greatest use of life is to spend it for something that will outlast it.'
Although some early ragtime arrangements contain parts for flute and piccolo, the flute was little used in jazz ensembles until the nineteen twenties and did not truly emerge as a solo instrument until the early fifties. The comparatively low volume of the flute and the absence of electronic amplification made it difficult for band leaders to incorporate the flute into their arrangements. Today, through the use of sophisticated microphones, the solo jazz flutist can express subtleties and nuances that would have been unthinkable in the early days of jazz. In the rowdy dance halls and jazz venues of the twenties and thirties the principal solo instruments were the trumpet, trombone, and saxophone which required no amplification producing a sound big enough to fill a large hall. Any flute player reckless enough to sit-in at a jam session would have had to play the entire solo in the third register to have any hope of being heard above the band. For these reasons the few ensemble or solo parts that were written for the flute were usually played by saxophone players who could double on the flute. Despite these difficulties however, a small group of pioneering jazz flutists began to make themselves noticed as early as 1920 even though the flute was at first considered to be somewhat of a novelty instrument in the jazz environment.
The earliest known example of a recorded jazz flute solo is by Cuban clarinetist Alberto Socarras, who recorded 'Shootin' The Pistol' in 1927 with the Clarence Williams band. His other recordings include 'You're Such a Cruel Papa To Me', with vocalist Lizzie Miles in 1928, and 'You Can't Be Mine' in 1930, with Bennett's Swamplanders. In the thirties Alberto Socarras went on to lead his own bands which featured first rate sidemen such as Cab Calloway and Mongo Santamaria. Both later to achieve international fame as band leaders in their own right. Interestingly it was while playing in the band of Socarras in the mid/late thirties that legendary trumpet player and co-founder of the Be-Bop movement Dizzy Gillespie first came into contact with Cuban music. He would later become one of the pioneers in fusing Cuban rhythms with Be-Bop jazz.
While acknowledging the contributions made by the early pioneers, jazz historians generally credit saxophonist Wayman Carver as being the first true jazz flutist. In the thirties he recorded extensively with many famous bands. In 1931 he recorded 'Loveless Love' with Dave Nelson, and two years later in 1933, 'How Come You Do Me Like You Do?', and 'Sweet Sue, Just You' with Spike Hughes. In the same year he recorded 'Devils' Holiday' with the band of legendary saxophonist/arranger Benny Carter. From 1933 to 1937 Carver performed with the influential big band of drummer Chick Webb. The band, which included the young Ella Fitzgerald on vocals, enjoyed a long residency at the famous Savoy Ballroom throughout the thirties and is considered to be one of the outstanding orchestras of the period.
In the forties multi-instrumentalist Jerome Richardson joined the successful Lionel Hampton big band with whom he recorded flute solos on 'Kingfish' in 1949, and 'There Will Never Be Another You' in 1950. From the end of the forties onward the use of improved microphones and sound systems became more widespread, allowing the flute to slowly gain acceptance and recognition as a versatile and expressive jazz instrument.The late forties and early fifties saw the height of the 'Bebop' era, with musicians such as alto saxophonist Charlie 'Bird' Parker and pianist Bud Powell at the peak of their creative powers. The decade also marked the beginning of the �crossover� Latin influence in jazz through the pioneering work of trumpeter Dizzy Gillespie. During these adventurous and stimulating times jazz musicians were eager to explore new musical directions. One of the most famous developments occurred in Southern California in and around the city of Los Angeles. This led to the advent of the 'West Coast' school of playing, also known as 'cool jazz'. This new branch of jazz was strongly influenced by the relaxed style and, delicate whimsical sound of pre-bebop tenor saxophonist Lester Young. In view of this development, the light, airy sound of the flute became more desirable and flutists such as Bud Shank and Buddy Collette came to prominence.
Alto saxophonist/flutist Bud Shank began his career with the Lighthouse All Stars band of Howard Rumsey at the famous Lighthouse jazz venue on Hermosa Beach near Los Angeles. He later left Rumsey to join the revolutionary big band of Stan Kenton. Buddy Collette played and recorded with the influential group of drummer Chico Hamilton, which was later to host a long line of illustrious flute players including Buddy Collette, Paul Horn, Eric Dolphy, and Charles Lloyd.
In 1953 Bud Shank formed a band together with saxophonist/oboist Bob Cooper which performed regularly at the Lighthouse, Hermosa Beach featuring the combination of oboe and flute. The experiment was so succesful and popular that in 1954 a recording of the group was made entitled 'Oboe / Flute' (together with Howard Rumsay's Lighthouse trio) which helped establish the flute as a legitmate jazz instrument. Another fine example of flute playing during that era can be heard on the recording 'Collette's Swinging Shepherds', which unites four of the prominent flutists of that time, Buddy Collette, Paul Horn, Harry Klee, and Bud Shank. Buddy Collette also became the first jazz musician to record on all of the orchestral flute family. In the second half of the fifties the flute established a new role for itself in the larger ensembles with recordings such as 'Blue & Sentimental' by the Buddy Rich Big Band, where Buddy Collette's flute can be heard in combination with muted trumpet.
From 1953 onwards tenor saxophonist/flutist Frank Wess began to specialize on the flute and was frequently featured on that instrument during his ten year engagement with the Count Basie Big Band. The huge following of the Count Basie band via the radio helped to popularize the instrument, as did Frank Wess's debut flute recording on 'Perdido' recorded in 1954. When Frank Foster and Frank Wess played at the BIM Huis, Amsterdam in 1998, I asked Wess how he got started on the flute. He told me that his teacher was none other than the legendary Wayman Carver mentioned above, pioneer and �father� of the jazz flute. He also told an interesting story that Count Basie had no idea Wess could play the flute when he hired him. He was originally hired as a tenor sax player to complement Frank Foster. (The Basie band had a long tradition of two battling tenors which started in the thirties with Lester Young and Herschel Evans.) One day a friend of Wess�s said to Basie �Hey Base, you ever heard this mother-lover play the flute? He plays the hell out of the darned thing.� Basie was curious to hear it so he told Wess that he could substitute a flute solo for one of his allotted tenor solos as a try out. Wess chose �Perdido� and the Count was so impressed that he decided to record the piece in 1954. The success of this recording led to new arrangements being written as features for the flute (often in combination with muted trumpet) and another lasting tradition was born. When Wess left the Basie band the torch was handed over to tenor saxophonist/flutist Eric Dixon. Other recordings made by Wess on the flute during his stay with Basie include 'The Midgets' 1955, and 'Cute' 1958. In the same year arranger Gil Evans used flutes to good advantage on his arrangement of 'Summertime' for the Miles Davis album 'Porgy & Bess'. The flutes are also represented on the album 'The Individualism Of Gil Evans' where both the flute and the bass flute can be heard to great effect on 'Barbara's Song'.
In 1956 Down Beat Magazine established the 'Best Flutist Award'. Jazz flute fans of that era were divided into two rival factions supporting either Herbie Mann or Sam Most, both of whom greatly contributed to the growing popularity of the jazz flute. Despite the rivalry, or perhaps because of it, these two influential flutists recorded together in 1955 and often appeared in concert together. At these events the followers of Sam Most would voice their support by shouting the slogan - 'Most is the man!' - at which the fans of Herbie Mann would reply -'Mann is the most!'.
Although in his formative years Herbie Mann also played the saxophone, (listen to the album 'Flute Souffl�' with Belgian Bobby Jaspar where they both double on the tenor sax and flute), Mann was the first modern jazz flutist to base a career on playing only the flute. His blend of jazz with a variety of ethnic styles from Latin America and the Middle East, led to great popularity and success.
Another emerging flutist strongly influenced by Eastern and Oriental music was Yusef Lateef, whose flute playing can be heard on the albums 'The Sounds Of Yusef Lateef' recorded in 1957 and 'The Golden Flute' 1966. Lateef, who was to gain international recognition in the early sixties as a member of the famous Cannonball Adderley Sextet, was the first jazz flutist to use different types of ethnic flutes such as the Chinese flute, the Arab 'nai' flute, and the 'ma ma' flute invented by himself.
Sam Most is generally credited with being the first to sing or hum into the flute while playing. This technique was also adopted in the sixties by Herbie Mann, Sahib Shihab, and Yusef Lateef who also spoke syllables into the instrument to achieve unusual articulations. Multi-instrumentalist Roland Kirk both sang and spoke through the flute to create a rasping buzzing quality as on 'You did it, you did it', from the album 'We Free Kings' recorded in 1961. As well as being able to play on three hybrid saxophones at the same time, Kirk also recorded on unusual flutes such as the bamboo flute, the nose flute and various kinds of whistles. (Note: Playing three saxes was no 'gimmick' but a serious musical experiment. By modifying the key mechanisms Kirk was able to use these instruments creatively and could play both in unison and in harmony. On the conventional flute he was one of the first to introduce the use of key clicks and other percussive sounds. Kirk would have probably played the cleaning rod if a musical use could have been found for it!.)
In the fifties and early sixties these innovators mentioned above were breaking down many taboos by experimenting with sounds that nobody had produced before. Radical changes concerning flute playing were also taking place in Europe in the field of modern classical music. Composers such as Edgard Var�se and Luciano Berio were breaking new ground with adventurous compositions for the modern flute. At the same time flute virtuosos such as self-taught Severino Gazzelloni were experimenting with new sounds and techniques.
