Author: Fielding Hope

Day 2: Jasmin in the back Streets

img_0246Morning swim on the roof of the hotel which is quite amazing with giant pied wagtails chirping their noisy song along-side the pool. The crows that sit on the pool-side chairs are a bit more sinister with beaks like machetes. With Mark still not feeling quite right Remya one of Xchange’s team helps us out with some iodine gargle and the more traditional Strepsils. Remya lives in Mumbai and is originally from Bangalore emphasising the breadth of geographical make up of Sonya’s team. So with Mark out of action for the afternoon Rian and I take a trip over to the KM College of music and technology to meet up with Adam Greig who I met last time. Sonya’s Australian partners are here busy working on a recording project with emerging bands called Indie 100. Some of the bands we meet and hear or interrupt as they develop their music under the guidance of the Australian partners will play at Xchange on Sunday. By chance we meet a Carnatic violinist who offers to play a short piece for us and we get our first field recording. Shravan Sridhar is a young talented violinist who collaborates with all sorts of musicians. The obligatory cards exchanged we go for coffee and leave the music project to develop. At coffee I ask Adam for a quick summary of how the school began. Fascinating stuff. A very positive story of how one Bollywood music composer’s success is helping to give back to the people of Chennai. The school’s founder actually composed the score for Slumdog Millionaire.

img_0245The evening, with Mark back with us we venture out for dinner with our first treacherous walk through the bustling streets of Chennai. We head for Peter Road and somewhere I’ve wanted to go to, the chain known as Hotel Sarvana Bhavan. In the dark backstreets of Chennai everything takes on a very different sensory experience. Most prominent is the scent of jasmine as the flowers tumble through the air and on to the parched tarmac. Saravana Bhavan is no disappointment. It is a canteen sort of affair where you order your food at a booth and then pick it up freshly cooked from another counter. My first Marsala Dhosa is amazing. I find out more about these food emporiums from Bhursa (sorry for the spelling) a little later. They were set up as places for the Brahman to eat. Strictly vegetarian and also cooked by Brahman’s for Brahmans. Brahman are an upper religious caste. Of course now these restaurants cater for all but as always in India the caste system (equally like the UK’s class system) is never far away despite our so called modern ways.

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Olimpia Splendid – quick chat

Olimpia Splendid sound a bit like all our favourite guitar bands rolled up into one. Made up of three woman at the beating-heart of the Helsinki art and music underground – Heta Bilaletdin, Jonna Karanka and Katri Sipiläinen – they make wiry, hypnotic and out-of tune DIY punk with guitars, bass and a drum machine. Reliably brilliant weirdo imprint Fonal Records released their debut 7” ep in 2013, which was followed by a full-length debut in July 2015.

We caught up for a quick chat with them ahead of their show at Counterflows, where they will be playing the late night party on Friday the 7th of April at Saramago. Details and tickets of which can be found here.

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Hey – how are you?
Jonna: I’m good. Going to play a solo-gig in few hours so I’m bit nervous… I have two new songs on the set list that aren’t really finished yet but I decided to perform them anyway… Also been working on a grant application which is painful… Otherwise, life is pretty sweet!

Katri: I´m good too. Saying Hello to Sun, to the morning light shining through the window. I am recovering from nasty flue and waiting to get strong enough to get back with the things I love to do like drawing, painting, skate….There are many wonderfull things to do.

 

So how did Olimpia Splendid start as a band?
Jonna: We just decided it would be nice play together. I didn’t know Katri or Heta that well in 2010 so the band was also a way for making new friends.

Katri: I think we approached music rather through sound than f.ex. popsong structures. We jammed exceedingly long and minimalistic at Jonna´s studio in Otaniemi.

 

How is the health of the Helsinki art/music scene at the moment?

Jonna: It’s alive and rocking! We just played at a two-day festival with 20 other bands. The theme of the festival was Turtles. It was great, lots of Turtles-spray painted cloths hanging from the walls & ceiling. There’s a lot of music happening all the time in Helsinki, it’s really inspiring.

Katri: True that. There are many non profit operators, active artists and musicians.

 

Are there any particular acts or artists there that are currently exciting you?
Jonna: My heart beats with the rhythm of Sahelsounds. It’s my favorite label at the moment. Last year I also dropped on the floor by the weight of my jaw when I heard Joanna Brouk’s “Hearing Music”. It’s a stunning piece of music.

Katri: If you have a change see live estonian experimental Death Metal duo Neoandertals, go for it. I Enjoyed their performance at UH-fest in Budapest last year.

What can we expect from your show here at Counterflows?
Jonna: De-tuned bliss.

 

Are there any other artists you are looking forward to seeing at the festival?
Jonna: LES FILLES DE ILLIGHADAD!!!
Katri: Same here!

A Carnatic Paradigm – Installation @ CCA Theatre

Saturday 8th April & Sunday 9th April- CCA Theatre

Open 12 – 9pm – Saturday 8th April

and 12-6pm – Sunday 9th April

Venue map | Free entry – not ticketed
A Carnatic Paradigm programme 2 – A Sound and Light Installation by Mark Fell

Saturday offers the chance to contemplate Mark Fell’s new work. The installation space in the CCA theatre will be open all day offering time to engage with The Reading Room, a collection of documents, books and objects pertinent to the project. This also includes a chance to try out computer implementations of Carnatic systems developed by Lee Armitage which are released as part of
the project.

