Music : CRUSH !!! Mark Browne / Sonic Pleasure / Paul Twine / Nini Sakhri. Sunday 26th June 15:30

CRUSH !!! Mark Browne / Sonic Pleasure / Paul Twine / Nini Sakhri

Doors 3:30 | music 4pm | entry £8

To the memory of one that finished the trIANgle, a gIANt of a musicIAN and wonderful human being. Ian MacGowan.

Sonic Pleasure’s instrumental set-up is ‘masonry and tools’ and she has dominated this niche since 1999 always maintaining a smashing sound-world and a painstakingly orchestrated barrage of sparks and debris reducing much of her instrumentation to dust by the end of a concert. In this field she has recorded, performed and loved working with Mick Beck, Derek Bailey, Alex Ward, Tony Bevan, Simon Fell, Lol Coxhill, Matt Wand, Jude Cowan Montague, the Bohman Bros and other spectacular musicians. Sonic Pleasure, aka Marie-Angelique Bueler, composer / improvisor, (b. 1975) has studied with Martin Butler, Michael Finnissy, Jonathan Harvey, Nicola LeFanu and others. Her performances / recordings include Dust Parade (for orchestra) and Refry (solo accordion). Sonic has composed scores for every imaginable combination of instruments, steeped in the style of the late C20th with strong hints of the US sound inventors. Her work has featured on Resonance FM and on BBC Radio 4.

Hassina Sakhri is an electroacoustic artist creating visionary soundscapes that are both healing and contemplative, drawing from intuition and the intellect. Her works strike a balance between control and improvisation. She is an active member of Oxford Improvisers, a collective of over 30 musicians promoting the performance of improvised music and the culture of listening and dialogue in the performance of improvised music. Her latest track ‘Chants Poètique’ has been podcast on Resonance FM. Hassina has experimented with many musical genres, including Gregorian chants, pop, punk, rock and jazz. This work garnered her recording deals in Japan, Belgium, and the UK. Hassina is a partner in a new music label “Observance Records” focusing on alternative music.

Mark Browne: (saxophones /collected objects):
Playing saxophones in an improvised music context since the early 1980s. 1983-86 playing with Cockpit Improvised Music with Adam Bohman, Jonathon Bohman, Richard Crow, Nick Couldry, Paul Bevan and Teddy Coleridge. An occasional member of Conspiracy with Adam Bohman, Andy Hammond, John Telfer and Nick Couldry. 1984-2009 duo with Steve Nash (The Fanatics Of Disaster/The Fastidious Amateurs Of Grief). 1994 performed in Denmark as a guest of Martin Klapper. Introduced into the London Musicians Collective in 1991 by Lol Coxhill. Concerts with Lol Coxhill throughout the 1990s. Around 2000 changed instrumentation to incorporate collected objects (small percussion, bowed objects, bone, glass and game calls) and attended the first Eddie Prevost workshops. 2006-13 member of the Roland Ramanan Tentet. 2007-2012 guitar and saxophone with the Alpha Males. 2010 formed Crush!!! with Sonic Pleasure and Ian MacGowan. 2015 – present recording and performing with Lust Rollers and Rack Screams. 2017 touring and recording as Nostalgia Blocks with Richard Sanderson. Recorded 4 editions of the 52 Noisy Little Clouds (a set of 52 unique recordings packaged with artwork). August 2018 – played in Mopomoso’s Fete Quaqua festival. Chair of Oxford Improvisers since 2020.

(Mark Browne is a saxophonic symbolic system of soprano, alto and sopranino. His metaphor exists in the terrible deaths of dog-toys, cockpit, Cockshill, Coxhill music Bohman, Bohman, Crow. In the fetishisation of vibrations on copper. His instruments are coerced in a sault-somer of malapert systems. He works within a fine power-mesh that destroys the puritanicaldynamics of accepted sound. A fanatic of disaster. A fastidious amateur of grief. A Great Masturbater. He destabilises both the physical and psychological through his art. Foryour entertainment, the hermit emerges from his grotto, cheap suited, to bite the helpless hand of his benefactor. Prevost points of intersection are made to challenge the regimes of noise orthodoxy, through rutting antlers and Porphyria’s asphyxiation. Music is not privileged here; it is the interaction of hand on duck-call, copper drum, flowers of saxophone and breath-beats that underlie his rejection of homogenised sound ideologies and the alpha male collection of objects. Pluralism is encouraged and embraced in Mark’s work – it is not clock-work it is dureé. A pulsing bricolage of bark-rips and gusset-faced machinations. Crush!!! Crush!!! He is a beautiful, erratic, liberating anti-Enlightenment machine. A gentleman of genial decay in the pit of sartorial inelegance. The visual and aural challenging of the legitimate is foregrounded here. You will find the development of your critical learning consciousness aflame as such ruined finery. As with all defiance, soprano and sopranino destroy the blowing syntax and all is readily free as the folding of the 53rd noisy little cloud. Defy stasis and rigidity! Lust rolling, Mark is a riff-hope-shy, bed singing with a clear now-self. Consume him imaginatively and break down your structural causality once and for all, adjusting the windows in the loneliness of your car so that the wind whistles through at an ill-defined pitch. (noted an observer).

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