IKLECTIK and (T)raum present,
Roberta Busechian – Aleksandar Koruga + Tasos Stamou + raxil4 + Luigi Marino
Sunday 15th July 7pm doors – 7.30pm start | £7 adv / £10 door BUY TICKETS (fees apply)
Spazio (T)Raum is a project for artistic research on sound founded by Roberta Busechian in 2016 and also a plattform organising events by different sound art related areas. (T)Raum aims to diffuse and create new containers – and content – for research on sound art in Italy and makes possible the dialogue between sound studies and experimental electronic music, the spaces, urban and suburban cultures, sound design applied to art and curatorial projects. (T) Raum artists also develop narration projects (even documentary) as fieldrecordings, radio plays (Hörspiel) and experimental elaborations of traditional music; mobilization projects (soundwalks) using scores and sound maps for urban and nature trails; projects such as spatial installations, live sound performances and audiovisual projections.
Spazio (T)Raum presents the first collaboration with his new partner, Iklectik. The live set in London compares the listener with a wide sound spectrum derived from the interweaving of field recordings, modulated as sound carpets creating virtual and generative spaces and the algorithmic music, formed by rhythms and tones deriving from Modular Synth through digital iteration .
Roberta Busechian with her execution will investigate the empty spaces of the world of things, basing her research on the compositional technique of a single field recording, a memory: it is a 30 minute recording of a London garden ( the place belongs to Iklectik). The garden is empty of humans, in which the resonance of the surrounding world is only reverberation and synthesis of the movement of the world without humans (traffic, nature, plumbing and electrical systems, digital technology and products for the masses).
Aleksandar Koruga with his Modular Synth / Laptop aims to radiate the audiovisual discourse and making it at the same time unpredictable, placing the listeners at the beginning of the evening in a rhythm enclosure comparing them with the reactivity of the visual (dynamic systems) to the musical context.
Roberta Busechian – field recordings/ virtual ambiences sound artist and sound studies researcher. She works in the field of sound installations and interventions in the public space, with a focus on field recordings and generative listening tecniques. She is a professor for sound art in Milan, a lecturer in Venice, Trieste and Berlin. She founded and directs the activities of spazio (T)Raum.
Aleksandar Koruga – Modular Synth/Laptop After a long period of studying and playing instrumental music (mainly jazz and prog guitar) currently I am working on a research of mathematical frameworks within music theory and attending the electronic music course at the G. Tartini conservatory. In his work he is investigating live performance techniques, interactive algorithms, AI in musical contexts and audiovisual installations.
Electroacoustic music composer and performer, alternative electronic music instrument maker, tutor and sound technologist.
During a decade of sound performances and recordings, Tasos Stamou has developed a unique style of live electroacoustic music composition. Long and continuous pieces are created in situ using a “portable electroacoustic music studio”. His work explores the space between ancient and contemporary transcendental music, using both traditional and advanced media.
His gear consists of acoustic (prepared strings, reeds, recorders, objects) and electronic instruments (self-made electronics, modular synthesizer system and live processed feedback loops). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise.
Although mainly a solo performer and recording artist, he frequently collaborates with other sound artists, improvisers and experimentalists (such as Adam Bohman, Steve Beresford, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ilan Manouach, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.) at various venues and festivals for innovative music.
He is currently leading a workshop series exploring circuit bending & hardware hacking for experimental sound production.
Tasos Stamou has an eclectic body of recorded work, released by exploratory music labels (Discrepant, Moving Furniture, Lal Lal Lal, Linear Obsessional Recordings, Orila, Triple Bath, Kukuruku Recordings, Absurd, Coherent States).
He has performed across Europe and the U.S. in festivals and venues for innovative sound (Incubate Festival, Cafe OTO in London, Supernormal Festival, BENT Festival New York, Cave 12 in Geneva, Sounds of the Underground Festival, Ausland in Berlin, CologneOFF Festival, Onassis Cultural Centre in Athens, and many more).
Although his music is inspired by different contemporary and traditional genres (free improvised music, musique concrète, noise & drone, folklore and ritual/tribal music) his main influence is personal states and experiences of the sonic environment, such as early childhood memories (“Infant”, 2007), the loss of a beloved person (“The return of the long lost one”, 2013) or the exploration of a rural location (“Musique con Crète”, 2018).
Tasos is also developing a series of visual art; showing his work at occasional exhibitions/installation shows and illustrating media.
raxil4 is multi disciplinary soundartist Andrew Page, specialising in analogue electronic
dronescapes, acoustic audio phenomenon and installation, heis active on the London sound art, improv and noise scenes.
He has performed live all over Europe and the UK, many of his performances have been in non traditional venues, often choosing to play spaces with character and interesting acoustic qualities, such as caves,
churches, crypts, prison cells, psychiatric hospitals & water towers.
He has also performed live and installed durational works in galleries such as Tate Modern
(London), The Barbican (London), The Arnolfini (Bristol), M-HKA (Antwerp), Sonnestube (Lugano), Soundfjord (London), Candid Arts Trust (London) & GV Art (London).
His works have been broadcast on radiostations internationally.
The work is divided in two sections. The first one is responsive to the sounds produced in that exact instant, but its responses are tangential: the spectrum analysed is spread over a larger timespan, and often the computer recombines data coming from sounds produced at different time. The second section uses all the data accumulated during the first section to generate an independent landscape. Here the result of the mapping process is mostly the creation of a single sound that is then repeated, lengthly. In this section I’m nothing more than a listener, happy to be surprised by the machine’s behaviour. The length and repetition is a way to cope with that complex process of understanding how much I care about my expectations.