Emma Papper: ambient electronics & improvised clarinet and EWI 5000 FROST: solo drum activated electronics Territorial Gobbing: cut-up electronic noise & object improv performance art
Emma Papper is a Brighton musician – part of David Bramwell’s Oddfellows Casino (folky electronica) for 20 years and the Brighton Film Quartet (contemporary cinematic music) for 9 years. Over the last 3 years I have got into composing electronic music using an EWI 5000 (electronic wind synthesizer) / Reason combination and to date have produced 2 solo and 2 collaborative albums (‘Sounds in Space’, ‘Deeper Sounds in Space’, ‘Long Distance Dreams’ and ‘Day Trip to Europa’ My live solo set is me playing mainly improvised clarinet / EWI 5000 over my electronic compositions.
FROST is a drummer who plays as a soloist with an acoustic kit triggering sounds and loops from a sample pad.
Current project, Perm Octo Clavè Induction Set is a body of 10 songs centred on a binary rhythmic framework, encompassing 10 songs released as five separate records throughout 2021. Each song explores a unique iteration of a rhythmic motif, with acoustic instrumentation in dialogue with sequenced electronics. There are reoccurring themes of minimalism, leftfield techno and post rock, underpinned by the ideology of networked beats. musicbyfrost.bandcamp.com
Not to be confused with Fröst.
After our first successful return to the Rossi bar in September, we are on track to return in October.
Featuring: DAN POWELL / R. DYER / THIS SOUND BUREAUCRACY
Dan Powell: Small percussion and custom digital processing R. Dyer: Odd songs built from memories and stray kit This Sound Bureaucracy: The True and Authentick History of The Spirit of Gravity
Dan Powell is a sound artist who uses field recordings, handmade and proprietary electronics and tuned percussion. The main focus of his work is exploring places which have a particular personal. He has been active in electro-acoustic improvisation in London and Brighton, especially with Gus Garside in The Static Memories, and Chris Parfitt in Nil, and currently performs as part of Muster with James O’Sullivan. cronica.bandcamp.com/album/four-walks-at-old-chapel slightlyoffkilter.bandcamp.com/album/am
This Sound Bureaucracy: Mr Nick Rilke presents the True and Authentick History of The Spirit of Gravity with Accompaniment by Mr Tony Rimbaud. Thee founders return.
This Sound Bureaucracy are remarkably undocumented.
Thursday 7th October 2021 | 8pm – 10.30pm | £5
Downstairs @ The Rossi Bar
8 Queens Road, Brighton, BN1 3WA
The latest release on the Spirit of Gravity net label is a very limited lathe cut from Noteherder & McCloud, hand numbered in clear vinyl, titled “Laurie’s Revenge”.
Says Geoff Cheesemaster about their latest offering:
“We took the opportunity under lockdown to try a new way of recording, well new for us anyway. For years we’ve only ever played and recorded “live” whereas this gave us an opportunity to work more as other folk do, recording multiple parts, multi-tracking and generally doing more than we could attempt in a live situation.
“We were very pleased with the results and so asked Spheress to remix the track in his own inimitable style. When we got that back, we felt that a limited 10″ release was the least we could do.
“This release is our tip of the hat to Laurie Johnson.”