The two very different worlds of jazz and classical flute playing began to exert a strong influence on each other. When the revolutionary jazz flutist Eric Dolphy was touring in Europe he arranged to have lessons with Severino Gazzelloni during his stay in Italy. Already the possessor of an awesome technique, Eric Dolphy became extremely interested in the experimental work being done by Gazzelloni. (Listen to Eric Dolphy's composition `Gazzelloni' on the album 'Out To Lunch' dedicated to the Italian flutist). They say that Gazzelloni in turn was impressed by the adventurous rhythmic innovation used by Dolphy in his improvisations.
The interest shown on the Internet from Dolphy fans and students of jazz history to this particular story recquires that I add a more detailed account of what I know about this encounter.
When I lived in Italy (in Milan) during the mid and late 70's I got to know many of the musicians on the Italian jazz scene. According to them Dolphy met Gazzeloni and took lessons from him when he was on tour with Mingus in 1964 (Gazzelloni was a pioneer in the use of modern flute techniques such as multiphonics). But no jazz correspondent officially corroborates this story and there is no concrete evidence that this meeting actually took place.
Much of jazz history is apocryphal, and if one wants to be sceptical the story could simply be a case of national pride adding up to wishful thinking on the part of the local musicians. Given the oral tradition of jazz folklore we shall probably never know how much is fact and how much is legend. The fact that Dolphy went on tour after composing 'Gazzelloni' and recording it on the album 'Out To Lunch' does not necessarily contradict his having met Gazzelloni while on tour. Dolphy could have composed the piece earlier out of admiration for Gazzelloni and decided to meet him when the opportunity arose.
One could also speculate that
Dolphy mentioned to some musicians that he would like to take lessons from
Gazzelloni and from there it would be a small step for the word to circulate
among local musicians that this actually took place. I myself listened to
the multiphonic techniques used by modern classical flutist Robert Dick
for some years before I finally met him in Amsterdam when he was on tour.
(And, by the way, I don't imagine any jazz correspondent is aware of that
meeting.) As I said, we will probably never know the whole story. But personally
I prefer to take the word of the 'grapevine' than jazz correspondents.
Eric Dolphy was also deeply inspired by the sounds of nature and seriously studied how to reproduce them on the flute. Some of these sounds, such wind and bird songs, he later incorporated into his solo improvisations and cadenzas (listen to the cadenza of 'You Don't Know What Love Is' on the album 'Last Date'). Eric Dolphy was a work-a-holic who practiced at every possible opportunity, even during the breaks between sets. He neither used drugs or drank alcohol. His premature death was caused by the fact that he was unaware of being a diabetic. Having started a natural health diet, he ingested large quantities of honey while on a particularly long and arduous European tour. The intake of so much sugar led first to sickness then quickly to a state of deep coma from which he never recovered. In the turbulent drug-ridden jazz environment of the sixties it is ironic that Eric Dolphy should die from an overdose of honey. His flute was bequeathed to his close friend, the legendary saxophonist John Coltrane, who played it on one of his last recordings.
While the sixties saw the development of bebop into 'hard-bop', exemplified by the �Jazz Messengers', the powerhouse band of drummer Art Blakey, the decade also marked the beginning of a growing interest in the West for the music of the East. It was at this time that flutist Paul Horn moved away from his bebop roots and concentrated on the development of a beautiful sound. Combined with his interest in transcendental meditation he became strongly influenced by the music of India and made several recordings exploiting unusual acoustical settings. The most successful of these was his 1968 solo album 'Inside' recorded in the Taj Mahal, and in the Great Pyramid of Cheops in Egypt.
The mid sixties also saw the emergence of British flutist Harold McNair, who incorporated all of the jazz flute techniques prevalent at the time and added his own perfect blend of lyricism and driving swing. Recordings by him are few and are now hard to find, but his incomparable phrasing can be heard on the albums 'Affectionate Fink' 1965, and 'Harold McNair' 1968. Other flute players to emerge in the sixties were Leo Wright and James Moody, who both played alto sax and flute in the bands of trumpeter Dizzy Gillespie.
This decade also marked the advent of the 'Bossa Nova' craze, which spread quickly from Brazil to North America and Europe. The Bossa Nova, or 'new thing', began with Brazilian composers Antonio Carlos Jobim, Luis Bonfa, and Joao Gilberto who blended elements of the Brazilian samba with cool jazz. Its rich harmonies and soft rhythm made it an instant favorite with jazz musicians. In 1962 guitarist Charlie Byrd together with tenor saxophonist Stan Getz achieved international popularity with the hit record 'Desafinado' and soon many other jazz musicians followed suit. The relaxed, subdued atmosphere of what became known as 'jazz bossa', made it a perfect vehicle for the flute. Good examples of this genre can be heard on 'Do The Bossa Nova' by Herbie Mann, and 'The L.A. Four Scores!' recorded by Bud Shank with Brazilian guitarist Laurindo Almeida.
In 1962 tenor saxophonist/flutist Charles Lloyd joined the influential group of drummer Chico Hamilton and appeared on the album 'Passin' Thru', recorded in the same year. Lloyd was one of the first to be influenced by the revolutionary music and new harmonic concept of tenor saxophonist John Coltrane. He later achieved wide recognition by joining the Cannonball Adderley Sextet (replacing Yusef Lateef) and through a series of recordings for Atlantic Records, including 'Of Course Of Course' 1966, and 'Charles Lloyd In Europe' 1968, featuring the emerging young piano talent Keith Jarrett.
In the mid sixties Hubert Laws demonstrated that an outstanding classical technique could be adapted to bebop and modal jazz. As well as recording pieces from the jazz standard repertoire, his classical background led him to record jazz adaptations of works by Bach and Stravinsky, which can be heard on the album 'Afro Classic' recorded in 1971.
The seventies were the years in which jazz musicians first experimented with jazz-rock 'fusion' (this involves the fusion of jazz harmonies with pop and rock rhythms). One of the first musicians to achieve this successfully was flutist Jeremy Steig with his group 'Jeremy Steig and the Satyrs'. As well as singing with the flute, Steig employed many other sounds such as key clicks, percussive sounds, and air sounds.
One of the most influential groups to emerge from this decade was 'Return To Forever' led by pianist Chick Corea. This group firmly established the playing of tenor saxophonist/flutist Joe Farrell. He later recorded extensively on the flute on albums such as 'Benson and Farrell' 1976, with guitarist George Benson, and 'Flute Talk', in duet with flutist Sam Most in 1978.
The early part of the decade also saw the addition of flutist and alto saxophonist Sonny Fortune to the group of pianist McCoy Tyner on the recording 'Sahara' in 1972. Fortune went on to lead his own group with which he recorded his debut album 'Long Before Our Mothers Cried', in 1974 followed by 'Awakening', in 1975.
At the same time the developments in jazz flute playing were beginning to have an effect in the pop world. Flutist/band leader Ian Anderson was strongly influenced by Roland Kirk and developed a technique of singing and overblowing which became the trade mark of the highly successful pop group 'Jethro Tull'. The huge popularity of this band did much to introduce the flute to a whole new generation.
In the late seventies and throughout the eighties classically trained flutist James Newton achieved a wide reputation in the genre of avant-garde (or 'free' jazz), where improvisation is not tied down to any harmonic sequence. Two other flutists of that period who made considerable contributions to the development of this idiom are Sam Rivers and George Adams. The eighties saw the collaboration of Hubert Laws with classical flutist Jean-Pierre Rampal with whom he performed several live concerts. In this decade Laws also began recording jazz/rock �fusion� albums of a more commercial nature. The eighties also saw a memorable series of recordings by trumpeter Chet Baker, which established his then sideman Italian flutist Nicola Stilo as one of the leading bebop flute players of the modern era.
In recent years there has been a growing mutual influence and cross-pollination between jazz and many different forms of ethnic music. The continuing development of the flute in Indian music, pioneered by Pannalal Ghosh and further developed by Raghunath Seth and Hariprasad Chaurasia, has stimulated jazz flutists to incorporate some of these techniques into their own idiom. In the field of modern western classical music there is much investigation into the unexplored and unexploited potential of the flute. Pioneering research in the field of multiphonics has been carried out by American flutist Robert Dick, whose book 'The Other Flute' is to be strongly recommended to the serious student of modern flute playing. Dick has also ventured into the territory of improvisation in a recording entitled �Jazz Standards on Mars�, 1998. In 1999 a collaboration between British flutist Mike Mower and Irish flutist James Galway produced the interesting recording �Tango del Fuego�. In this �crossover� recording �improvisations� written out by Mower are jauntily and convincingly played by Galway.
Naturally, many outstanding flute
players could not be mentioned in what is but a brief account of the history
of the jazz flute. Many of the jazz styles discussed above are still being
explored and developed by flute players all over the world. In the rich,
ongoing history of jazz music the flute is now firmly established as a serious
jazz instrument and constantly evolving. Styles old and new are combining
in a dynamic process which promises an exciting future for the flute in


