Ian Rawes & The London Sound Survey: A Celebration

Photograph of Ian Rawes by Tom Jamieson

IKLECTIK presents,

Ian Rawes & The London Sound Survey: A Celebration

Sunday 11 September 2022 | 8pm [doors] – 10:30pm

Our outdoor Kiosk is open from 6pm

Tickets: £8.50 Advance / £13 OTD https://buytickets.at/iklectik/724403

An evening celebrating the life and work of field recordist Ian Rawes, founder of The London Sound Survey, who died in 2021. The evening will feature performances and talks from musicians, writers and friends who knew Ian and his work, alongside the launch of a new album of his field recordings: From Dusk Till Dawn.
Improvisers Elaine Mitchener and Steve Beresford will perform a set based on the forgotten sound-words in Ian’s 2016 book, Honk, Conk & Squacket.
Poet Kayo Chingonyi and sound artist Iain Chambers will respond to the recordings Ian made across East Anglia in 2021 for From Dusk Till Dawn.
Tape manipulator extraordinaire, Howlround, will collage a new set from classic London Sound Survey recordings. Postcards From The Volcano (Helen Frosi & Stephan Barrett) will perform a work inspired by a field recording trip made with Ian in West London.
Photographer Chris Low will recall Ian’s time as a fanzine editor and organiser in the UKs early 80s anarcho-punk scene.
All proceeds from the night will go to The Brain Tumour Charity.


Elaine Mitchener

Elaine Mitchener is an experimental vocalist, movement artist and composer, whose work encompasses improvisation, contemporary music theatre and performance art. Born in East London to Jamaican parents, Elaine studied voice at Trinity College of Music, London and currently studies with Jacqueline Bremar. Elaine is co-founder of the experimental jazz quartet the Hawkins/Mitchener Quartet and a regular vocalist with the ensemble Apartment House. She created the role of Hannah/Voice singing with tenor Mark Padmore, in the opera CAVE, by composer Tansy Davies with libretto by Nick Drake, co-commissioned by the London Sinfonietta / Royal Opera House and directed by Lucy Bailey which premiered in June 2018.

Steve Beresford

Steve Beresford has been a central figure in the British and international spontaneous music scenes for over forty years, freely improvising on the piano, electronics, and other things with people like Derek Bailey, Evan Parker, Han Bennink, John Zorn, and Alterations (with David Toop, Terry Day and Peter Cusack). He has written songs, written for large and small ensembles, and scored short films, feature films, TV shows, and commercials. He was part of the editorial teams of Musics and Collusion magazines, writes about music in various contexts, and was a senior lecturer in music at the University of Westminster. With Blanca Regina, he is part of Unpredictable Series, which produces events and sound and video recordings of experimental music and art. Steve has worked with Christian Marclay on numerous Marclay mixed media pieces. He has also worked with The Slits, Najma Akhtar, Stewart Lee, Ivor Cutler, Prince Far-I, Alan Hacker, Tania Chen, Ray Davies, Mandhira De Saram, The Flying Lizards, Zeena Parkins, The Portsmouth Sinfonia, Ilan Volkov, Rachel Musson, Vic Reeves, Lore Lixenberg and many others. Beresford has an extensive discography as performer, arranger, free-improviser, composer and producer, and was awarded a Paul Hamlyn award for composers in 2012. In 2021, Bloomsbury published a book by Andy Hamilton: ‘Pianos, Toys, Music and Noise: Conversations with Steve Beresford’.

Kayo Chingonyi

Kayo Chingonyi was born in Zambia in 1987, and moved to the UK at the age of six. He is the author of two pamphlets, and a fellow of the Complete Works programme for diversity and quality in British Poetry. In 2012, he was awarded a Geoffrey Dearmer Prize, and was Associate Poet at the Institute of Contemporary Arts (ICA) in 2015. His first full-length collection, Kumukanda, won the Dylan Thomas Prize and a Somerset Maugham Award. Kayo was a Burgess Fellow at the Centre for New Writing, University of Manchester before joining Durham University as Assistant Professor of Creative Writing. He is a writer and presenter for the music and culture podcast Decode on Spotify, poetry editor at Bloomsbury, and his most recent collection A Blood Condition was shortlisted for the Forward Prize for Best Collection, the T.S. Eliot Prize, and the Costa Poetry Award.

Iain Chambers

Iain Chambers is a London-based composer, producer and sound artist, whose work explores specific locations and their changing sounds across time, as in Concrete Paris (2021); The Secrets of Orford Ness (2020), The House of Sound (2017), and City of Women (2018). In 2019 Iain launched the independent record label Persistence of Sound, creating a new space for musique concrète, field recordings, and the uncategorizable sounds in between. In 2015 Iain staged the first ever concerts in Tower Bridge’s Bascule Chambers, transforming the structure into a huge resonant chamber. In 2003 Iain co-founded Langham Research Centre, an electronic music ensemble using Cold War era technology to compose new music. The group also create new realisations of work by composers including John Cage, Alvin Lucier and Christian Wolff, using unusual analogue instrumentation.


First coming to prominence with hugely-acclaimed 2012 LP The Ghosts Of Bush, Howlround is a quintet (four slightly battered machines machines, one slightly battered operator) that creates recordings and performances entirely from manipulating natural acoustic sounds on vintage reel-to-reel tape machines, with all electronic effects or artificial reverb strictly forbidden. In an age where one can create all manner of electronic music with a simple swipe of a mouse, Howlround prove not only how much fun is to be had in making things complicated again, but conversely just how little effort is sometimes needed to create a genuinely uncanny and beguiling soundworld: the rough underbelly of our pristine, Pro-Tools universe.

“Sound system powered by AMOENUS. AMOENUS is an art organisation that facilitates, educates, curates and promotes immersive art centred around 3D sound”.