Floating Spectrum (visual by aBe Pazos Solatie) + Simon Fisher Turner (visual by Jon Wozencroft)
Saturday 16 October 2021 | 8:30pm [8pm doors]
Tickets: £10 Early Bird / £13 Advance / £15 General Admission https://buytickets.at/iklectik/581696
Floating Spectrum‘s music shimmers with elemental richness, as synths, meditative drones, and heavily processed samples evolve across layered environmental soundscapes. Her sonic journeys explore themes of growth, decay, and the contradictory place of humans within nature. The slow, explosive, and quietly emotive dance performances of Taiwan’s legendary choreographer Lee-Chen Lin are a key inspiration. Mei-Fang Liau is the Taiwan-born, Berlin-based musician and audio technologist behind Floating Spectrum. She creates intuitive and emotional compositions from a technically rigorous practice, coding her own custom generative music engines and software synthesizers. Using self-made tools as well as prefabricated samplers and synthesizers, she is able to craft a wide range of intricate, organic computer-based sounds with subtlety and depth.
aBe Pazos Solatie
Creative coder Abe Pazos Solatie produces still, moving and interactive audiovisual art using a generative approach. His work uses rules, randomness and mathematics, and is deeply inspired by nature. He creates otherwordly experiences by digitizing environments and processes, then reinterpreting them with computer code. Abe writes creative software using Free Open Source tools to transform media, data and sensor input into artistic experiences. He co-organises the Creative Code Berlin events since 2013 and helps other artists express themselves with code by creating tutorials, giving workshops and lecturing in institutions.
Simon Fisher Turner
British composer, sound designer, and actor Simon Fisher Turner has explored many avenues throughout his lengthy, multi-faceted career. Much like Scott Walker, he found early success as a pop star during his teenage years before moving in an increasingly avant-garde direction. Following a 1973 debut released during the height of his fame as a TV star, he briefly joined The The during the early 1980s, then released avant-pop as part of the projects Deux Filles and Jeremy’s Secret. He worked with director Derek Jarman on several lauded film scores, beginning with Caravaggio (1986). Additionally, Fisher Turner released two albums of indie pop during the late 1980s under the alias the King of Luxembourg. While he’s occasionally returned to pop music, as with the 1999 one-off project Loveletter, the majority of his output has consisted of soundtrack work and experimental soundscapes, including the jarring collages of 1990’s The Garden(another Jarman score) and the more beat-driven explorations of Travelcard, a 2000 co-production with Scanner. Other collaborators have included Klara Lewis (2018’s Care) and ceramicist/author Edmund de Waal (A Quiet Corner in Time, 2020).
Tonight I will be playing STUFF.
New pieces in progress.
Very new STUFF.
It will be a collage. This isn’t a surprise is it?
It’s good to be out but in.
More than likely based on recordings from the past two years.
Life recordings. Some familiar, some not.
Stay safe and well.
S f t. October 2021.
Jon Wozencroft started Touch in 1981/2. The idea was to extend the scope of a record label by combining music publishing with the level of curation afforded to fine art, producing a series of audiovisual productions, and the chance to collaborate with New Order, Wire, Joseph Beuys, Cabaret Voltaire, Chris Watson, Mika Vainio, Fennesz amongst many others. He taught at the Royal College of Art from 1994–2019, specializing in the impact of sound and moving image on design practice. His research with Paul Devereux investigates the power of sound in prehistory with the focus on Preseli, Wales, source of the Stonehenge bluestones: www.landscape-perception.org
Cover image by Victor Luque
“Sound system powered by AMOENUS. AMOENUS is an art organisation that facilitates,
educated, curates and promotes immersive art centred around 3D sound”