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Welcome to HairByUgo.com, the website of Ugo Vero - Hairstylist to the stars!
Hair by Ugo is known as one of Toronto's foremost hair salons. His clientele includes famous celebrities such as Fredico Castellucio of Sopranos fame. Also included are Al Waxman, Tony Bennett, Danny Kay, William Shatner, Monty Hall and many more.
Please feel free to browse through the website and contact Ugo for more information at any time.
Click here to watch Ugo Vero's Guest Appearance on The Sopranos.


I may have mentioned somewhere that I write music. I’ve always had some musical ability but I have not been formally trained and I used to make up songs for co-workers’ birthdays, retirements, etc., you know, fun stuff. But two years ago I decided to take song writing seriously and I hooked up with a songwriter / actress / musician on line who has been helping me develop my songwriting craft. I’ve learned that I am a “top line” writer which means I write lyrics and melody. I don’t know how to play the piano, or anything else for that matter, but I was so driven in writing my music that I taught myself how to play guitar. I’m not that good and don’t expect to rise to any other level than amateur. For some of you old enough to understand this reference, I consider myself the Burt Bacharach of guitar. As a 56-year-old woman I did not have to dig too deep for inspiration. My songs are important to me because they are about empowerment; about taking off your mask from trying to be what others want and take a stand and be yourself. There are a few “for fun” songs though. One is a song about Starbucks that I professionally recorded while at a music writers conference in California. Anyway, over the next few months I will be featuring my songs. I always say, “It’s not about the singing, it’s about the song.” So, I admonish everyone to listen closely to the words and not so much the singing. I hope you will take the time to listen and to give me some feedback ’cause this “old dog” is still learnin!


|Welcome to the North Beach Improv!
North Beach Improv was organized to give local San Francisco actors an opportunity to continue their craft after the tragedy of 9/11. A number of inter-active productions closed (The Soprano's Last Supper, Tony and Tina's Italian Wedding) in following months after this horrific attack on America. North Beach Improv brought together some of the bay areas finest comedic actors and enabled them to perform at the world famous New Pisa restaurant in North Beach.
Founder and Director
|EMAIL DA BOSS: firstname.lastname@example.org|


From 08 to 15 July 2017, Ischgl hosts the 1st Laughing Festival. Summer holidaymakers can expect an event at which the name is the programme: Cabaret artists from Austria, Switzerland and Germany will perform at this humoristic get-together.
Kicking off the laughing festival are, for example, Isabella Woldrich and great German state actor Peter Fricke to get the guests laughing. But that’s not all by a long way: Children and parents can expect a colourful supporting programme, making sure that children's eyes light up.
With the 1st Laughing Festival, the organisation "Global Family" and the holiday region Paznaun-Ischgl support families in Austria, Germany and Switzerland who have fallen on hard times. Voluntary donations are requested as admission for the cabaret evenings. All proceeds will go to the "travel agency of humanity".


The “Festival Mondial de l’Image Sous-Marine” is in all probability the main festival dedicated to submarine image in cinema, photography, video, books, guides and other applications. This event is celebrated anually in Marseille, although until recent years it had been held in Antibes-Jean-Les-Pins. This year it reached its 39th edition, taking place from the 1st to the 4th November at the Parc Chanot of this french city.
This festival receives the best under water productions and it gathers some of the main names linked to submarine image worldwide. Its slogan is “Rendez-vous of all imatge and underwater world lovers, the Festival is an underwater open window for every body”.
The “Festival Mondial de l’Image Sous-Marine” includes 19 competitions and 75 awards. Some of the most important ones a related to cinema, with both professional and amateus categories, as well as photography, books or guides. In this year’s edition there were 450 submarine photographies in competition and more than 140 films were projected.
The venue where the festival takes place has around 2.000 m2 of space to accomodate more than 100 stands and exhibitors, as well as projection rooms and an auditorium which can host 1.200 people. During the event there are also workshops, debates, activities for kids, music, submarine baptisms and many other activities. There is also space for environmental policies, particularly in the marine area.
Many cities and regions from around the world (Russia, Japan, Australia) linked to submarine activity dedicate a day every year to project the awarded films in this Festival. In l’Estartit, there is an anual event during the month of August to present these films with the presence of members of the organization of this Festival. For the last 20 years, the Torroella de Montgrí-L’Estartit Tourist Office has been participating in this event. It also has its own stand at the Festival as a platform to present the next MIMA Festival , which is celebrated in June every year in l’Estartit.


Ayeee guys and gals, I’m deleting this blog due to my lack of care for Sterek, so if you’d like to follow my newest active blog its @ leonlovegood.tumblr.com :)
The One I Love - Rosie (Original Song)
Hello again! So I don’t know how it happened, but it happened, so here it is: my second Teen Wolf-inspired song. As a Sterek-Fan, I see this song as a song from them, ofc, but actually, you can apply the lyrics to all ships, if you want to, so don’t let that stop you from listening, okay? :D
God, I am so excited bc I also think that this is one (if not the) best song I’ve ever recorded and written, although my voice wasn’t warmed up properly, so please don’t leave me hanging here, haha.
If you enjoy it, please like or reblog this post.
If you are interested in hearing more (covers & original songs) then go here :)


Join with people from all over Ireland and throughout the world who’ve been inspired and entertained by the work of the Armagh Pipers Club over the past 50 years. As a Friend of the Pipers Club you will be entitled to various perks (see below for details) as well as the knowledge that you are […]
The Armagh Pipers Club was recently presented with the Good Tradition Awards at the BBC Folk Awards which were held recently at Belfast’s Waterfront Hall.
Featuring almost 200 performers before a soldout Market Place Theatre, the Pipers Annual Concert was anpther huge success. More photos on the Gallery page.
Armagh Pipers Club is delighted to announce the publication of a new songbook entitled “By Dobbin’s Flowery Vale”. The new book contains over forty songs with words and music transcribed by Eithne Vallely and is accompanied by two CDs containing two and a half hours of recordings by tutors and past pupils along with current […]