Sunday 26th September 2021 from 8.00 to 10.00pm on ResonanceExtra FM, DAB radio or online at extra.resonance.fm/
This month we present a special show featuring artists from the mysterious new Radiant Hereticslabel, including tracks from Ludd Púca, Dr Ray Power, Othermen, Luke Pendrell and Alex James Pollard:
Ludd Púca – Fantôme dansant / Luke Pendrell & Alexander James Pollard feat. (Dawson, Crowley) – Aleister Crowley and Charles Dawson: The Order of the Dawn Man (radio edit) /
Othermen – Clay Man Touched the Sides / Dr Raypower – The Concrete Acid Echo Tapes (Dr Raypower vs. His Majesties Lüdd Puca)
Ellis Warren – Spam Jam Live Performance * / Luke Pendrell – Spam Jam Live Performance * / * With Steven Mallinder (Cabaret Voltaire/Creep Show/Wrangler)
September 2021 The Rossi Bar Thee Founder Tony is the true editor of Gravitational Pull and he’s asked me to write reviews of the online shows we did, I’ve not done it. They’re still online at our YouTube channel, each one is about an hour long, I think we definitely grew into them and I just want to say Thanks to Tom from Ensemble 1 who edited the shows together and Chris midi_error who did the graphics. I think they did a cracking job and I’d recommend you watch them if you haven’t done already. Or even if you have. And obviously a big thanks to all the artists who took part.
David K Frampton and R. Dyer
Welcoming us back to the Rossi bar for our eventual first show of 2021, our 20th anniversary year we have David K FramptonwithR. Dyer, David Frampton on synthesisers and R. Dyer on soprano saxophone. They start with slow pads of synths and Becca’s sax weaving in and out of them the heavy reverb lending it an odd 80s air, before Dave comes in with his distinctive heartfelt vocals, occasionally switching into a higher register. The second number picks up the tempo considerably with a heavily filtered arpeggio, that switches around between instruments before Dave starts singing, then we have a lengthy instrumental section featuring Becca again, some more vocals and then Dave gets stuck into doubling up the arpeggios. It ends up nicely stripping down to lengthy section with just the arpeggio a fat foghorn drone and sax flurries. The third is again a slower one, thick churchy chords, ticking drums, sax responding to Dave’s voice sometimes in response, sometimes swirling around it. After a while a bass drum subtly comes in, just giving it a little nudge of dynamism for the final section. There’s an impromptu quiz before the final song kicks off, upping the tempo again, a two chord riff with Dave singing before other things switch in, a burst of arpeggios, slow work from Becca, this one stuck with me for quite a while. Hooky.
Next up is Hardworking Families, starting with a bubbling burst of synth from a new tiny Korg, one of a collection of small things that Tom is using this evening, passing this through the Monotron delay, there’s a cassette deck, which isn’t actually introduced for a while and a contact mic we’ll most certainly hear from eventually. The burbling gets caught up into an effects loop mushing it into some quite nasty edges, before the delay mutes it down to counting station static. The contact mic gets some action, it s a big clunky thing and seems to produce some scraping and odd springing sounds. After this we get a passage of spacey drones and meeps veering into Forbidden Planet territory at times. These firm up into a harsher juddering tone that eventually spirals out to a proper bit of fat drone hard buzzing synth, with undercurrents of noise and whirring.
It takes a while to get set up for Ravine Machine, 2 projectors and a whole set of things that get used as sources for projecting and for shadowplay. I think one projector broke down during the set, but I wasn’t in the right position to see it. But undaunted Amy carried on, improvising with what tools (and candles) were available. Scott has an interesting set of things, too; a small array of sound sources, autoharp, thumb piano all feeding into a hand built modular device of some kind. Is it a mixer? A synth? All of these things maybe. They start fairly quietly with a low drone, over which eventually we get a scratching rumbling loop that provides some creepy rhythmic body. Some backward thumb piano subtly chimes in for that sepia nursery haunted house feel. After being properly spooked out by that we get gentle washes of the autoharp circling over it. The whole thing slowly shimmers off into much gentler zones without much seeming to have happened the atmosphere lifts. And eventually, slowly, hardens as a tidal surge of noise washes in looping out and returning harsher and more resonant every time. Thin strings of feedback taper past, there’s an undercurrent of watery gurgle, that pulsing relentless thick wave of noise keeps returning and finally ebbs away leaving the remains to filter back through the pebbles of whatever this metaphor has degenerated into and ends.
Well, I think that was a pretty damn good start to our anniversary year, but next month will, of course, be even better!