From subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in 2009 – their first, 2012 public performance, squeezed into a London basement was a shear, vexed and exhilarating smack of organic, heterodyning ideas, and taut, lowbeating lumps.
With the economy of familiar/traditional raw tools feedback, drumkit, altosaxophone, time, space and emotion lll人 move from molten musical pasts to grow future pleasures in sound.
The ingredients are familiar, but the listening is not.
At its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. This has no concern with collapsing difference into a vogueish flattened mass froth, but searches – forensically, ceaselessly – for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments.
Akilsakilan learning, Doughnut.
Finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out.
(animals; woods: maple, birch, oak, bamboo; metals: alloys (bronze, tin); plastics: mylar, nylon; minerals; electricity)
(boils down somatic fold-ins to rare, expend, exhaust, expand;syntax root mine imaginz taxoclump underflow lingualia fizz; sliver helix for babble osmosis; uncompounded rotations, cycles, politics)
(opens possibilities of language and learning from below through questioning the specific material conditions, grammar, histories and logics of the saxophone and drum kit through a flexible, manifold process of collaboration, augmentation, bifurcation, antagonism and technological and somatic feedback)
Learning, an-anti but not un-theatrical performance; more or less than one person (solic activar); at a drum kit and elsewhere for my desire; or ours. In-formation, unFree. Featuring some materials, including, (but not restricted to) Chrome, Aluminium, Mylar, Steel, Maple, Copper, a little Tin. Artificial augmentation of attentions and/or distractions apparently from within and outside the building. Probable low temperature (non-linear reporting). Visible division of space. base-2 pattern recognition. rhetoric Congealings, polyunfolding struggle. unchronos bifurTaxactic redistributions. No to decoration.
Solo for drum kit + computer + 3 speakers, Recorded to Sony D50, Live at Cafe Oto, 21 May 2013
"Solo playing is often described as a solitary process – one person, alone, with their instrument – and as such, an exposed and fragile activity.
Actually, public solo music making is a fundamentally collective, cooperative and social act. Its fragility and creative tension comes through the act (or attempt) to accommodate and balance the many elements and facets of context, materials, human inputs (affective, physical, commercial, socio-political (malign and benign)) history, climate and feelings that - in toto together - comprise and maintain the moment and location of the solo.
A recorded solo documents (but elides) much of this nexus. And so here, through the sounds of skins, heads, bits, bytes, cones, codes, shells, rims, metals, woods, cables, plastics and of drumkit, laptop and speakers pulses, vibrates and is filtered a creative context and moment." (Seymour Wright)
mGenn (pure data) patch programmed with the following protocological influences:
12 stage time-pipe with behaviour-condition territories, of variable duration
or (rudimentary) machine listening and pattern recognition:
area 1 (3 sub sections)
area 2 (3 sub sections)
area 3 (3 sub sections)
x (get out)
01 getting outs, gettings out. N excavations.
02 raw feels at turgor membrane.
03 guts inverted: warm/loathing, slippy/risks, limp/augmentation.
04 hope perpendicular pushes, stretches and breaks.
05 n3 technologies in diaBOlogical analysis, exploration, ant/agony against oppressive consolidation (taxoclumps, compounds, commodities).
06 crude pulses; deep, bound, elastic for no-priority.
07 all apparent absentees replace focus.
08 vegus sub-divisions outfrom many wobbly planes.
09 marginal fold-ins rub unboolean contingent limits against panic.
Ross Lambert (guitar) / Seymour Wright (saxophone)
Sizzling fat in an open-ended glass vessel, the methodical examination of possibility, locating and evaluating risk, mapping and cross-examining intention. FB
+ Eddie Prevost
29/11/10, Cafe Oto, London
Eddie Prevost (percussion) / PA (electronics/percussion)
to 'wolf's froth / amongst other things' in 'communication breakdown' on 30/31 January 2010, International Film Festival Rotterdam
available in print or download pdf: cover pdfinside pdf pamphlet: 40 pages, colour cover, greyscale inner. version 2: to 'wolf's froth / amongst other things' in 'whirl of confusion' on 25th October 2009, BFI London Film Festival.
available in print or download pdf: cover pdfinside pdf
Wolfs froth/Amongst other things video, 14mins, sound, 2009. cc0 - No Copyright
Infection Transmission Event/Cloudy November video, 2008. cc0 - No Copyright
Broken Tree cd-r or download
paul abbott (electronics) / daichi yoshikawa (electronics).
part 1 (evening) [audio, no video] recorded live at cafe oto 14/4/09 by sebastian lexer.
part 2 (daytime) [video, no audio] recorded at cafe oto, 25/6/09. artwork [pdf] typeface
Loiter Volcano cd-r.
paul abbott (electronics) / leo dumont (percussion) / ute kanngiesser (cello).
recorded London 2009
at-b03 "a constructing zone of tense natural jungle and hollow alloy surfaces, inhabited by animate materials simultaneously making and being unmade, across two perpendicular ack-seas."
- Cryogenic Bananaquestions/responses
green ribbon residue / in this case cd-r.
Paul Abbott: Electronics / Grundik Kasyansky: Electronics. Recorded in Dalston, London, 2008 typeface