/ TIMETABLE / EXHIBITIONS
+ WORKSHOPS / LIVE
AT COOS / INFORMATION
Out of Space
26th - 28th April 2019
/ Saturday / Sunday
26th APRIL FROM 12 - 6pm
FREE UNIVERSITY OF COOS
Phoenix Brighton, 10-14 Waterloo Place, Brighton
A day of talks
organised by Resonance FM's Ed Baxter. He'll be
joined by a variety of guest speakers to offer a crash course in
current thinking about music, sound and noise. Talks will start
on the hour and each will last 50 minutes. With
Ed Baxter: The Portable Century,
Jo Hutton: From Coolicon to Crystal Palace, Julian
Weaver: Future Audition: Listening in, and to, the Future,
Milo Thesiger-Meacham: Heat-induced Noise, Lance
Dann: Riding the audio revolution, Ed Baxter:
The Porous Century
26th APRIL FROM 6.30PM TO MIDNIGHT
OUT OF SPACE - NIGHT ONE
Benney Theatre, 6.30pm – Midnight
58-67 Grand Parade, Brighton BN2 0JY
of External Secretion
Seymour Glass began publishing the groundbreaking Bananafish Zine
in 1987. Using lo-fi, collage aesthetics, alter egos, international
contributors, and his own brand of paranoid, absurdist prose, it
constituted a huge and ambitious attempt to cover contemporary underground
currents in all its forms.
It wasn't long before Glass found an audio / performance outlet
of his own through Glands of External Secretion’s far-out
studio improvisations, which. set against Barbara Manning's vocals,
melded surreal cut-ups of songs, sounds, out-of-context rhythms,
field recordings, electronics, manipulated noises and anything else
not usually considered music.
For COOS - Elaine Mitchener and Neil Charles in duet with wild and
mesmerising improvisations for the voice and double bass.
Mitchener is an experimental vocalist and movement artist
whose work melds vocal styles encompassing free-improvisation, contemporary
new music, sound art, music theatre and dance. She has worked and
performed in a wide variety of contexts with leading artists including
Apartment House, Moor Mother Goddess (aka Camae Ayewa), Steve Beresford,
Christian Marclay, Phil Minton, Pat Thomas, David Toop and Jason
Yarde. She is co-founder of experimental jazz quartet the Hawkins/Mitchener
Quartet (with Neil Charles, Stephen Davis and Alex Hawkins).
Neil Charles trained classically and is also a
busy electronic producer and composer. He regularly performs, records
and tours with numerous jazz, classical and contemporary music bands
and ensembles like Sun Ra Arkestra, Alex Hawkins, Mingus big band,
and has played with Terence Blanchard, black top, Shabaka Hutchings,
and China Moses.
All hail the cardboard prince 'Tape loop manipulation, 50's
rock n'roll chanting buried in swathes of enveloping noise. Pure
expression erupts through layers of woozy, backwards pop and unholy
reverb. A nose-dive through Suicide + Dirty Beaches' grim electricity
but shot with an extra sense of playfulness and an acute melodic
sensibility. For those people thrilled by the extreme and in awe
of the beautiful.' Resident
Ash Reid is a former retail assistant. Her recent projects have
looked at cognitive behaviour therapy techniques and role-playing
game structures, performed through ongoing communication with others,
publicly and in private. She is a member of the Cinenova working
group, a feminist film distributor in London, and is currently undertaking
research into the collection as an MPhil/PhD candidate at Goldsmiths,
University of London. Alongside her performance, Ash will work with
Ali Robertson, volunteers and COoS artists, to create a radio play
which will broadcast nightly over the weekend. Please see workshops
for further details.
Red Brut is the solo work of Marijn Verbiesen, drummer with primitive
no-wave trio Sweat Tongue, vocalist and synth player in electronics
duo JSCA, and a key force in keeping Rotterdam’s underground
‘Verbiesen’s music is highly personal, subtle and displays
an ever curious and searching mind. Found sounds interweave with
brutal synth oscillations, melancholic melodies and sensual-absent
poetry from the aether. Although rooted in the sinister absurdism
of early 2000 experimentalism, her music embraces and redefines
the concept of ‘music of the universe’, coined by John
Cage, Daphne Oram and alikes.’ KRAAK
Harrison is an artist from Brighton. His music and performances
have featured a broad array of cut-up sound poetry, improvisational
strategies, and audio collages with sonic left-overs abstracted
from daily environments. He regularly collaborates with the likes
of Dylan Nyoukis, Karen Constance, Pascal Nichols, Ali Robertson
and many more.
Rebecca Mahay is a visual artist and performer from Birmingham,
UK, one half of MIRROR II RORRIM with Heath Moerland (aka Sick Llama).
They have releases on the Detroit-based Fagtapes label ('Housewife
Hibernation', 'Noom', 'Live WCBN FM Ann Arbor') and their latest
'Womensware' has been released through All Gone records. More recently,
Mahay has been performing solo as Wild Rani creating soundscapes
with vocals, synth, percussion and field recordings.
‘Former stumble-bum of The Gas Shepherds and navigational
honcho of The UFO Antler Band, Sean Conway emerges once more from
his dank Brum environs. Like some kind of mythical hash peasant,
he cooks up weird sounds that are both musical and abstract, all
recorded straight to his dying three track tape recorder. A gentle
throbbing thing of dreamlike confusion...beautiful, desolate brain
ooze’ Tedium House
Piermattei is an italian sound artist and self-taught maverick.
He’s been active under several aliases – Poisucevamachenille,
Autopugno, Hum Of Gnats – before settling down with his given
name. Among his releases there’s a collaborative tape with
Dan Melchior inspired by Claudio Rocchi’s music.
The melodic vein and rough, crooked Pop sketches of his earlier
releases have given way to purer sounds, but retain a playful attitude:
tapes played at the wrong speed, brass and string instruments, amplified
objects, fragments of non-sense speeches. He has released recordings
through Chocolate Monk (UK), My Dance The Skull(UK), Discombobulate(UK)
and Staaltape(DE). Piermattei also plays in Triple Heater - a duo
with Brighton’s F. Ampism - and runs the label Tutore Burlato.
27th APRIL - DAYTIME - SONIC ARTS TRAIL - FREE
Welcome to the
first COoS arts trail, a free sonic jaunt through lesser known Follys,
abandoned towers, street markets and more. Check back soon - there’ll
be more performances and sounds if you know where to look and listen...
27th April at 12 midday
Excuse Me, is this How I Play?
The Open Market, London Rd
A lunch time
sound performance, examining both conventional and unconventional
way of playing objects in space. Ryoko Akama is a sound artist,
composer and performer, who approaches listening situations that
magnify silence, time and space and offer quiet temporal/spatial
Her sound works employ small and fragile objects such as paper balloons
and glass bottles, creating tiny occurrences that embody ‘almost
She composes text events and performs a diversity of alternative
scores in collaboration with international artists, and runs Melange
Edition label and co-edits Mumei publishing.
27th April: 1 - 5pm
Alice Kemp - The Chapel
Top of The Tower, Tarner Park, BN2 0AR
Alice Kemp lives and works in south west England. Subtle trance
states, dreams, and
disturbances inform her personal and cryptic yet coherent body of
Her [not-]performances and [in-]actions evolve a private mythology
through stillness, boundaries and aural stimuli. She has delivered
these obfuscations in England, Scotland, Germany, Belgium, France,
Austria and Switzerland, and released sonic contemplations through
the labels Fragment Factory (DE), Harbinger Sound (UK), and Erratum
Due to the intimate dimensions of the space, The Chapel can welcome
no more than two pilgrims at one time
27th April at 1.30pm
Phoenix Brighton, Waterloo Place, BN2 9NB
Seymour Glass - COOS Panel / Gonk Summit
A COOS panel: 'Retired and reformed from his crimes
against zine publishing, S. Glass (of Glands of External Secretion
and Bananafish) hosts a bit of chin music, lip service, tongue wag,
brain flatulence, skull crush, earache, and eye roll with several
COOS performing artists.'
coversation with Seymour Glass
2.30 - 4.30pm Phoenix Brighton
Live From Lubberland Radio Recording with Ali Robertson and Ash
Reid (see workshops)
27th April: 2.30 - 4.30pm
Ian Helliwell - The Pepperpot
11 Tower Rd, Brighton BN2 0FZ
Brighton's landmark Victorian tower, The Pepperpot, formerly housed
the studio of sonic sculptor Ken Gray during the 1970s. Since his
heyday the building has fallen into disuse, but for one afternoon
only, local electronic composer and visual artist, Ian Helliwell,
forges a link with this forgotten electronic history, by demonstrating
and performing with some of his self-built Hellitronic sound and
light machines inside the tower. Ian has written a book, Tape Leaders,
an anthology of early British electronic music composers including
an entry for Ken Gray, and his unique Hellitron tone generators
have been used to make the soundtracks for more than 100 of his
27th April: 4 - 5.30pm
Rocantin for Colonel Gouraud (Victoria Gardens - North / Phoenix
Brighton - Weather dependent - stay tuned)
A soundwork that draws on the historically suspect plans of one
Colonel George Couraud, recording pioneer and erstwhile director
of the Edison Phonograph Company in Europe, to run for the Brighton
Town Council in 1904 and have his election address simultaneously
broadcast to the town's inhabitants by a great number of phonographs.
The work assumes the form of an acceptance speech that takes full
advantage of Gouraud's shameless self-aggrandisement whilst recording
the personalites of his day.
A perfect compliment to Gouraud's activities, the Rocantin is a
19C composition which comprises fragments borrowed from several
others and sewn together to produce odd effects and playful or ridiculous
Julian Weaver is an artist
and researcher who works primarily with sound. His work focuses
on matter, substance and sensing in scientific, historical and ecological
imaginaries and fictions. He is a recipient of a 'Creating Earth
Futures' commission from the Centre for the Geohumanities, Royal
Holloway and project partner on the Art and Humanities Research
Council Project: Listening Across Disciplines.
Recent works include Outwork (Fort Process, 2018) Wet Sensing (Whitstable
Biennale, 2018), Sound Little Island (La Rochelle, 2017).
Containers of Nothing: Join the BCoN Hacktivist at 5pm
Since agreeing to contribute to this year’s festival, Plastic
Containers of Nothing have stopped answering emails, phone calls,
texts and attempts to get their attention on social media. The last
communication we received from them (we think) was a note shoved
under our office door reading ‘WE KNOW WHAT YOU’RE UP
TO. SEE YOU ON SATURDAY.’ We’re not sure what it means
but we think we might be seeing them on Saturday.https://pcon-coos-truth.page.tl/