The installation will also be open between 12 – 6pm on Sunday 9th.

Communal Leisure: Game > Theory @ The Glad Cafe

Sunday 9th April 2017 – The Glad Cafe

Doors open at 12pm

Venue map | Free – not ticketed (turn up early!)

 

Communal Leisure present a free two hour workshop/game that looks at ideas of art, improvisation and communality through playing a specially prepared version of the anarchic ‘1000 Blank White Cards’ game. The game develops organically according to participants’ rules and images, though we will submit some pre-prepared cards from Counterflows artists, participants and friends, to be approved or discarded as the group see fit. We will facilitate a few rounds of the game in small teams, followed by a critical discussion around issues of representation, access and ‘experimentation’ at the festival and beyond. All welcome, all ages, bring pens.

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Mark Ernestus Ndagga Rhythm Force + Mother (DJ)

Sunday 9th April – The Langside Halls

Doors open at 8pm

Venue map | Buy event tickets

 

MARK ERNESTUS’ NDAGGA RHYTHM FORCE 14305352_1268896903140886_6374067156099685279_o

Mark Ernestus’ Ndagga Rhythm Force is a collaboration between a group of Senegalese musicians and Berlin dub-techno legend Mark Ernestus (Basic Channel / Rhythm & Sound), birthed from a series of sizzling sessions in the city of Dakar. Despite the musical, geographical, political and social divisions that exist between them, they make a strikingly autonomous sound; fusing elements of Senegalese Mbalax percussion, Jamaican dub and Berlin minimalism to shake out grooves that are truly out of this world.

In a live setting the group feature singer/MC Mbene Diatta Seck, talking drum master Modou Mbaye, dancer Fatou Wore Mboupsabar, drummer Bada Seck and guitar player Assane “Ndoye” Cisse, as well some young hotshots from the Dakar scene. We’re so delighted to welcome this group to the UK for the first time as part of Counterflows.

 

MOTHER (DJ)

Rubadub record-shop stocker, Heated Heads label-head and former John Peel radio assistant, Mark Maxwell (Mother) is regarded by many of one of Glasgow’s best DJs. Mark has an encyclopaedic knowledge that spans everything from techno, house, jungle and dancehall through to avant-garde weirdness, and for this set he’ll be treating us to a special dub set, warming up for Mark Ernestus’ Ndagga Rhythm Force.

Ashley Paul Ensemble + Sue Tompkins @ Garnethill Multicultural Community Centre

Friday 7th April 2017 – Garnethill Multicultural Community Centre

Doors open at 9pm

Venue mapBuy event tickets

 

ASHLEY PAUL ENSEMBLE ashley-paul-press-photo1

This year’s featured artist, Ashley Paul, presents the first ever performance with an all new ensemble formed for Counterflows, performing unheard pieces from her forthcoming record.

 

 

 

 

SUE TOMPKINS55899eac77c36-large

Sue Tompkins is a collector of found phrases, words, and lyrics. Through her typed and spoken works – created by editing, layering, arranging and configuring spontaneous thoughts, random phrases and quotes from popular media – she re-presents snatches of material gleaned from the everyday, distorting meaning by metering their arrangement and delivery. Her work exists both live and in the gallery; where she transfers aspects of her live performance (such as the rhythm, tempo and composition) into two-dimensional works.

We have a been a long-time fan of Sue’s work live, in the gallery and also in her previous group Life Without Buildings, so it we are very happy to welcome her to Counterflows Festival for the first time.

Les Filles de Illighadad + Glorias Navales @ Garnethill Multicultural Community Centre

Saturday 8th April 2017 – Garnethill Multicultural Community Centre

Doors open at 9pm

Venue mapBuy event tickets

 

LES FILLES DE ILLIGHADAD bild-2-lesfilles_christopherkirkley2

Les Filles de Illighadad are a group that hail from the village of Illighadad in the region of Abalak. They present a curious and original approach to two very different sides of Tuareg music – dreamy ishumar acoustic guitar sessions, and the hypnotic polyphonic tende drum that inspires it. Their intoxicating debut album – out now on the reliably excellent Sahel Sounds – was recorded during long sessions in the sweltering heat of their hometown; a world far away from wi-fi where the suns’ passage, the movement of the animals and the sound of the crickets measures the length of the day.

The two young woman at the core of the group – guitarist Fatou Seidi Ghalia and vocalist Alamnou Akrouni – are proof that the heavily male-dominated guitar music of Niger might be becoming a thing of the past. Their raw, minimal and melancholy-laced sound is something of wonder – and it is a real pleasure to welcome to them to the UK for the first time as part of Counterflows 2017.

 

GLORIAS NAVALES 14610750_10211057719467843_843840035_n

Delighted to welcome Chile’s Glorias Navales to Europe for the very first time. The group get together regularly in a private space in Santiago to jam out a type of late night campfire trance music, bridging the gap aesthetically and stylistically between Chilean folk music (ala Violeta Parra) and ramshackle post-Velvets psychedelia. Their sound – crafted on acoustic guitars, violin and stomp box – have resulted in stunning releases; ‘Carta a Maureen Tucker’ ETCS and ‘Cofradia Nautical’ on Graham Lambkin’s KYE label. Join us for a raw, unvarnished walkway straight into heart the of the contemporary Chilean underground.

