, and offered to re-release it as their first non-Montral-based recording. The album came out on Constellation in the summer of that year to international acclaim.

Having enlisted additional horn players (pulled from the ranks of Toronto jazz experimentalists Guh) for their live performances this year, Do Make Say Think are moving towards the increasing employment of a brass section in their new material; the live results have thus far promised a new compositional maturity and a truly genre-defying approach to instrumental rock.

Hood are an integral part of Domino’s geographic series of UK music, beautifully reflecting in picture and sound their West Yorkshire roots. Although their music has a natural homespun quality that aligned them with the early nineties lo-fi movement, they are now in a much less easily categorised area; blending an almost neo-acoustic folkiness with harder-edged electronics. But Hood remain instinctive, trying to make something beautiful from what is close at hand. If you haven’t heard them in a while you ought to, and this outsider recommends you start their new album, Cold House.

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