Richard Scott – viola, mandolin, objects
Tapiwa Svosve – alto saxophone, objects
Samuel Rodgers – piano, objects
Richard and Tapiwa have been playing as a duo since they met in 2014 and have collaborated with a wide variety of musicians, individually and together, including Eddie Prévost, Phil Durrant, Christian Weber, Mark Sanders, Rachel Musson, William Parker, Hamid Drake, Carlo Costa, Silvan Schmid, Sarah Farmer, Joe Wright and Samuel Rodgers. Samuel has recorded Richard and Tapiwa playing together on two occasions, but this will be the first time they play as a trio.
ergod released their debut album, Macrotonality, on their own label, Physical Correlate, in December 2018.
Samuel Rodgers is an artist and musician whose practice encompasses performance, composition, installation and phonography. Working primarily with prepared piano and metal and glass percussion, Samuel’s performances explore a haptic relationship with materials, playing with the weighting, balance and micro-adjustment of objects and the consequent effect on the morphology of sound. Samuel is a member of contemporary music group the Set Ensemble, and co-curates the Consumer Waste record label.
Richard Scott is a musician and visual artist based in Birmingham, UK with interests in pattern, liminality and varying modes of perception and control. His musical activities are split between improvising, composing and performing contemporary scored music and playing traditional Scandinavian music for dance.
Tapiwa Svosve is a Swiss-Zimbabwean saxophonist living in Zurich. He plays various musics, with various people, and is a founding member of the Gamut Kollektiv. He holds a BA degree of music from the Zurich University of Arts, failed to live in London after a short period and started to make drawings again.
Kev Nickells: violin
Chris Parfitt: wind and electronics
Al Strachan: cornet, electronics and objects
PSANCK have released a CD through Chocolate Monk and are currently working on their second.
“Perambulations, hitherto: procedures of coping, or cobalted errata. Blanched mouldy harmonic relations. File under: improv, but your Mum might find it tolerable.”
Line-up coming soon
Andrew Lisle: drums
Dirk Serries: electric guitar
Colin Webster: alto and baritone saxophone
“These musicians are far too talented to simply go hell for leather or indulge in macho noise grandstanding. Instead, their noise-making has an intricacy and control while still sounding spontaneous and raw. Webster tends to avoid the obvious low end raunch of the baritone, using its sheer physicality to lend force to high register squalls and breath effects. His introduction of the alto sax halfway through the third side is an unexpected delight, as he embarks on a bright, Eastern European tinged solo over some of Lisles’s most energetic and inventive drumming. The long drones and deconstructed funk of the final side bring further evidence of this trio’s resourcefulness and imagination.” The Quietus – UK
London based saxophonist Colin Webster is quickly establishing himself on the European avant garde scene. Working with a broad range of collaborators, Webster is known for working from extreme sonic palettes – from minimal to maximal, constantly pushing boundaries. Webster first worked with Serries on the landmark ‘Endless Voids’ performance led by Dead Neanderthals at the 2014 Incubate Festival. Since this initial meeting, the two have worked on different collaborations both live and in the studio, a number of these encounters involving the drummer Andrew Lisle.
Also based in London, Andrew Lisle’s quick and highly textural playing is making him highly in-demand in the fertile improvisation community. In turns both propulsive and abstract, Lisle has worked with a number of key UK-based improvisers including Alex Ward, Daniel Thompson, Seymour Wright, and also plays in Roland Ramanan’s Tentet, and punk-improv band Shatner’s Bassoon.
Dirk Serries – curator of the A New Wave of Jazz label – is hardly your average improvising musician. Even though the man has a fondness for the classic free jazz of the sixties and seventies and the current updates, his own talents lie elsewhere. As a master of texture, a skill which he’s been able to forge and refine for more than 30 years (as vidnaObmana, Fear Falls Burning, Microphonics, with collaborative projects and, more recently, under his own name), he has always been involved in the more abstract, or sound-oriented wing of experimental music. Serries is now less reliant on his trademark effects and loops. A new ‘naked’ language that veers from gentle strumming to scribbling, pointillism and occasional outbursts of disjointed howls. Pulling from his great experience in the worlds of ambient and industrial music, as well as from masters like Derek Bailey, Serries’ approach is improvisation that relies purely on his relationship with his electric guitar, prepared or not.
Kodian Trio … blast through five tracks, mashing free improv clicks and clatters with free jazz-inspired hoots and hollers, all wrapped up in a waistcoat of gimlet-eyed punk attitude.
– Paul Margree, We Need No Swords
Plus support TBA
Plus The Wildcard Quartet