Counterflows Social with Olimpia Splendid + Anxiety + Rebecca Marshall (DJ) @ CCA Saramago

Friday 7th April 2017 – CCA Saramago (i.e. the downstairs foyer bit)

Doors open at 11pm. Event will continue until 3am!

Venue map | Buy event tickets

 

OLIMPIA SPLENDID do10wnoassmr28z0cz75vrrhup_i7jjc-fwmw6q-r8cacrwfx1njnw6ppaum2woeu3kyc6rvuyouaxji5z_nzz2hn8sm8w55ruluhdi5uqy3yp_qj-mcxilulubiqdccs1600

Olimpia Splendid sound a bit like all our favourite guitar bands rolled up into one. Made up of three woman at the beating-heart of the Helsinki art and music underground – Heta Bilaletdin, Jonna Karanka and Katri Sipiläinen – they make wiry, hypnotic and out-of tune DIY punk with guitars, bass and a drum machine. Reliably brilliant weirdo imprint Fonal Records released their debut 7” ep in 2013, which was followed by a full-length debut in July 2015.

“This wonderful Finnish trio sound like Royal Trux, The Dead C and the troublemaking witches from Macbeth, stirring their pot with grease and glitter (…) Party music for the tipping point before things get messy.” – The Wire

 

ANXIETY 15972732_4162381137519_65944862395104124_o

No-holds-barred wiry, fast and confrontational hardcore punk from Glasgow, with enough white noise, seething distortion and feedback thrown in the mix for ultimate avante-satifisfaction. Anxiety’s songs are all about darkness, wetness and ripped crotches – just like the city they come from.

 

 

 

 

REBECCA MARSHALL (DJ) 14022205_10157343006990387_2212414771061151861_n

One of the most exciting DJs to emerge from fizzling Glasgow underground dance scene. Part of the clubnight SO LOW (alongside Keith McIvor from Optimo, Katie Shambles and Iona Fortune) – a night that specialises in industrial, goth, cold-wave and post-punk from the Thatcher years – Becky’s own DJ sets renowned for their energetic, off-the-grid intensity.

Midori Takada + Pancrace Project @ Glasgow University Chapel

Thursday 6th April 2017 – Glasgow University Chapel

Doors open at 7.30pm

Venue map | Buy event tickets

 

MIDORI TAKADAimg_0005

Midori Takada is a Japanese percussionist whose output over the past 40 years weaves through solo, group and theatrical practices. Her deep quests into traditional African and Asian percussive language are captured on a series of now highly sought after albums including her masterpiece Through The Looking Glass (1981/RCA) and her collaboration with Masahiko Satoh Lunar Cruise (1990/Epic-Sony), both of which will be reissued on Swiss label WRWTFWW in 2017.

In chime with the peak period ambient and Fourth World musics explored by Jon Hassell, Don Cherry and Brian Eno, but born of a distinctly Japanese ceremonial and meditative musical sensibility, her work has a crystalline quality that distills rhythms from around the world into transfixing minimalist dreamscapes.

Midori Takada’s performance is made possible courtesy of support from the Great Britain Sasakawa Foundation.

PANCRACE PROJECT
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Music for pipe organ Stiehr-Mockers 1848, Bird Calls, Baroque Violin, Tin Whistle, Boîtes à Bourdons, Landscape Piano, Motorised Bow, Standuino Pi Synth, Microphones, Hurgy Toys, AM radio, Church Bells, Uillean Pipes and Hulusi.

Pancrace is an improvising quintet comprising French, British and Austrian performers. The members include Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel and Jan Vysocky. Pancrace is also the name of the church in Dangolsheim Alsace located next to where the instrument inventor Léo Maurel lives. Maurel makes ingeniously designed instruments inspired by the hurdy gurdy. In Pancrace one can hear many of his shape-shifting instruments and devices being twiddled without knowing which are bowed, plucked, hammered or rubbed.

A Carnatic Paradigm – Installation @ CCA5

Saturday 8th April – CCA 5

Doors will be open 12 noon until 10pm

Venue map / Free entry-not ticketed

Saturday offers the chance to contemplate Mark Fell’s new work as part of the Carnatic Paradigm project. The installation space in the CCA theatre will be open all day for people to consider his creation and give more time to engage with The Reading Room; a collection of documents, books, objects and various miscellany connected and pertinent to the project – and to explore the sound and light experience.

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Ashley Paul / Rashad Becker (duo) + Mark Vernon @ Queens Park Bowling Club

Sunday 9th April 2017 – Queens Park Bowling Club

Doors open at 5.30pm

Venue mapBuy event tickets

 

ASHLEY PAUL / RASHAD BECKER (DUO) unnamed

Delighted to welcome this first ever duo performance by Rashad Becker and Ashley Paul.

Rashad Becker might have been involved in your favourite experimental album released in recent few years (via his day job as a mastering engineer at Dubplates & Mastering), but he’s also an excellent solo musician, known for his “Traditional Music of Notional Species” series released by PAN. He comes to Glasgow following release of second volume of his wonderfully vivid non-referential synthesized music on PAN. Rashad’s improvisations are beautifully textured and brimming with sounds, never lacking the much needed clarity that makes his music so special.

