Music : Phil Durrant / Levente Dudas / Kate Carr / Matt Atkins. Friday 5th May 19.30

Phil Durrant – electric mandolin & electronics
Levente Dudas – electronics
Kate Carr – objects, and field recordings
Matt Atkins – objects, percussion, cassette recorders

An evening of electro acoustic improvised music featuring various combinations

Doors 7.30 | music 8pm | entry £8 cash

Phil Durrant : Born near London in 1957, Phil Durrant is a multi-instrumentalist improviser/composer/sound artist who currently performs solo and group concerts. As a violinist (and member of the Butcher/Russell/Durrant trio), he was one of the key exponents of the “group voice approach” style of improvised music. In the late 90s, his trio with Radu Malfatti and Thomas Lehn represented a shift to a more “reductionist” approach.

Recently, he has been performing solo and duo concerts with Bill Thompson, Mark Wastell, and Gaudenz Badrutt using either a semi-modular synthesizer system or a system utilising amplified objects & electronics.

As an acoustic or electric mandolinist, he has been performing duos with guitarists Martin Vishnick, and Daniel Thompson. He also performs in trios with Maggie Nicols and Emil Karlsen, Olie Brice and Andrew Lysle as well as Marjolaine Charbin and Jackie Walduck.

Durrant still performs regularly with the acoustic/electronic group Trio Sowari (with Bertrand Denzler and Burkhard Beins) and Mark Wastell’s The SEEN as well as the international electronic ensemble MIMEO with Keith Rowe, Kaff Matthews, Thomas Lehn a.o. With Mark Wastell, Steve Beresford and David Toop, he is involved in a new audio/visual project celebrating the work of the celebrated Scottish artist, Alan Davie. +

Levente Dudas is an improvising electronic musician, originally from Backa Topola, a small town in former Yugoslavia, now northern Serbia.
‘The qualitative breakthrough in how I understand and perceive music and sounds, what I was seeking in music and what I would eventually like to create and get involved with, came from several other and quite independent sources and authors: Arnold Schoenberg’s orchestral music, “2001: Space Oddisey” soundtrack, Tangerine Dream’s Zeit and Jan Garbarek Group’s Aftric Pepperbird, Iannis Xenakis’ Persepolis – all stunningly interesting and misterious and exciting in their own ways’.

Kate Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico. She works across composition, installation and live performance and runs the sound art label Flaming Pines.

Recent commissions include: New compositional work for the Coventry Biennial, BBC Radio 3, and a live performance for Listening to Place at the Barbican, a short film for Yarmonics Festival, as well as the ACE-funded installations Under Construction, TACO Gallery and Ascending composition No 1 for Air Matters, Waterman’s Gallery.
Her work has been featured in The New York Times, The New Yorker, The Wire,  Pitchfork and Fact Magazine among many others, and has also been played on the radio on stations ranging from various channels of the BBC, to independent stations in Estonia.
Carr regularly performs throughout the UK and Europe, with recent notable performances taking place at the Barbican, Tate Modern, Whitechapel Gallery, Cafe Oto, Instants Chavires (Paris) and AB Salon (Brussels).
Her music can be found on the labels Helen Scarsdale (US), Hasana Editions (Indonesia), Rivertones (UK), Longform Editions (Australia) Galaverna (Italy) as well as on her own label Flaming Pines. Kate Carr is Australian, and lives in London. +

Matt Atkins is a London based sound and visual artist whose principle interests are reductionism, chance, repetition and texture. He uses objects, percussion instruments, occasionally a laptop and cassette recorders to create sound collages in both the recorded medium and live, often in collaborative performances.

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