Sunday 24 February doors 7pm – music 7.30pm | £7 adv / £9 door | BUY TICKETS
Decay is a 50 minute performance, including film, pre-recorded vinyl, composition and improvisation, exploring the process of decay. A subject we are troubled by and drawn to in equal measures, since it implies decline and loss but can also open up to change and transformation: be it the fermentation process of food, the patina of treasured furniture, the warm sounds of an old cello, the worn steps of an ancient building, the colourful leaves in autumn or the signs of aging on a friend’s face that make them uniquely and beautifully themselves. Art celebrates this change and transformation, yet many works wish to capture a moment, freeze it in time, prevent it from changing. Decay, however, will embrace the melancholy of loss, and rejoice in the promise of change.
At each concert during the tour (a) guest artist(s) will join us, bringing their own creative practice to the performance. Each new iteration will form the basis for the following concert where another artist joins us. This cumulative process will slowly erode the ‘original’ and generate an ever-evolving multi-authored work. It is this that makes Decay innovative, this slow change over the period of a year, as guest musicians join us, add, change and challenge any sense of an authoritative iteration.
For this performance we are joined by the outstanding violinist Alison Blunt and saxophonist John Butcher.
Claudia Molitor is a composer whose work articulates a dynamic pluralism which draws upon the tradition of classical music but also extends across contemporary art practices, such as video art, installation art, sound art and visual art. In her practice, the score often becomes a site of exploration in which the conventions of notation, the qualification of sonic phenomenon and the historical hierarchies of sound are interrogated.
Claudia’s work is regularly performed and broadcast throughout Europe and has been performed at festivals such as Wien Modern, Huddersfield Contemporary Music Festival, Ecat, the VI Festival de Musica Contemporania de Girona, the ÖBV Grabenfest, Sonic Explorations at Kingsplace and the Wire Magazine’s “Off the Page” festival. She has been commissioned, amongst others, by the London Sinfonietta, hcmf//, the BBC, Sound and Music and the Royal Philharmonic Society. Recordings have been included in releases on the Jerwood Series, NMC Recordings, ORF 1 recordings and Sub Rosa.
Tullis Rennie is a composer, electronic musician, trombonist, field-recordist, DJ, improviser, biscuit obsessive and slow-cycling enthusiast. Tullis is co-founder of Walls On Walls with Laurie Nouchka, and a founder member of Insectotropics. He is currently Lecturer in Music at City, University of London. He completed a PhD in Composition at the Sonic Arts Research Centre, Queen’s University Belfast.
Butcher is well known as a saxophonist who attempts to engage with the uniqueness of time and place. His music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and unusual acoustics.
The well received “Resonant Spaces” is a collection of site-specific performances recorded during a tour of unusual locations in Scotland and the Orkney Islands
Since the early 80s he has collaborated with hundreds of musicians – including Derek Bailey, Rhodri Davies, Andy Moor (EX), Phil Minton, Christian Marclay, Eddie Prevost, John Stevens’ SME, Gino Robair, Polwechsel, Mark Sanders, John Tilbury, Okkyung Lee and Steve Beresford.
Recent compositions include “Penny Wands” for Futurist Intonarumori, two HCMF commissions for his own groups, “Good Liquor Caused my Heart for to Sing” for the London Sinfonietta and “Tarab Cuts”, a response to recordings of early Arabic classical music which was shortlisted for a 2014 British Composer’s Award.
Alongside long term projects he values occasional encounters; from large groups such as the EX Orkestra & Butch Morris’ “London Skyscraper”, to duo concerts with Fred Frith, Akio Suzuki, Paal Nilssen-Love, Keiji Haino, David Toop, Otomo Yoshihide, Sophie Agnel and Matthew Shipp.
After a classical violin training at Birmingham Conservatoire and the Guildhall School of Music and Drama, Blunt’s fascination with sound, motion and space has led her into solo and collaborative projects nationally and internationally, exploring the boundaries between art forms and genres and creating, performing and recording new work.
She works internationally with a diverse array of improvising artists, performing regularly with London and Berlin Improvisers Orchestras, Barrel, Barcode Quartet, Hanam Quintet, Burning Wood, Lode, Pieretten Ensemble and many ‘ad hoc’ improvising ensembles. Other collaborators include: with Apocryphal Theatre, Apartment House, Renee Baker, John Bisset, Adam Bohman, Javier Carmona, Lawrence Casserley, Viv Corringham, Guy Dartnell, John Edwards, Sue Ferrar, Pete Flood, Flow Motion, Fluxx Theatre Company, Annette Giesriegl, Kay Grant, Sylvia Hallett, Elisabeth Harnik, Tristan Honsinger, Juun, Ivor Kallin, Anna Kaluza, Julie Kjaer, Josef Klammer, Caroline Kraabel, Dominic Lash, David Leahy, Tony Marsh, Hannah Marshall, Marcio Mattos, Neil Metcalfe, Adrian Northover, Orphy Robinson, John Russell, Noura Sanatian, Mark Sanders, Ian Smith, Tasos Stamou, Joel Stern, Benedict Taylor, Ricardo Tejero, Dave Tucker, Jackie Walduck, Ute Wassermann, Els Vanderweyer, Veryan Weston & Michael Zerang.
”Alison Blunt’s playing is unique. Eerie, gut-ripping rattles and chokes from hell are interrupted by ringing notes of heavenly hope. I have never heard anything like it…” Jeffery Taylor, Sunday Express 29.1.12