Ashley Paul is an American performer/ composer currently based in London. We were first attracted to Ashley’s work by her striking take on song form; a delicate but utterly focussed tip-toeing between melodic free-form structures and scratching, scraping, clattering sound, bridging the liminal gap between intimate bedroom folk stylings and the unpredictable dynamics of early British improvisation. Despite being schooled in jazz and improvisation, Ashley subverts and re-configures learned practice in a way that feel oddly singular, allowing her to craft an unvarnished and deeply personal form of music.

 

MARK VERNON 

Mark Vernon is a Glasgow-based artist whose work exists on the fringes of sound art, music and broadcasting. A keen advocate of radio as an art form, he co-runs Glasgow art radio station Radiophrenia, and has produced radio programmes for stations internationally. He has also published a slew of solo and collaborative music projects through Staalplaat, Ultra Eczema, Entr’acte, 3Leaves, Staubgold and Gagarin Records, as well as a series of small CDR and LP editions on his own meagre resource imprint.

For this special performance at Counterflows Festival, Mark will be doing a live presentation of his newest LP, ‘Lend an ear, leave a word’, released on Graham Lambkin’s KYE label. Composed from field recordings of contemporary Lisbon combined with reel-to-reel tapes and micro-cassettes found at the Feira de Ladra flea market, it is a portrait of time and place – an archaeology of sound. The result of the audio flotsam and jetsam washed up on the shores of low commerce in the flea markets of Lisbon.

Mark Ernestus’ Ndagga Rhythm Force + Mother (DJ) @ Langside Halls

Sunday 9th April 2017 – The Langside Halls

Doors open at 8pm

Venue Map | Buy event tickets

 

MARK ERNESTUS’ NDAGGA RHYTHM FORCE mark-ernestus-ndagga-rhythm-force-october-2015

Mark Ernestus’ Ndagga Rhythm Force is a collaboration between a group of Senegalese musicians and Berlin dub-techno legend Mark Ernestus (Basic Channel / Rhythm & Sound), birthed from a series of sizzling sessions in the city of Dakar. Despite the musical, geographical, political and social divisions that exist between them, they make a strikingly autonomous sound; fusing elements of Senegalese Mbalax percussion, Jamaican dub and Berlin minimalism to shake out grooves that are truly out of this world.

In a live setting the group feature singer/MC Mbene Diatta Seck, talking drum master Modou Mbaye, dancer Fatou Wore Mboupsabar, drummer Bada Seck and guitar player Assane “Ndoye” Cisse, as well some young hotshots from the Dakar scene. We’re so delighted to welcome this group to the UK for the first time as part of Counterflows.

MOTHER (DJ) 12010723_10203709360969466_2213024425115958317_o

From assisting John Peel’s legendary radio show back in the day to running his own club nights and label (Heated Heads), Mark Maxwell (Mother) has over time drilled himself into the heart of the Glasgow music scene. Mark encyclopaedic knowledge transcends techno, jungle, music concrete, dubstep and so much more, but for Counterflows this year he’ll be treating us to a special dub set, warming up for Mark Ernestus’ Ndagga Rhythm Force.

PS – if you fancy a bit of recording shopping at the festival, make sure to pop by Glasgow institution Rubadub – whose stacks are curated by Mark himself.

Svitlana Nianio + Eva-Maria Houben @ Langside Halls

Sunday 9th April – Langside Halls

Doors open at 3pm

Venue map | Buy event tickets

 

SVITLANA NIANIO Svitlana Nianio

We first discovered singer and multi-instrumentalist Svitlana Nianio’s music on the aptly titled ‘Music The World Does Not See’ – a small compilation of Polish and Ukrainian artists from the 1990’s with deep roots in Slavic folk traditions, as well ear for the avant-garde. Described as “deeply rooted in primeval myths, creating a world of magic realism” Svitlana’s music pushes ancient Ukrainian folk music in haunting and unpredictable directions, whilst retaining a tender minimalism at its core.

Svitlana still makes music to this day, but has a long history in the Ukrainian underground; as member of her ЦукорБілаСмерть (Cukor Bila Smert’), in solo projects or collaborations. We believe her work is deserving of more people’s ears, so it is a pleasure to welcome her to the UK for the first time for this edition of Counterflows.

 

EVA-MARIA HOUBEN  p1100365-(1)_page_image

Part of the constantly adventurous Wandelweiser collective – home to the likes of Michael Pisaro, Radu Malfatti and Jurg Frey – Eva-Maria Houben creates vast, incorporeal forms from almost nothing – music that lingers long after the last note has dissipated. Born in Germany, she has an impressive history as a composer, theorist, pianist and organist, taking influence from (and further developing) a past canon of unheard moments, stretching from John Cage to the Second Viennese School, to even as far back as Berlioz and Bruckner.

Both carefully nuanced and obsessively singular – her evocative solo piano works have a warmth and beauty to them that stands out beyond the occasionally bare and dry work of her contemporaries. In the words of Ben Harper, “this is living, messy, human music.” Join us a for a relaxed Sunday afternoon piano concert at this years’ Counterflows.

