Doors 3:30 | music 4pm | entry £5
Santiago, Chile 1993. Graduated in Music Composition from Pontificia Universidad Catolica de Chile, she has had several profesional premieres of her work such as: ‘Anuari’ for Orchestra at the Netzahuacoyotl hall (Mexico City, 2014) or ‘Un puro en el Bellas Artes’ for classical guitar (Valparaiso, Chile) in 2016. She has also composed for some theatre plays such as ‘Bariona, Or, The Son of Thunder’ written by Jean-Paul Sartre, and ’Alegria’ written and directed by Roxana Gomez. As a cellist, she has had formal and informal education since the age of 12, becoming familiar with various kinds of repertoire. She’s part of the London Improvisers Orchestra and has played in several improvisation gigs in London and Chile. She has recently finished her Master in Music Composition at King’s College of London and will soon continue with her PhD studies.
Neil Metcalfe has been active on London improvising scene since the 70s. He has played with, among many others: Evan Parker, Roscoe Mitchell, Paul Dunmall, Lol Coxhill and Tony Marsh and was a member of the Spontaneous Music Ensemble, considered by many to be the flagship European Improvising Ensemble.
Georgina Brett’s music is created using her voice and effects pedals, creating instant choirs of sound, often in an hypnotic style. The point of this music is not only to captivate with extraordinary timing and melodic style but also to help the listener to relax, in our ever-increasingly distracted world. Her double album Nonsense A and Nonsense B is of purely vocal works with no ‘deliberate’ words or lyrics. The albums show the voice as an instrument, and as a vehicle for emotional expression. “So much music is made in order to make us feel something so as to manipulate us to buy or to follow.. this album lets your thoughts be whatever they want to be.” The albums also play with the idea that we like to interpret, constantly listening for meaning instead of just listening. Georgina’s music adheres to some avant-garde principles using harmonious parameters, instead of the more dissonant style of it’s post WWII exponents. Georgina’s music is also gradually becoming a great vehicle for more experimental work, delving into expressive work which plays with the rich world of the media, politics, history, using matrices, semiotics and phonetics.
As a composer and sound artist, Douglas has been involved in various audio genres since the late 1980s, performing at many institutions/venues in the UK (Bristol’s Arnolfini, London’s Science Museum, Cafe Oto, Tate Modern, The Roundhouse, ICA and Glasgow’s CCA), festivals worldwide (Mutek, Synch, Transmediale) and had installation work in numerous UK galleries (Inc. London, Swansea, Gloucestershire and Essex). After many electronica releases in his ‘si-cut.db’ and other guises, in the past decade he has focused on acoustic improvisation and installations, using field recordings, classical instruments, vocals and children’s toys. As well as often playing with the London Improvisers Orchestra and Confront Recordings/ Mark Wastell’s The Seen collective, his regular collaborators include Blanca Regina, poet Tamar Yoseloff, Angharad Davies, Lina Lapelyte, Steve Beresford, Adam Bohman, Clive Bell, Mandhira De Saram, sculptor Rob Olins, as well as – in the past – pop group Saint Etienne, Jem Finer, Momus, Rod Thomas (Bright Light Bright Light), Scanner, Stephan Mathieu and Andrew Weatherall. He was also co-curator with Iris Garrelfs, established in 1996, of Sprawl audio events in London for over 12 years.