throughout the day, stop off at ONCA gallery for
Jan Anderzén’s solo
exhibition, and the Jubilee Library for What Was Music.
It’s all in walking distance!
27th APRIL FROM 6PM - MIDNIGHT
OUT OF SPACE NIGHT TWO
Sallis Benney Theatre (Doors 5.30pm)
Grand Parade, Brighton BN2 0JY
Nace & Twig Harper
Twig Harper and Bill Nace have been driving forces in the American
underground music scene for over a decade. For COoS they’re
performing as a duo, bringing what’s been described as ‘a
writhing, oozing, viscous specimen of electronic free improvisation’
to the UK for the first time.
Harper is a performer, electronic sound artist, underground
researcher, folk technologist and one half of Baltimore’s
seminal noise(s) outfit Nautical Almanac. Harper was raised in Michigan,
where he started out by playing DIY punk-style shows with the likes
of Scheme and Mini-Systems, helping to ignite the Hanson / Wolf
Eyes / Andrew W.K total music movement of the 90s.
Moving to Baltimore,
Nautical Alamanc became a duo with Carly Ptak, initiating a period
of sound exploration, circuit bent DIY electronica and higher consciousness
exploration, that saw numerous releases, US / European tours, and
the formation of the influential Tarantula Hill venue-compound in
what was originally an abandoned building they found while out walking.
music and performances are characterized by an incredible sense
of trickery, playfulness and sonic dexterity.
Bill Nace is an artist and musician based in Western Massachusetts,
USA. He’s one of the premiere avant-garde guitarists active
today, with one of the most personal and unique palettes of sound
ever to be culled from six electrified strings.
with a wide range of musicians including Michael Morley, Mats Gustafsson,
Joe McPhee, Chris Corsano, Jooklo Duo, Chris Cooper, John Truscinski,
Thurston Moore, Jake Meginsky, Jessica Rylan, Paul Flaherty, Wally
Shoup, and Kim Gordon with whom he regularly plays as one half of
the duo Body/Head. Their critically acclaimed LP 'The Switch' was
released on Matador last year.
His style has
been described as 'veering from sculptural, almost Remko-Scha-esque
chime to Loren Connors-style elegance in only a few short moves.'
Bohmnan & Pat Thomas (UK) & Sami Pekkola (FI) & Yoni
For COoS - a one off collaboration from four doyens of improv mischief:
Adam Bohman has been operating on the outer fringes
of experimental music for decades, working with home-built instruments,
found objects, tape cut-ups, cassette observations and graphic scores.
Favouring acoustic sounds over electronics, his performances can
explore the minute sonic inner world of any number of non-musical
objects. With brother Jonathan he’s part of long running duo
The Bohman Brothers.
Pat Thomas began playing piano at the age of eight,
while studying classical music and listening to reggae. A chance
encounter with legendary jazz pianist Oscar Peterson on TV in the
late 70s set him on course to develop a unique musical language
that would embrace improvisation, jazz, electronica and abstraction.
"Pat Thomas is probably best known for his exquisite radical
electronics as part of the London avant-garde scene. Those looking
for new perspectives on playing the piano should find Thomas' approach
equally as enriching, and at times even thrilling. A heavyweight
who appears to have absorbed the tradition of jazz piano without
being enslaved to it, Pat Thomas offers new perspectives on improvising
that look toward the future without ignoring the past.’
Bruce Coates / Rubberneck
Sami Pekkola is a saxophonist and stalwart of the
Finnish free-music underground, his early collaborations a bridge
between the upstarts of the ‘00s celebrated DIY scene and
the more established alternative jazz world. He’s initiated
and collaborated with many bands and musical scenarios including
Mohel, Kemialliset Ystävät, Rauhan Orkesteri, the trans-Europe
Jooklo Finnish Quartet and currently Taco Bells, whose fierce, uncompromising
approach takes Albert Ayler’s ecstatic aesthetic into new
Yoni Silver ‘Yoni Silver is not really
human. He is an impostor demon, who knows how to spin columns of
air in long pipes to produce the sound of hundreds of gargoyles
who have swallowed a hippo, or a polyphonic counterpoint of a dove
quintet playing Swedish metal on strange English analogue synths’
Musramix. Before a move to London, Yoni cut his teeth in the small
but super vibrant Israeli experimental music scene, his numerous
collaborations include now Primate Arena (Alex Drool, Eran Sachs),
Mines (Ilan Volkov, Yael Barolsky, Ram Gabay), Maya Dunietz, Steve
Noble, Dylan Nyoukis, Usurper, alongside ongoing hyper-spectral
adventures with Iancu Dumitrescu's Hyperion Ensemble. He has appeared
on labels such as Creative Sources, Confront Recordings, Wasted
Capital, Chocolate Monk and Edition Modern.
The Elks are Liz Allbee, Kai Fagachinski, Billy Roisz and Marta
Zappoli - four powerful
presences on the international experimental scene, each of whom
has honed wholly original approaches and dynamics to their respective
instruments. They performed for the first time together in Berlin
in 2014. 'Perhaps from the experimental music scenes of Berlin and
Vienna one might expect a rather reduced and elegant sound world,
but these Elks have some other ideas in store, and don't mind to
get their antlers a little dirty’ Soundohm
'Ernie (guitar / vocalisations) and Al (drums / harmonica) are incapable
of producing anything other than an inept, tune-less din, which
some Parisian critics have scandalously referred to as 'rockabilly
music'. This is an insult to all right thinking individuals' Gene
Brisson constructs a landscape by arranging sounds that could constitute
it. He prefers to compose a simulacrum rather than to document the
reality that escapes us. It could have been written in song, but
can be evoked more fully with sounds. His recent, acclaimed LP ‘Horizon
Capiton’, published by Nashazphonebroken, employs tapes, samples,
voices, springs and found objects to realise what has been described
as a bitter walk in the corridors of what should be places of asylum.
‘Monsieur Brisson lives in Lille and has been involved
not only with sound experimentation but also with psychiatry. The
latter is not just a detail but an important fact here: this is
a work about frames and boundaries. But who (or what) are inside/outside
those frames?’ Anla Courtis 2017
White Death is the duo of Hannah Ellul (Human Heads / Helhesten)
and Kelly Jayne Jones (Part Wild Horses Mane On Both Sides / Belied
Gunaiko). White Death bring you combined flute, synths, field recordings
and tactile electronics splintered with unexpected sound worlds
inspired by collage and surrealist lyricism from the likes of Henri
Michaux - ‘I have the feeling that for a long time to come
white is going to have something excessive for me.’ HM
interview with Hannah Ellul
The solo project of Dr Syed Kamran Ali. Spanning the globe from
England's North West, under a thick veil of dictaphone saturation,
Ali travels through eerie gamelan, amplified string projectiles,
forgotten power pop / riff rock unit shifters, traditional wax cylinder
recordings, vocal huff & resonating diaphragm overload, back
street music visions, euphoric cactus juice shamanic trances, cassette
player manipulation, wordless vocalisation and hyper distorted oud
wail, amongst many other long wave transmissions from radio Asia.
Al Tapes - Cycling for Electronic Raga
Brussels based cyclist-composer; pursuer of rudimentary vocal poetry,
tape manipulation and analogue synthesis; explorer of the obsolete;
likes crude sounds, pure sine waves and household objects, For COoS,
Beyt Al Tapes will perform for tape machines, echoboxes, modular
synthesis and the iconic Eddy Merckx Corsa Extra Max bicycle. ‘Meyreuis,
Lozère, 26 june 1977. Warm, clouded weather. I unload my
gear from my car and assemble my bike. Sitting on terraces tourists
and residents look upon me. Non-cyclists. The void of those lives
shocks me.’ Tim Crabbé, the cyclist.
An old-time radio man, a producer of graveyard radio for radio graveyards.
His fingers carry the musty recognisable aromas of soap opera, melodrama
and horseplay. On any given day he can be found wandering the streets
or perhaps stationary In a shop doorway, or glued to a bus stop
reciting his lines and questioning the alphabet.
is the alter ego of Finnish autodidact composer/improviser Timo
van Luijk. He began his musical activities in the mid-1980s, co-founding
the Noise-Maker’s Fifes collective with Geert Feytons. During
the ’90s he developed his solo work under the name Af Ursin,
before establishing his private press, La Scie Dorée, and
his archival label Metaphon. Van Luijk’s work is rooted in
the use of acoustic instruments (wind, percussion, strings). His
distinct sensitivity to their timbral qualities results in sound-worlds
that are mysterious, amorphous and hallucinatory. Over time he has
evolved his own richly poetic musical language, full of allusions
to drone, acid folk, classical, Musique concrète and jazz,
but beholden to none.
One of his finest works ‘Aura Legato’ was recently reissued
by Blackest Ever Black
Domesticated descendants of the Prick Decay clan, Hiru Marsvin's
mongrel bloodline flows in and out of the Hockyfrilla, Mum Squad
and Usurper gene pools: A doting aunty, a beloved niece and an estranged
gonkfather. It's a family affair, but we're naw Jock Tamson's bairns.
in recent years hard-l-y perennial noise/s oddbod JOINTHEE has attained/
chiselled-out a mere low profile occasionally popping up eg. to
perform at TUSK FEST in SABOTEUSE duo or perhaps release via FEEDING
TUBE staggering SILVER DICK trio LP etc etc etc but instead mainly
writing / not publishing / not recording ENERGY compositions DESTROYER
; at COOS th'bugger will present unsigned an anon. arr. for the
leisurely discernment of any assembled assorted attendees
28th APRIL - DAYTIME
Club,11am - Onward
COOS Vegan Breakfast Hangover Smasher
away the cobwebs with 100% vegan scrumptious food, lots of awesome
company in a super nice space right in the heart of town, with a
lovely sunny garden full of plants and a super friendly black puss
Scout roaming about, can it get any better? Yes it can, booze served
from midday and COOS DJs to add some aural salve to yr throbbing
Brighton, 12pm – 1.30am
Film screening: Adam Bohman: By Biro And Umbrella Spring
A free lunchtime screening of Cathy Soreny’s wonderful
portarit of artist extradinaire Adam Bohman. Adam and Cathy will
be here too for a Q+A with Resonance’s FM’s Ed Baxter.
entire being is pervaded by collage - from his artworks to his sound
works. He magpies and gleans away pedestrian gems, and from his
hoard he conjures up a prolific and kaleidoscopic creative output.
It’s a pure and wonderful compulsion. Filmed within his creative
den - his sublimely cluttered flat in Catford - Adam guides us through
tabletops overspilling with springs and metal, tottering piles of