Performance made possible thanks to support from the Goethe Institute.

Book Launch – with Neil Davidson & Arild Vange “Line Vocabulary” @ CCA Intermedia Gallery

Saturday 8th April 2017 – 2pm

Doors open at 2pm

Venue map / Free entry/not ticketed

Neil Davidson and Norwegian poet/translator Arild Vange have been working together since 2008; on improvised performances (readings), theatre collaborations, theoretical talks about improvisation and literature and occasional publications. They have performed in Norway, Germany and the UK. Their theatre company DVELL is based in Trondheim, Norway.

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This book Launch is presented in association with Aye Aye Books who are publishing the new English version of Line Vocabulary, a book by Arild Vange and Per Formo translated from Norwegian by Neil Davidson. There will be a performance by Neil Davidson and Arild Vange followed by a discussion on the relationship between the Per Formo’s art (which gave rise to the poems), the writing and translation process, and the influence of improvisation on these.

http://dvell.no/
https://arildvangeneildavidson.bandcamp.com/releases

Arild Vange is a poet, artist and translator. Following some early years studying economics and singing in punk/new wave bands Arild Vange’s first novel “Ene og Alene” was published in 1990. He lived for many years in Germany and occupied for 5 years the honorary writer’s residence “Adrianstua” belonging to the city of Trondheim from 2008 – 2013.

Vange has written several critically acclaimed books of poetry. His translations include the works by Franz Kafka, Georg Trakl, Peter Waterhouse, Yoko Tawada, Thomas Kling and Anja Utler. He collaborates regularly with musicians including Lemur, En En En and Neil Davidson. In 2012 the improvisation company DVELL was formed around his long standing collaboration with Davidson. Vange is also working together with the visual artist Per Formo.

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Neil Davidson is a composer, writer and guitar player specialising in improvised musics. In particular: a new pop/composition project with Anneke Kampman of Conquering Animal Sound, a longstanding project with Norwegian poet Arild Vange, regular collaborations with Michael Duch, Lemur, Jean-Luc Guionnet, Mariam Rezaei, Liene Rozite, Fritz Welch. He is also in the groups: Asparagus Piss Raindrop (glitter ball of collaborative composition), The Final Five (exquisite corpse of free jazz), Yoke of Blood (lady garden of death metal), Muris (a cat with €50) & Glasgow Improvisers Orchestra.

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The Modern Institute + Takahiro Kawaguchi & Utah Kawasaki @ The Laurieston Arches

Saturday 8th April 2017 at Laurieston Arches

Doors open at 4pm

Venue map | Buy event tickets

 

A bus will leave the CCA at 3.45pm to head to the Laurieston Arches. It will then return to the CCA at 6pm. If you’d like to book a place on the bus (it’s free) please click this link.


NOTE: Please bring warm clothes as the Laurieston Arches is quite cold!


THE MODERN INSTITUTE

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Mutant undulations from the deep belly of the Glasgow underground, brought to life spontaneously by flickering synths, rolling drums and stream-of-consicous vocals. Their first tape ‘Another Exhibition’ is out now on new Glasgow label Domestic Exile, with forthcoming releases on Night School and Diagonal.

 

 

 

 


TAKAHIRO KAWAGUCHI & UTAH KAWASAKI 1444707611644

‘Amorphous Spores’ is the name of the Takahiro Kawaguchi & Utah Kawasaki’s debut release together (out on Erstwhile Records), and it serves as a near perfect description for their music. Made by bonding Kawaguchi’s air horns and home-made appliances with Kawasaki’s electronic devices, the two are able to blend familiar ingredients but make them grow into something strikingly strange, dramatic and often beautiful.

Kawaguchi and Kawasaki are both very active in Japan’s underground music scenes, and represent something of an exciting new wave of adventurous emerging musicians and improvisers. We can’t wait to see what they have in store for their debut European performance together at Counterflows.

Performance made possible courtesy of support from the Daiwa Foundation

Farmers Manual @ The Art School (upstairs)

Saturday 8th April 2017 – The Art School (upstairs)

Doors open at 7pm

Venue map | Buy event tickets
FARMERS MANUALdj-1

Farmers Manual are a radical electronic and visual arts group formed in Vienna in the early 1990s. The group are renowned for their ‘chaos-particle-accelerating’ computer music, released on electronic music labels such as Mego, TRAY and OR. The group’s live events are often described as ‘anti-performances’ – long drawn-out domestic happenings, featuring members of the group playing and improving on various software programmes.

After a 10 year hiatus, Russell Haswell brought the group back in 2016 to perform outstanding shows at Cafe Oto and at Atonal Festival Berlin. This will be a rare chance to catch the group live.

“the farmers manual collective represents media art at its most anarchistic” – Anton Nikkilä

 

Counterflows Social with Clara! (DJ) + Letitia Pleaides (DJ)

Saturday 8th April 2017 – The Art School (Vic Bar)

Doors open at 11pm and runs ’til 3am!

Venue map | Buy event tickets

 

CLARA! (DJ) Screen Shot 2017-01-26 at 20.49.06

Part of a prankster club collective PRR PRR from Brussels, Clara!’s mixtape series “Reggaetoneras” – made up of 100% female MCs and rhythms from the ‘90s up to the modern day – blew us away last year. A snapshot of Clara’s teenage years on the beaches and discos of Galicia, Spain, the mixes are steeped in the imported Puerto Rican sounds and mixes of French DJs such as Kost & Goldfingers or DJ Poska.

