Since their inception 20 years ago The Remote Viewers have released 14 albums of genre-defying music that melds free-improvisation with song form and suite-like compositions, and they conjure up an overall feeling of listening to a soundtrack to an as yet unmade film.
The group has been a mutable beast over the years, but saxophonists Adrian Northover and David Petts have been present as core members throughout. They are joined in the trio version of the group by John Edwards, whose energy and inventiveness on the double bass never fails to impress.
They have a new CD called Last Man in Europe that is released to coincide with this tour, and will be playing all new compositions on the night.
Peter Pick: saxophone Ade Fettucini: guitar / clarinet Tom Roberts: bass James Parsons: drums
The Wildcard Quartet
Gus Garside: double bass Clive Craske: percussion Al Strachan: cornet / electronics Monty Oxymoron: piano / drums
Jennifer Allum is a violinist specialising in improvised and new music. Based in London, Allum studied at York and Goldsmith’s universities, and was a long time attendee of Eddie Prevost’s weekly Friday night workshops. She has a few recordings available, all on Matchless Recordings, the most recent of which was a duo with cellist Ute Kanngiesser, which was recorded in the Bell Tower of Hackney. http://www.jenniferallum.info/
David Toop is a musician, author, professor and Chair of Audio Culture and Improvisation at London College of Communication.
He has published five books including Ocean of Sound, Rap Attack and Sinister Resonance. His first album, ‘New and Rediscovered Musical Instruments’, was released on Brian Eno’s Obscure label in 1975 and he has collaborated with artists ranging from John Latham, Bob Cobbing, Carlyle Reedy and Ivor Cutler to Rie Nakajima, Evan Parker, Max Eastley and Akio Suzuki.
Diana Policarpo is a visual artist and free composer based in London and Lisbon working in drawing, score, sculpture, performance and multi-channel sound installation.
Her work investigates power relations, popular culture and gender politics, juxtaposing the rhythmic structuring of sound as a tactile material within the social construction of esoteric ideology.
She creates performances and installations to examine experiences of vulnerability and empowerment associated with acts of exposing oneself to the capitalist world.
As well as working on solo projects she often collaborates and has recently made live performances with Scratch Orchestra, Hákarl, Áine O’Dwyer, AAS, Cabiria, Erinyes and The Orchestra of Futuristic Noise Intoners.
Hákarl is the solo project of musician/writer/moaner Kev Nickells. Professionally he does something or other to do with computers, whilst moonlighting as cyber janitor for Bang the Bore. A hired improv gun in the UK scene, musically situated somewhere in the region of late-period Alfred Schnittke and the free-jazz of Albert Ayler. Easily wound-up, which doesn’t necessarily make his time-keeping any good. Hákarl is interested in exceptionally long gigs (viz., disestablishing material-fetish music) and has played with Diana in a couple of these in London and Brighton.
Tania Chen and Ingrid Plum
“Some Like it Hot” is a music theater piece by Tania Chen with electronics by Ingrid Munk Plum & Tania Chen
TANIA & INGRID
as did Marilyn Monroe
Some Like it Hot flirts with universal thoughts on beauty, senses, sensory pleasure in all its glamour, darkness, erotic and seductive power through time, sound, words, visual imagery.