collages, and cut-up takeaway menus, offering an intimate glimpse
into his processes and passions.
Church, Gloucester Place, BN1 4AA, 2pm - 5.30pm
Mukai & Richard Youngs
Chie Mukai & Richard Youngs will both perform short solo sets
before performing together as a duo for the first time. YEAA!
Mukai is a composer, musician and master improviser from
Osaka, Japan. She's the founder of the underground improv-folk group
Ché-SHIZU, one of the most original and mystifying groups
to ever emerge from Japan's musical underground. Mukai became involved
in improvisation and free music in 1975, when she joined the East
Bionic Symphonia group under the leadership of Fluxus violinist-composer
Takehisa Kosugi, at the Biggako Art School of Tokyo. Her primary
instruments are the bowed Chinese er-hu, alongside piano and percussion.
was fine, as long as it was different from what others were doing
Youngs has been involved with music for most of his life.
He discovered the power of the art form by thumping the family piano
as an angry 5 year old. In the intervening 45 years he has attempted
to harness the same experimental, naive, playful power in his live
performances and in all of his 140 releases. This creative openness
has led him to explore different musical genres. He is classically
trained in piano and guitar, but musically he grew up in the shadow
cast by punk rock. Adopting guerrilla recording techniques, the
independent D.I.Y. ethic is at his core.
Richard Youngs as the junior member of a cabal of prolific and puritanical
English musician--mystics, including The Fall’s Mark E Smith,
Van der Graaf Generator’s Peter Hammill, Martin Carthy and
The Clangers’ composer Vernon Elliot, and still his nature
will elude you” - Stewart Lee, Sunday Times.
Bull is a pig with human hands and feet, born of the feverish
brains of Jon Marshall (Roman Nose, Hunter Gracchus) and Joe Murray
(Posset, The Russets). They pay particular attention to the mystic
qualities of the human voice and the psychotropic possibilities
of troattered tape and jittered electronics whilst sometimes coming
across like two librarians out-shushing each other with increasingly
flowery hisses and coughs while the city burns outside.
Alan Bishop (AKA Alvarius B.) is a founding member of Seattle's
genre-defying Sun City Girls, whose career spanned 27 years and
over fifty releases. His work in Sun City Girls, with Richard Bishop
and Charles Gocher, alone stands as a testament to his fearless
exploration of the outer reaches of improvisation and composition.
As Alvarius B., Bishop has penned hundreds of original folk songs
in a primitive 'out' style that is uniquely his own. As an interpreter
of other people’s work, his songbook includes hundreds of
covers, informed by an obsessive love of the singer-songwriter genre,
folkloric music from beyond borders, Italian film soundtracks, and
an extraordinary sense of humour.
Over much of the past eight years, Bishop has been based in Cairo,
composing and recording new Alvarius B. material while simultaneously
establishing his own Egyptian-based band, The Invisible Hands and
joining forces with Sam Shalabi and Maurice Louca in the trio Dwarfs
of East Agouza.
Spawned from the wilds of West Yorkshire. Growing up on a secluded
farm, he nourished his brain with strange tales from the moors,
stories of golden men, Barguest, Trolls and the Halliwell Boggle.
He headed out into civilization in the early '90s and quickly fell
in with The A Band and their sonic rabble rousing. An Edinburgh
man for over two decades now, he fronts his own improvised unit
The Y Bend. This evening he may well treat us to a set of squeeze
box delirium, foot stomp and guffaw.
28th APRIL FROM 6PM - MIDNIGHT
OUT OF SPACE NIGHT THREE
- Midnight at the Sallis Benney Theatre (Doors 5.30pm)
We're very pleased to welcome to COOS the legendary French artist,
composer and performer.
Gillis emerged (as Manon Anne Gillis and Devil's Picnic) from the
Parisian experimental scene of the 80s, her dense, intricate and
intimate recordings and performances finding a place on the very
margins of minimal synth and post-industrial sound.
Her five albums featured modular synth pulses woven with cut-up
techniques and voice manipulation, and concrete bodily sounds sculpted
into miniatures that Gillis hoped would turn loudspeakers into stethoscopes.
They explored realms of repetition - taking the smallest of impulses
to their logical end-points.
Live, Gillis dedicated her work to curves, volutes, roundnesses,
undulations, rolling-ups and rotations, her visceral ritual performances
exploring the body and its societal codes.
After a lengthy hiatus, Gillis has returned with new work and a
series of celebrated performances in Tokyo, London, New York and
O'Dwyer and Graham Lambkin
O'Dwyer and Lambkin are multi-disciplinary artists whose work explores
the nexus between music, text, illustration, theater, and the dissolution
of the audience/performer divide.
O'Dwyer and Lambkin came together in New York, December 2016 for
a collaborative performance in association with Blank Forms. The
pair have continued to collaborate on multiple projects, in various
locations. 2018 marked their first collaborative album, Green Ways,
which gives voice to their documentary-styled performances for the
Both individually and in collaboration they have explored the latent
potential of acoustical space, transforming both fantastical and
mundane environments into aesthetic centrums of possibility.
Lambkin - Listening History
W. Ravenveer is Erwin Van Looveren, artist, member of Dirk Freenoise
- one of Belgium’s weirdest and wildest bands - guitar destroyer
in Schizoide, and creator of heavy, psychedelic synth trips as Chattered
Minds and W Ravenveer. ‘Antwerp based creature improvising
with electronic instruments, directing a sea of voltages that take
different shapes and forms, from simple to complex, an octopus controlling
modular synths and other devices, leading to places in fractions
of time , expanding the universe....due to his nature he plays more
shows than there is recorded evidence...though this is slowly going
to change..' KRAAK
Jan Anderzén is at the forefront of Finland's avant garde
music and art scene. A multidisciplinary artist his work is often
directly interlinked - his kaleidoscopic visual practice forming
the basis for his music and sound collages (and vice vera). Anderzén
has toured worldwide with musical projects that include Kemialliset
Ystävät, Tomutonttu and Tuusanuuskat, and released numerous
Tomutonttu is his ongoing solo musical project. Read streams, mutant
voices, animal noises, computer knots and records other people have
made are just a sample of the ingredients Anderzén uses to
craft his ecstatic soundworks. Tomutonttu translates loosely as
a creature who looks after all the dust.
Born in Kiev, Ukraine and reared in Baltimore, Maryland, Natalia
Beylis now lives in a farmhouse in the middle of a bog in Leitrim,
Ireland where she forges compositions built upon the noises that
emerge from the deep dark thicket surrounding her home. Beylis layers
seemingly incongruous sounds atop of each other to spawn strange
juxtapositions and garbled parallels.
Her solo releases range from out-of-tune piano compositions &
improvisations to recordings created from spliced cassette tapes
gathered throughout her life. In her live performances, Beylis focuses
on the symbiosis of the sounds that she is producing and the particular
physical space into which those sounds emanate. She often sets up
live sound stations away from the stage so that the audience finds
themselves encircled within the performance, dissolving the traditional
Noetinger is one of the most distinctive voices in contemporary
electronic music. He is a composer, improviser and sound artist
working with electroacoustic devices. Composing sometimes musique
concrete in the studio, and performing improvised music using devices
such as the reel to reel tape recorder Revox A77, analogue synthesisers,
mixing desks, speakers, microphones, various electronic household
objects and home-made electronica. Performing both solo and in ensembles,
and collaborating often, and touring extensively internationally,
he is the director of Metamkine, a non-profit organisation dedicated
to the distribution of improvised and electroacoustic music.
Rakel & Klara Froberg Experience
Artist and composer Dan Froberg travels freely between music, visual
art, performance, video and literature; His extraordinary compositions
are intersections of shapes, environments, times and places, often
travelling in wildly different contexts.
Alongside his solo work, Froberg has collaborated with his twin
daughters Rakel and Klara, since they were 6 years old, performing
in museums and galleries as the 'The Kitchen Ensemble'. He says
‘Every now and then, we still make rare live appearances,
and now are ready to perform a sort of sonic séance at the
COoS, consisting of home-made electronics, electric guitars, transparent
lights, texts and secrets, in order to continues to communicate
with all things visible and invisible.’
‘High energy miserability from high Yorkshire unfunny person.
Burning shame expertly masked by Soo Fitzpatrick. Reasonably likened
to Jim Bowen (if he had grown up on microwave meals and Slipknot
instead of colonial era racism in a world before Tascam four tracks).
I probably will not stand too still.’LH
Chalmers & Tom White
For COoS Tom White and Stuart Chalmers team up for a collaborative
set of tape loops, ferric textures and cut up narrative.
Chalmers is a Yorkshire based cassette tape scavenger,
Swarmandal improviser and recorder of caves. His interests are in
merging the personal/universal aspects of sound, exploring unusual
states of mind, discovering hidden meanings in the environment and
harnessing chaos. He has collaborated in the past with Neil Campbell,
Edward Sol, Graham Dunning, Yol, Sindre Bjerga and Claus Poulsen.
Recently he released a cassette with Tom White - Awkward Objects
on Fractal Meat Cuts -that was described as 'It’s as though
a chaise lounge has engaged in a karate fight with an ottoman' Spenser
White is a London-based artist. His multidisciplinary practice
spreads across sound, moving image, installation and live performance.
Past projects include commissions and appearances for Radiophrenia,
Glasgow (CCA); Whitechapel Gallery; BRAUBLFF (KRAAK & De Player).
He won the British Composer Award in 2014 (Sonic Art) for Public
Address, commissioned by South London Gallery. In 2016 he founded
Apologies in Advance; a platform for artists presenting work in
Constance/Nyoukis break bread with Brighton improv old timers Parsons/Strachan.
With electronics, tapes, percussion, voice, cornet and various detritus
they go skittering around the edge of improv quack and usually stumble
into the realm of audio surrealism. Sunday's set promises to keep
the lizards at bay.
/ TIMETABLE / EXHIBITIONS
+ WORKSHOPS / LIVE
AT COOS / INFORMATION