Both an excellent introduction to the dembow rhythms which so strongly inform current dance music – from the mega pop hits of Bieber and Drake thru to the avant output of Arca or Kamixlo – and an expertly curated and researched compilation of music that lies beyond the reach and knowledge of scene outsiders, Reggaetoneras is, most importantly, massive party music. Crammed with a rude drums and hooks levered from major dance hits, and sandwiched with skits and personal edits, we can’t wait for her to present a special Reggaetoneras set at our late night Counterflows Social.

 

LETITIA PLEAIDES (DJ) 16325468_10158156589260344_22584212_o-1

Very happy to have Letitia Pleiades on the decks as part of one of our late night Counterflows Social. Highly present in the Glasgow scene as an artist, member of dance group G.O.D.S., notorious pop group Fem Bitch Nation and free-noise mongers Thoth, she is also a killer DJ; whose sets sidewind between UK bass, dancehall, house and techno. Totally anarchic and unpredictable, we can’t wait to see what she has in store for us.

Photo credit: Tine Bek

Film screening: A Story of Sahel Sounds (featuring Q&A with director Florian Klaeger and Stewart Smith)

Saturday 8th April 2017 – The Art School (upstairs)

Doors open at 1pm

Venue map | Buy event tickets

 

A STORY OF SAHEL SOUNDS

Delighted to present the UK debut screening of ‘A Story of Sahel Sounds’. The screening will be followed by a Q&A with the film’s director Florian Klaeger, hosted by Stewart Smith (The Wire/The Quietus).

Shot on three continents, this film provides an inside look at Christopher Kirkley’s project “Sahel Sounds” – a blog, record label and platform to explore arts and music of the Sahel region through non-traditional ethnographic fieldwork.

We follow Chris from Portland to Niger, where he meets some of his long term collaborators as well as new artists, such as electronic keyboard wizard Hama, female guitarist Fatou Seïdi Ghali of Les Filles de Illighadad or the real stars of Agadez, Etran de L`Aïr.
On a road trip from the capital to Agadez, the gateway to the Saharan desert, we witness stunning music performances along the way and after figuring out ridiculous Visa-workarounds, Mdou Moctar and his band set out on their very first European tour to excite audiences, while a hairdresser from Tahoua dreams of America, a place where cellphone recordings are pressed onto high-fidelity vinyl discs for the audience of the future.
Not a strict portrait, nor a straight music documentary, a story of Sahel Sounds celebrates the wide range of musical performances of current artists from Niger, while leaving room to reflect on today’s role of ethnomusicology. Still held back by asymmetrical power differentials, but now backed up by an expanding globalism and new possibilities to claim their independence, artists try to reach for success – on stages and on cellphones.
Inspired by Christopher Kirkley’s work, this film also attempts to bridge cultural and geographical distances, offering a new view of Niger and a region that is often represented as a “Red-Zone-Area”.

How far beyond the term “world music” are we by now? Is music culture transnational? And who are the pirates of the desert?

A Carnatic Paradigm – Mark Fell, Rian Treanor, Nakul Krishnamurthy, Nandini Muthuswamy, Sandro Mussida, Dr Shobana Swaminathan and Mysore Vadiraj

Friday 7th April – CCA Theatee

Doors open at 5.45pm

Venue map | Buy event tickets

 

The debut of A Carnatic Paradigm a new multi-channel sound and light installation that responds to the
systems and processes of the Carnatic music traditions of South India. Created and curated by Mark Fell, this event will feature a series of curated performances of new music by Mark Fell, Nakul Krishnamurthy and Rian Treanor and Sandro Mussida as well as a performance by a carnatic ensemble featuring Nandini Muthuswamy violin, Shobhana Swaminathan – veena, MysoreVadiraj – Mridanga.

 

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After last year’s stunning performance by the Carnatic music ensemble to close Counterflows we asked Mark Fell if he would consider creating a new piece that explores the complex systems present in Carnatic music; how those systems relate to creative practices and musical vocabularies; and the correspondences with his own musical methodologies and critical writings on technology.

In November 2016 Mark, Rian Treanor and Alasdair Campbell spent 10 days in Chennai researching carnatic music. this involved meeting musicians, attending temple performances, observing lessons and exploring the basic fabric that Carnatic music is built on.

The focus of the research visit was not to learn to play carnatic music or to take part in cross cultural improvisations, but to carefully examine the structures and methods found in this music and to enter into a mutually supportive dialogue with those active in this tradition.

AC Projects acknowledges the continuing support of British Council and Creative Scotland in the realisation of this project.

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Letitia Pleiades

Very happy to have Letitia Pleiades on the decks as part of one of our late night Counterflows Social. Highly present in the Glasgow scene as an artist, member of dance group G.O.D.S., notorious pop group Fem Bitch Nation and free-noise mongers Thoth, she is also a killer DJ; whose sets sidewind between UK bass, dancehall, house and techno. Totally anarchic and unpredictable, we can’t wait to see what she has in store for us.

Photo credit: Tine Bek

Clara!

