Performances by nonfictional and Rotten Bliss. Sunday 2nd December 15:30-18:00

nonfictional present their only 2018 performance at Hundred Years Gallery, with a performance by special guest, the amazing Rotten Bliss.

A rare opportunity to see a live performance by nonfictional, a quartet comprising Maggie Turner (vocals), David Hunger (guitar), Ravi Low-Beer (percussion) and Nick Doyne-Ditmas (double bass and trumpet). Songs that are intense, hypnotic, violent, melodic and full of space. Ritual improvised psychodrama – in D.

nonfictional : facebook page

Rotten Bliss is the violent, warm and weird visions of London based avant-garde cellist and vocalist Jasmine Pender. Equally inspired by the wild physicality of Jacqueline du Pre and the shrieking glory of a cello played through FX pedals, Rotten Bliss explores the outer limits of the electric cello, fearlessly clashing hauntology, minimalism and folk horror with noise and art rock. Using various extended techniques, an ever-expanding chain collection, toe-operated devices and hand-made FX, Jasmine commands the audience through an elemental voyage, summoning nihilistic sailors and amorous fishes with her “unsettling and beautiful vocals” (Misfit City).

Rotten Bliss has toured England, France, Germany, Austria and the Czech Republic. She has appeared at international festivals including donnaufestival (Krems, Austria), Supersonic (Birmingham, UK) and Do Disturb (Palais de Tokyo, Paris). Rotten Bliss recently performed at the closing night of Mariainsel, an island built by artists for Austria’s 6th Wasser Biennale.

The first album by Rotten Bliss, The Nightwatchman Sings, was released in October 2017 on the Reverb Worship label; the second release, Is there Glass on Neptune, followed in early 2018 on a compilation produced by iconic New York independent freeform radio station WFMU. Jasmine is currently working on the second Rotten Bliss album, Throb, to be released in early 2019.

“coarse and beautifully heavy songs… Pender’s tracks [betray] hallmarks of folk, metal and classical without subscribing to any particular tribe”
(The Wire Magazine, July 2018)

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