Live dates / Discography
Collaboration with Lou Barnell
I'm currently acting as technical director for Lou Barnell's Arts Council supported work MELTA. From Lou's site:
"I use alchemical wearable sound- material sculptures made from of ice and thermoplastic, and biorhythmic sensors, to create a live body-sonic score. The audience are invited into a kaleidoscopic, melting, fragile world where materials, bodies and sound resonate and communicate together intensely. A brutal, hypnotic explosion of sensory experimentation, shimmering visuals, visceral choreography, extended vocal techniques and sensual, queasy sound. The work in development features Lisa Busby (Co-Performer & Collaborator) and Robin Foster (Technical Director)"
My work with Lou has involved the development of custom hardware and software to wirelessly transmit biosensor data (heartrate and muscle) to computer for processing and controlling audio playback, as well as software instruments for vocal processing, and ultrasonic sensor hardware to enable control of a sonic environment through movement within a space.
(Free) noise, improv, jazz. Rebecca Sneddon: saxophones; Matthew Grigg: guitar/amplifier; Joe Kelly: double bass; Robin Foster: drums, etc.
Duo with Joe Kelly, typically double bass and percussion
Euan Metz and myself. Guitar, drums, objects, etc.
Brugmansia available on Cardboard Club (cass/DL).
Physicality, interactivity, computer music, noise.
Rummaging is a performance practice, developed by Henry Collins and I, that reconciles interests in free improvisation, noise music, physical performance and indeterminacy
into a deceptively simple method of creating an improvised music. The practice is straightforward: objects placed into a container are manipulated with the hands.
The resultant collision of objects creates a sound-world built on micro-gestures and chaotic interactions, in a manner free from impurities and obfuscations.
The complexity that arises from the chance collisions of objects exceeds anything that could be created by the human hand. By removing the element of control, the player is
free to focus on the resulting mesh of sounds. Allowing the mind to become saturated with the complexity of the sonic information provided by rummaging can facilitate achieving
a clarity of thought, similar to the practice of Mandala meditation. This mirrors one of the principal aesthetic aims of rummaging; the attainment of purity through chaos.
Rummaging Mission Statement
XXX** 'Tipex+:-)/TIPPEX/xxxTipex/Robin Foster & Henry Collins
Unidirectional chaotic improv faction led by Henry Collins and myself.
Henry Collins and Robin Foster make improvised music. Their approach ranges from sensitive to absurdist, from carefully considered minimalism to barely contained chaos.
Their music is largely unplanned, and encompasses the use of found objects, vocal improvisation, spoken word, field recording and physical performance.
Their work holds a deliberate disregard for idiomatic conventions other than a singular belief: that all objects are instruments and all activities performances.
They rarely repeat themselves.