Part of a prankster club collective PRR PRR from Brussels, Clara!’s mixtape series “Reggaetoneras” – made up of 100% female MCs and rhythms from the ‘90s up to the modern day – blew us away last year. A snapshot of Clara’s teenage years on the beaches and discos of Galicia, Spain, the mixes are steeped in the imported Puerto Rican sounds and mixes of French DJs such as Kost & Goldfingers or DJ Poska.

Both an excellent introduction to the dembow rhythms which so strongly inform current dance music –  from the mega pop hits of Bieber and Drake thru to the avant output of Arca or Kamixlo – and an expertly curated and researched compilation of music that lies beyond the reach and knowledge of scene outsiders, Reggaetoneras is, most importantly, massive party music. Crammed with a rude drums and hooks levered from major dance hits, and sandwiched with skits and personal edits, we can’t wait for her to present a special Reggaetoneras set at our late night Counterflows Social.

Eva-Maria Houben

Part of the constantly adventurous Wandelweiser collective – home to the likes of Michael Pisaro, Radu Malfatti and Jurg Frey – Eva-Maria Houben creates vast, incorporeal forms from almost nothing – music that lingers long after the last note has dissipated. Born in Germany, she has an impressive history as a composer, theorist, pianist and organist, taking influence from (and further developing) a past canon of unheard moments, stretching from John Cage to the Second Viennese School, to even as far back as Berlioz and Bruckner.

Both carefully nuanced and obsessively singular – her evocative solo piano works have a warmth and beauty to them that stands out beyond the occasionally bare and dry work of her contemporaries. In the words of Ben Harper, “this is living, messy, human music.” Join us a for a relaxed Sunday afternoon piano concert at this years’ Counterflows.

Sue Tompkins

Sue Tompkins is a collector of found phrases, words, and lyrics. Through her typed and spoken works – created by editing, layering, arranging and configuring spontaneous thoughts, random phrases and quotes from popular media – she re-presents snatches of material gleaned from the everyday, distorting meaning by metering their arrangement and delivery. Her work exists both live and in the gallery; where she transfers aspects of her live performance (such as the rhythm, tempo and composition) into two-dimensional works.

We have a been a long-time fan of Sue’s work live, in the gallery and also in her previous group Life Without Buildings, so it we are very happy to welcome her to Counterflows Festival for the first time.

Mark Vernon

Mark Vernon is a Glasgow-based artist whose work exists on the fringes of sound art, music and broadcasting. A keen advocate of radio as an art form, he co-runs Glasgow art radio station Radiophrenia, and has produced radio programmes for stations internationally. He has also published a slew of solo and collaborative music projects through Staalplaat, Ultra Eczema, Entr’acte, 3Leaves, Staubgold and Gagarin Records, as well as a series of small CDR and LP editions on his own meagre resource imprint.

For this special performance at Counterflows Festival, Mark will be doing a live presentation of his newest LP, ‘Lend an ear, leave a word’, released on Graham Lambkin’s KYE label. Composed from field recordings of contemporary Lisbon combined with reel-to-reel tapes and micro-cassettes found at the Feira de Ladra flea market, it is a portrait of time and place – an archaeology of sound. The result of the audio flotsam and jetsam washed up on the shores of low commerce in the flea markets of Lisbon.

Le Filles De Illighadad

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Les Filles de Illighadad are a group that hail from the village of Illighadad in the region of Abalak. They present a curious and original approach to two very different sides of Tuareg music – dreamy ishumar acoustic guitar sessions, and the hypnotic polyphonic tende drum that inspires it. Their intoxicating debut album – out now on the reliably excellent Sahel Sounds – was recorded during long sessions in the sweltering heat of their hometown; a world far away from wi-fi where the suns’ passage, the movement of the animals and the sound of the crickets measures the length of the day.

The two young woman at the core of the group – guitarist Fatou Seidi Ghalia and vocalist Alamnou Akrouni – are proof that the heavily male-dominated guitar music of Niger might be becoming a thing of the past. Their raw, minimal and melancholy-laced sound is something of wonder – and it is a real pleasure to welcome to them to the UK for the first time as part of Counterflows 2017.

ARTISTS          FULL PROGRAMME & TICKETS

Counterflows is a four day celebration of underground music, featuring a wide array of artists bound together by their questioning spirit and refusal of easy categorisation. Whether born out of the likes of so-called DIY scenes, the internet or geographically remote communities, we believe that the underground belongs to a myriad of voices and is best engaged with when we come together, share ideas, break down borders, challenge hierarchies and push boundaries.

The festival will unravel over a selection of carefully picked venues and spaces around Glasgow (with next-to-no scheduling clashes!). We hope to create a space for you to enjoy the music that feels inclusive, anti-elitist and fun, and hopefully in some way feels like an extension of the activity and community at the heart of Glasgow’s own music/art scene(s).

Midori Takada

Midori Takada is a Japanese percussionist whose output over the past 40 years weaves through solo, group and theatrical practices. Her deep quests into traditional African and Asian percussive language are captured on a series of now highly sought after albums including her masterpiece Through The Looking Glass (1981/RCA) and her collaboration with Masahiko Satoh Lunar Cruise (1990/Epic-Sony), both of which will be reissued on Swiss label WRWTFWW in 2017.