The Bellflower High School Thespians present William Shakespears's Romantic Comedy Tewlfth Night in the Newman Theatre on the Bellflower High School campus. We hope to see you at one of the following showtimes:
November 12th, 13th and 14th, 2015 at 7:30pm
Special Matinee Showing on November 13th, 2015 at 3:30pm.
Tickets are available for purchase in the Activities Office - $6.00 pre-sale and $7.00 at the door.
For more information please contact Eleanor Packwood at (562) 920-1801 ext. 3871 or firstname.lastname@example.org


Get access to exclusive deals on Local Restaurants, Theme parks, Broadway and Vegas shows, movie tickets, hotels, concerts and sports tickets, and much more. Be sure to visit often. With a constantly growing catalog of new products and discounts, LocaLinxs Digital-Deals truly has something for everyone!
Pledged of $0 Goal
Step 1: Specify your contribution amount for Donate for Digital Deals – Gulf Coast High School Band


SAMSUNG @ ARENA – MILANO
WATCH IT IN FULL SCREEN
Made for D-Wok
Ready for play-out graphic excerpt from the event "Samsung@Arena" at Arena Civica Milano on September 2018.
Other live recordings from Youtube ( www.ilmetropolitano.it )
Projection on Holoscreen and synchronized play-out on ledwall. Total Height: 30m
Some still images below.


STFU is an open collective of electronic musicians and visual artists who use the internet as their main means of communication. It is a network of groups and individuals who come together to make live electronic music events happen.
An individual or group of individuals take the lead to make an event happen in their area. The STFU site is designed to provide a focal point for information regarding events. It is designed to inform people that events are being planned and to provide feedback from past events.
Martin Hirsch created a documentary that follows the 2005 STFU Glasgow festival, featuring concert footage, visuals and interviews with many of the participants. More info and download options here.
Please note that the stfu forum is down for maintenance, so send an email to firstname.lastname@example.org if you would like to organize an STFU event!
16 - 18 May
29 - 30 May
9 - 10 May
Audiobulb Sheffield Label
Boltfish Liverpool/London Label
Con-v Cdr / netlabel
Electronical London netlabel
Enough Portuguese netlabel
Hippocamp Mancunian netlabel
memoryformat Greek netlabel
Miasmah Norwegian netlabel
Musictrade Finnish netlabel
Subliminaltapeclub IDM netlabel
Test Tube Portuguese netlabel
Zymogen Italian netlabel
Radiostudio Experimental Radio Platform
Tronic Glasgow Electronic Night


What Some Witches Really Do by Silver RavenWolf
I realize that Hollywood and the media in general have a flamboyant idea of what Witches really do — so, I decided to make a short video to celebrate my year in review, going over all the Witchy things I worked on.
Here’s the link: https://www.facebook.com/video.php?v=10204036383621428
In the meantime, this Witch is going to try to figure out where Elements 13 put the slideshow on her computer, so that she can upload a clearer version.
#SilverRavenWolfAracneSpiderFictionShortStory #Video #Wicca #Witch


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Pit yourself against many animals & dangers in forests, fields, deserts & other worlds in this modern arcade game.
The classic snake / worm concept updated for today's computers. This game features stunning 3D rendered
graphics, smooth animation, new concepts & multi-level scrolling gameplay. Face groundhogs, gators, fireflys, bad
weather, alien invasions and much much more.
A Snakes Life is a free trial software application from the Arcade subcategory, part of the Games & Entertainment category.
The app is currently available in English and it was last updated on 2004-05-01. The program can be installed on Win95, Win98, WinME, WinNT 4.x, WinXP, Windows2000, Windows Vista Starter, Windows Vista Home Basic, Windows Vista Home Premium, Windows Vista Business, Windows Vista Enterprise, Windows Vista Ultimate.
A Snakes Life (version 2.3) has a file size of 6.71 MB and is available for download from our website.
Just click the green Download button above to start. Until now the program was downloaded 481 times.
We already checked that the download link to be safe, however for your own protection we recommend that you scan the downloaded software with your antivirus.


Coming 2018: the Banff Mountain Film Festival World Tour
Subcribe to our newsletter and receive further information on the Banff Tour in Germany, Austria, Switzerland and the Netherlands.
The Banff Tour 2017 is coming back to the Netherlands, Germany, Austria and Switzerland. We're looking forward to seeing you on tour!
Find out more about the Banff Centre.


How to win on roulette machines in casino
This means that there is a live dealer who deals the cards via a video connection, how to win on roulette machines in casino. You can bet the live game normally in your own computer or mobile device. You can also chat with the dealer and other players.
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This is the U.S. premiere of Douglas Maxwell's Decky Does a Bronco.
A tragi-comedic memory play that follows the lives of five nine-year-old boys spending their 1983 summer in Girvan, Scotland broncoing swings*. One of the boys, David, reflects on their adventures and what it means to grow up.
SEPTEMBER 6 to SEPTEMBER 21
at the Royal Family Performing Arts Space
145 W 46th Street
New York, NY 10036
*To Bronco a Swing: the act of standing on a swing, workying it up, putting your foot behind the swing, and then jumping off to wrap the swing over the top bar.
Support for Decky Does a Bronco
This play is a passion project. It is entirely self-produced and made possible by generous friends, family members, and theater lovers alike. If you have any extra pocket change, please consider donating to help make this show possible.


Inside Acting Podcast app allows you to listen to the weekly industry podcast 'Inside Acting' created, hosted and produced by Trevor Algatt and A.J. Meijer, with additional production coordination support from Jen Levin and C sar Gami o.
Each episode of Inside Acting brings you tips and insights from Los Angeles-area casting directors, agents, producers, writers, actors, musicians, filmmakers, personal finance gurus, and more. Get insider information on marketing yourself, creating your own work, and booking the gig straight from the people who've been there, done that, and are doing it again.
Requires iOS 7.0 or later. Compatible with iPhone, iPad, and iPod touch.
Inside Acting Podcast is a free software application from the Office Suites & Tools subcategory, part of the Business category.
The app is currently available in English and it was last updated on 2014-01-03. The program can be installed on iOS.
Inside Acting Podcast (version 1.0.1) has a file size of 2.20 MB and is available for download from our website.
Just click the green Download button above to start. Until now the program was downloaded 1 times.
We already checked that the download link to be safe, however for your own protection we recommend that you scan the downloaded software with your antivirus.


The book chosen for our December meeting was Mr Dickens and his Carol by Samantha Silva. An imaginative account of how Charles Dickens came to write his much loved Christmas novel, rich in Dickensian atmosphere and cleverly including details of the famous author’s life, all our members enjoyed this festive read. We liked the author’s style of writing, which mirrored that of the great man, but was much more accessible than Dickens is to present day readers, who often find his novels too densely written. We also enjoyed the portrayal of Dickens, which was not always sympathetic, the humour and the clever twist at the end. Highly recommended.
As this was our Christmas meeting, we all enjoyed some seasonal refreshments, a Christmas quiz and plenty of chat!
There will be no meeting in January, so the date of our next meeting is Thursday 6th February and the book we will be discussing is New Boy by Tracey Chevalier, which is based on Shakespeare’s Othello.


