Structured Disasters: Apocalypse Now, and that’s an order. Saturday 17th June 7:30pm

Structured Disasters Presents:

Sharon Gal/Spinecakes/Aylwin
Matt Cargill
Lust Rollers/Spasebar

Door 7:30 | performances from 8pm | £5 / donation 

Lust RollersMark Browne: (saxophone /collected objects):
Mark Browne picked up a saxophone in 1980 first playing alto and then soprano and sopranino (affectionately referred to as the castrata and piranho saxphones). 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-present duo with Steve Nash (The Fanatics Of Disaster/The Fastidious Amateurs Of Grief). 1994 performed around Denmark as a guest of Martin Klapper. Throughout the 1990s occasional concerts and recording with Lol Coxhill. Late 1990s changed instrumentation to incorporate collected objects (small percussion, bowed objects, bone, glass and game calls). Attended the first Eddie Prevost workshops. 2006-13 member of the Roland Ramanan Tentet. 2007-2012 guitar and saxophone playing with the Alpha Males. 2010 formed Crush!!! with Sonic Pleasure and Ian MacGowan. Recent recordings: Malapert and Erratic, The Prejudices Of History, The 1926 Floor Polish Variation (Browne/Sanderson/Thompson) for Linear Obsessional and Genial Decay a solo saxophone recording for Confront. 2015 – present recording and performing with Lust Rollers with Dan Gregory and with Spinecakes (Mark Gerrard). The 4th Edition of the 52 Noisy Little Clouds (a set of 52 unique recordings packaged with artwork) commenced in August 2016.

Lust Rollers Dan Gregory (Junk/Snare):
Dan Gregory (born 1938) comes from the Eastend of London. Before finding salvation in music he had performed many and varied jobs, most noticeably as high end “bit of rough”, offering various types of unethical massage to woman of “a certain age” at a very reasonable rate. A chance meeting with Spinecakes whilst escaping the boudoir of a high profile mistress secured the musical association. Lengthy periods of unnecessary self-indulgence resulted in the him hanging out with Moore and Curtis on the set of the Persuaders. Negotiations for the Persuaders film soundtrack came to nothing. In desperation Dan has recently returned to his Eastender routes and has taken up market trading specialising in East Asian hedge funds and illegal Japnoise vinyl.

Sharon Gal is an interdisciplinary artist, performer, experimental vocalist and composer, with particular experience of free improvisation and collaborative group compositions. Her work relates to sound, architecture, live performance and participatory art, exploring the psychology of sound and its relationship with space.
Sharon performs solo and on-going collaborations with David Toop, Steve Beresford, Phil Minton, Alex Ward, Yoni Silver and Andie Brown.
She also directs a series of participatory compositions/performances, examining the inter-relations between people and place. These pieces are site specific; evolving collaboratively and inviting participation from the public. They offer artistic engagement, play, and creative exchange, as a means to learning and bringing together, presenting a democratic space and collective ownership. L’esprit d’escalier – for voices in a staircase, Toy Orchestra – for children and adults, Room to Breathe – with balloons & music, Long Drone – for a large ensemble of various instruments, Gals with Guitars – for female guitar players, and Sound Out – for a large group of voices in a public space.
Sharon is a co-founder of Resonance 104.4 FM arts radio.  Her music was released by various labels; The Tapeworm, American Tapes, Ash International, A Silent Place Records, Chocolate Monk, Emanem Records, Ecstatic Yod , Paradigm Records , My Dance the Skull and Wild Silence. She performed in the UK & internationally including: Colour Out of Space Festival, Borealis Festival, ICA, The V&A, Science Museum, The Whitechapel Gallery, Arnolfini Gallery, Tate Modern & Tate Britain.

Spinecakes (Mark Gerrard) born in 1921, starting life as the seventh son, of the seventh son of some minor English Royals. The silver spoon of this low ranking toff extended to a boarding school education, holidays in the South of France, and many introductions to various types of turpitude. Fast running out of funds in the early 80s and becoming notorious after alleged liaisons with both Jerry Hall and Jade Jagger in the 90s, Mark was required to reluctantly embark on a career in music. Having no other talent than an unnerving awareness of natural occurring magnetic fields, his chosen area of expertise was to become a practitioner in lo-fi electronics. Further disassociation with his past was achieved with his nurturing of the young Dan Gregory into his realm of debasement.

Aylwin (Junk and cheaply purchased tat):
A vinyl fetishist of the most dubious nature, Aylwin resists description, being neither animal, vegetable or mineral. What similarities he displays with the rest of humanity is purely illusionary, if not superficial. A purveyor of a world that rips sounds from the ordinary: caressing tones from scraped crockery, tinkles and jangles from broken glass, rasps and crashes from a metal shelf or junkshop ornamental artefact. A refined ear for the sonic possibilities of rubbish and junk coupled with a larger than life performance persona. However, there’s little point in predicting the instrumentation for a concert (or any other aspect of the performance). Much will be gathered on the day, some objects may be salvaged from the bloody remains of a previous concert. And there will be blood. Aylwin is as out of control as an undesirable virus.

Matt Cargill – much cassette manipulation, live looping and footpedaling from Sly & The Family Drone impresario.

Spasebar (SquidCore):
An absence of traditional schooling, child prodigy Alec was exhibited by his father Leopold around all of the major European cities before the age of 5. The trauma of the freakshow lifestyle and being under the public gaze for so many years took its toll on Alec who for some years after became reclusive and unwashed. Abandoning his early heroes, Nick Drake and Howard Hughes, he developed the persona of a be-suited street gangster, stubbing cigarettes out on his forehead was a regular act of defiance. His character became even more slippery, as he developed a morbid taste for home grown foie gras and the ritual killing of baby animals.

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