In chime with the peak period ambient and Fourth World musics explored by Jon Hassell, Don Cherry and Brian Eno, but born of a distinctly Japanese ceremonial and meditative musical sensibility, her work has a crystalline quality that distills rhythms from around the world into transfixing minimalist dreamscapes.

https://www.youtube.com/watch?v=DWGjYg2LmZQ

The Modern Institute

Mutant undulations from the deep belly of the Glasgow underground, brought to life spontaneously by flickering synths, rolling drums and stream-of-consicous vocals. Their first tape ‘Another Exhibition’ is out now on new Glasgow label Domestic Exile, with forthcoming releases on Night School and Diagonal.

Ashley Paul

Delighted to announce that Ashley Paul will be the featured artist for Counterflows Festival 2017.

Ashley will be performing new work with an exclusive expanded ensemble. She will also be doing a series of intimate solo shows, as well as a one-off collaboration with Berlin-based artist Rashad Becker.

Since 2014, Counterflows’ featured artists have introduced our audiences to new projects and curious collaborations, spanning a wide range of their work. We have always sought to highlight aspects of their practices in new contexts and Joe McPhee, Richard Youngs and Zeena Parkins honed this with a playful vigour that we are proud to continue to the present.

Ashley Paul is an American performer/ composer currently based in London. We were first attracted to Ashley’s work by her striking take on song form; a delicate but utterly focussed tip-toeing between melodic free-form structures and scratching, scraping, clattering sound, bridging the liminal gap between intimate bedroom folk stylings and the unpredictable dynamics of early British improvisation. Despite being schooled in jazz and improvisation, Ashley subverts and re-configures learned practice in a way that feel oddly singular, allowing her to craft an unvarnished and deeply personal form of music.

“Is it arranged? Is it made up on the spot?… sometimes sounds as if she’s got nothing to do with any tradition at all — rather, a songwriter with a diaristic, private and flexible sense of what a song is.” – New York Times

Ashley currently performs solo and in collaborations using an array of instruments including saxophone, guitar, clarinet, prepared strings, bells and percussion, as well as her own voice. A seasoned collaborator, she has played with the likes Thurston Moore, Rashad Becker, Loren Connors, Gavin Bryars, Roscoe Mitchell, Aki Onda, Greg Kelley, Joe Morris, Seijiro Murayama, Bill Nace and Heatsick. She also runs her own label imprint Wagtail, featuring her own music and art and releases by the likes of Olan Monk and Ben Pritchard.

 

Glorias Navales

Delighted to welcome Chile’s Glorias Navales to Europe for the very first time. The group get together regularly in a private space in Santiago to jam out a type of late night campfire trance music, bridging the gap aesthetically and stylistically between Chilean folk music (ala Violeta Parra) and ramshackle post-Velvets psychedelia. Their sound – crafted on acoustic guitars, violin and stomp box – have resulted in stunning releases; ‘Carta a Maureen Tucker’ ETCS and ‘Cofradia Nautical’ on Graham Lambkin’s KYE label. Join us for a raw, unvarnished walkway straight into heart the of the contemporary Chilean underground.

Farmers Manual

Farmers Manual are a radical electronic and visual arts group formed in Vienna in the early 1990s. The group are renowned for their ‘chaos-particle-accelerating’ computer music, released on electronic music labels such as Mego, TRAY and OR. The group’s live events are often described as ‘anti-performances’ – long drawn-out domestic happenings, featuring members of the group playing and improving on various software programmes.

After a 10 year hiatus, Russell Haswell brought the group back in 2016 to perform outstanding shows at Cafe Oto and at Atonal Festival Berlin. This will be a rare chance to catch the group live.

“the farmers manual collective represents media art at its most anarchistic”. Anton Nikkilä

Olimpia Splendid

Olimpia Splendid sound a bit like all our favourite guitar bands rolled up into one. Made up of three woman at the beating-heart of the Helsinki art and music underground – Heta Bilaletdin, Jonna Karanka and Katri Sipiläinen – they make wiry, hypnotic and out-of tune DIY punk with guitars, bass and a drum machine. Reliably brilliant weirdo imprint Fonal Records released their debut 7” ep in 2013, which was followed by a full-length debut in July 2015.

“This wonderful Finnish trio sound like Royal Trux, The Dead C and the troublemaking witches from Macbeth, stirring their pot with grease and glitter (…) Party music for the tipping point before things get messy.” – The Wire

Svitlana Nianio

We first discovered singer and multi-instrumentalist Svitlana Nianio’s music on the aptly titled ‘Music The World Does Not See’ – a small compilation of Polish and Ukrainian artists from the 1990’s with deep roots in Slavic folk traditions, as well ear for the avant-garde. Described as “deeply rooted in primeval myths, creating a world of magic realism” Svitlana’s music pushes ancient Ukrainian folk music in haunting and unpredictable directions, whilst retaining a tender minimalism at its core.

Svitlana still makes music to this day, but has a long history in the Ukrainian underground; as member of her ЦукорБілаСмерть (Cukor Bila Smert’), in solo projects or collaborations. We believe her work is deserving of more people’s ears, so it is a pleasure to welcome her to the UK for the first time for this edition of Counterflows.