Tips For Playing Video Roulette Devices With Betting Methods
Many people are of the view that enjoying roulette on a roulette 카지노 쿠폰 machine is very easy. Additionally, there are many who have the exact opposite. In all honesty with you, they’re both right. Roulette happens to be a game that has a high entertainment value. It also offers you many prospects for winning and dropping.
Playing on roulette machines is a good way of gambling. You can win a whole lot without losing a lot, which is very different from slots. Furthermore, there is no need to take a seat and stare at the monitor on a regular basis. All you need to do is simply lean forward watching the roulette wheels proceed.
Another type of roulette machine that you’ll come across can be an air-ball machine. This is one that spins the roulette wheels by means of air. The advantage of playing with this machine is that the dealer always knows where the ball is in the wheel. You can actually tell where the ball is and how much it will roll for each and every spin. The air-ball feature is a result of the random number generator that’s programmed into the machine.
Video clip roulette machines may also be available. This kind of roulette machine has players connect to video images of the ball moving across the roulette wheels. A number of the newer versions have voice functionality so that the players themselves can judge the quantity of spin on the ball is making. The training video roulette video version is now increasingly popular among people.
Lots of people also would rather play on automatic roulette devices. There are many of the electronic roulette machines. They are ideal for players who’ve disabilities that make it problematic for them to hold to a regular group of cards. These players can easily get their hands on an electronic roulette game and be on the solution to enjoying their regular casino game titles. These machines can offer players the same experience as they could have if they were playing on a normal roulette table. One can also choose an electronic roulette video game to play when browsing a modern casino.
When people consider electronic roulette game titles, they often think about the high house edge that they have to pay. This refers to the sum of money that you would need to win before you would go out a winner. Many competitors consider enjoying on video roulette machine’s a lot like playing at a land-based gambling house. Many players find that the house edge is not as bad on video roulette games since it is on slot video games or video poker machines. It is because there are so much more variables that could impact your winnings.
With the brand new video roulette machine technology, it is possible to program into the machine how much you want to bet and in addition how many spins you would like to play. This allows you to customize the machine to ensure that you are satisfied with the amount of money you are winning from the machine. The machine will continue steadily to spin at the specified spins per hour and soon you have won your maximum sum. You will need to set this maximum amount before you begin the machine and as you see the amount of cash starting to add up, you’ll shut it off so that you will do not exceed the maximum that you have set on your own.
Training video roulette machines allow players to place bets in the comfort of these own home. This makes it easier for players to place their bets without needing to travel to an area casino. Many players enjoy playing video roulette video games because it offers them exactly the same odds as if they were betting for real money at a land based casino. However, it is very important be sure you keep your maximum bets at heart and never let your wagers fall below the minimum limit. Video roulette machines are becoming increasingly popular among players as a result of ease of use and the entire simplicity of the game.


How to Place an Order
After confirming your order, we'll send you a special mailer envelope (postage paid).
When we receive your photos, we'll send you a short confirmation email to let you know of their safe arrival. Using superior-grade equipment and software, we'll scan your pictures, turning them into high-quailty digital pictures. Depending on the type of CD you have selected, your pictures will either be put straight on a CD and returned to you promptly (Order extra copies of the CD and share your pictures with family and friends!); otherwise, we'll use the digital pictures to create a beautiful slide show presentation (Microsoft PowerPoint viewer included), accompanied by your musical selection, that will run on any Windows-based computer. (These discs are also playable in your DVD players; but without any special animations due to system/software incompatiablities.)


Record Club: Rumors by Fleetwood Mac Online
Rumors, Fleetwood Mac
Music can be an effective pedagogical tool for student engagement and learning. Thursday Afternoon Record Club combines the intellectual atmosphere of a book club with the exciting and influential world of music. Created out of a pandemic as a respite for music lovers to gather to talk about music, we will explore important albums both past and present and the album’s significance on cultural, political, and artistic fronts. Attendees are encouraged
to listen to the album before the session to provide for thoughtful dialogue.
Questions? Contact email@example.com
- Thursday, December 15, 2022
- 3:00pm - 4:00pm
- Time Zone:
- Central Time - US & Canada (change)
- This is an online event. Event URL will be sent via registration email.


Celebrate your special day or host an event with us! Our party room is available to rent for private parties year-round. The room is 20’ by 45’ and can host up to 45 people. You are welcome to bring your own decorations and food. For a nominal charge, we can assist with set-up and clean-up.
$100 for 3 hours of use, including set-up and clean-up time. $35 for each additional hour. We require a $50 deposit upon booking. Call to reserve the room for your next special event!


Join Bloble in this action packed bubble mashing adventure!
Meet Bloble. He’s orange. He’s jello.
Bloble’s favorite thing in the world is bubbles. Bubbles, bubbles and more bubbles. The more the merrier.
When Bloble sees bubbles, he goes crazy! He starts shooting them into thin air until they are all gone… and then, well, Bloble becomes really embarrassing (really!) and starts jumping up and down and making scary faces.
Tap into Bloble and help keep him happy (and embarrassing). All you need to do is pop the bubbles and make sure you don’t accidently die.
Bloble is a free software application from the Arcade subcategory, part of the Games & Entertainment category.
The app is currently available in English and it was last updated on 2012-03-11. The program can be installed on Android.
Bloble (version ) is available for download from our website.
Just click the green Download button above to start. Until now the program was downloaded 1 times.
We already checked that the download link to be safe, however for your own protection we recommend that you scan the downloaded software with your antivirus.


For our first year in Los Angeles, we are foregoing the traditional wristbands (and long lines that start hours before showtime). Instead we'll be selling individual tickets to each prime time afternoon/evening show. Purchasing a ticket guarantees a seat provided you arrive 30 minutes prior to show time.
Late night and early morning shows (aka "Other Show," including bit shows, Harold, Lloyd, and Mess Hall teams and much, much more) at UCB Sunset from 1am-1pm on Saturday and Sunday will be accessible with a hand stamp. Passes are available for $12 for one night, or $20 for both nights.


Thank you to our PTO for a fabulous performance of Cinderella by the Tanglewood Marionettes. They are fantastic and we look forward to their arrival every year! Here we see Cinderella in her "coach" on the way to the ball.
Mrs. Robertson runs so many clubs at Wheelock, it's amazing! Wait until you see our Makerspace and new furniture, thank you MCPE!
I hope you have a wonderful weekend!


SPLITRIX is an addictive and super challenging high speed "Split n Squeeze" game play at its best. Control two splitrix vessels and dodge spikes at super speed using the magnetic control design. Take the sideways,split up in to two and pass through both narrow sides or squeeze and pass through the middle.The game play is about your concentration and reaction time, higher the concentration and minimum reaction time is the key of high score.
So use your skills to beat your opponents around the world and become the first one in the high-score leader-board!
Splitrix is a free software application from the Arcade subcategory, part of the Games & Entertainment category.
The app is currently available in English and it was last updated on 2015-08-03. The program can be installed on Android.
Splitrix (version 1.1) has a file size of 4.30 MB and is available for download from our website.
Just click the green Download button above to start. Until now the program was downloaded 0 times.
We already checked that the download link to be safe, however for your own protection we recommend that you scan the downloaded software with your antivirus.


Dj Saint Niko Producer Remixer
From his inception, he has successfully established himself in the hottest clubs in Montpellier (south of France).
In 1996 he rubs already demanding the public side of the Rome Club, with TeePaul and at the same time the internationally renowned djs such as Jack de Marseille, Dj Hell, and Fafa Monteco …
It’s two years later he obtained his first residences: La Villa Rouge every Saturday and large student parties. Great upheaval in early 2000 he decided to go to Paris …
From 2001 it was through his meeting with the association NITESHOP many other clubs as prestigious as CLUB 287 (along with David Vendetta, Paul Johnson,…), the Folie’s Pigalle or the SCENE BASTILLE him open their doors.
Since 2003 he is the co-organizer and resident DJ and MOOLTIPASS JADORE ‘ in major clubs in the french capital CLUB 287, the LOCO, the QUEEN, Les Bains Douches, …
In 2005 he spent more time on the production and remixes, ranging elektro and tech house, he likes to change tempo rhythms and bold in order to return the dancefloor. All with the same freedom in the various clubs where he has done: in Belgium at Cafe d’Anvers, or Fuse in Brussels.
In 2006, with the collective “rayofnight” that many projects will emerge.
He also produced alongside the internationally renowned DJ David Vendetta, for parties and tours JADORE ‘.
In 2008 the tracks that come together with Yasmina, eclectic singer with the voice sulfur.
Niko is one of the most popular DJs and likes to play styles that can move freely from one house to a groovy techno-tribal harder.


If you look to your left, you can see the Free! fandom crying.
And to your right, there’s the Tokyo Ghoul fandom crying and a bit unstable.
Ha, get it ‘cause Kaneki and Uta
Farther ahead is the Zankyou no Terror fandom crying.
And now over there is the Barakamon fandom, oh guess what, crying.