The student-led label IDSpectral will be hosting a showcase this thursday 11th of April, 6-10pm GMT at Werks Central in collaboration with Casa Creativa. Expect a range of sounds, frequencies and vibrations by our students with live performances by Vince Vanity, Cyphon, Luke Vosper and Winnipeg, MN.
Louis Sterling will have his debut record ‘Adisceda’ released on David August’s 99CHANTS label on April 12th.
‘Adisceda’ takes the form of an act of remembrance, and all the joy and sorrow that can bring. Gloriously deep ambient electro-acoustics that you can get lost in.
Listen to the track ‘The Black Gate to Utopia’:
Listen to Olivia Louvel performing a live set at Resonance FM’s “Hello Goodbye Show” presented by deXter Bentley, aired on Saturday 16th March 2019.
Lunatraktors – Black Raven
Rip, Rig & Panic – The Blue Blue Third
Mark Springer – Teatro Castagnoli di Scansano II
Olivia Louvel – Langside 1568 (LIVE SESSION)
Olivia Louvel – Deploy (LIVE SESSION)
Olivia Louvel – The Veil (LIVE SESSION)
Olivia Louvel – Battlefront (LIVE SESSION)
Olivia Louvel – February 8th 1587 (LIVE SESSION)
Olivia Louvel – ‘interview’
Agathe Max – Rêves Perdus
Misha Gray’s Prehistoric Jazz Quintet – Colossus Of Rhodes
The Comet Is Coming – Summon The Fire
Map 71 – Gyrate Formidable Receptors
Robert Sotelo – Bronte Paths
Hygiene – Holloway Road
ILL – Bus Shelter
Presented by deXter Bentley
Live sound engineers: Julian Sander, Nick Cron, Girish Rambaran & Pip McKenzie
As part of the International Women’s Day 2019 campaign to #BalanceforBetter, Sound and Music showcase the profiles of 31 composers and their unique contributions to composition in the UK. Alumni Akiko Haruna and Guoda Dirzyte, current student Jade Gunner and DMSA Course Leader Dr Maria Papadomanolaki are profiled in the showcase that is part of the online archive of British Music Collection.
British Music Collection provides unparalleled access to the modern history of composition in the UK. Established in 1967 as a means for contemporary composers to deposit scores and recordings for performers to access, it now consists of almost 70,000 works and recordings from over 3000 20th and 21st century composers and sound artists.
The value in the collection is undeniable – providing access to over 50 years of contemporary composition – but it’s not without fault. The underrepresentation of female composers, or those who identify as female, across the original collection is stark, and a reminder of the progress that has been made, and must continue to happen, in and across new music.
Much of the British Music Collection now exists here online, and this provides a great opportunity to readdress this imbalance and the original aim of the collection: providing access to the work of contemporary composers.
Next week’s masterclass is by Caleb Madden, multi-disciplinary artist and current PhD researcher (Creative Sound & Music Research Group) at the University of Brighton.
Caleb Madden is a multi-disciplinary artist who works at the intersection of critical theory and art to create audio-visual installations and performances. He is currently undertaking an PhD at the University of Brighton looking into the critical affordances of noise art practices. He is a founder member of the sonic arts collective The Spirit of Gravity, produces a monthly radio show for Resonance Extra, and is an interdisciplinary curator/programmer working both on the national experimental music network OUTLANDS and independently. He has performed and exhibited internationally at venues such as Clockenflap Festival in Hong Kong and Le Liue Unique in Nantes, France, and across the UK including Tate Modern, The Roundhouse, Fabrica Gallery and the De La Warr Pavilion.
About the session
The session will begin with an overview of my practice, focusing on relevant key works. The use of digital sound techniques will be examined through a discussion focusing on the interplay between the sonic and extra-sonic elements present in specific pieces. Various methods for the creation of sound will be explored, including the use of electro-magnetic pick-ups, circuit bending, glitch tactics, and video processing techniques. Ultimately, these experiments in sound will be grounded within a wider conceptual framework which attempts to consider the political agency of noise.
This month we talk to Hannah Kemp Welch who grduated from the course in 2009. Hannah has been working as a social practice sound artist, working collaboratively with communities, educators and artists. Hannah has worked with communities across the UK, and shown works at Tate Modern, Middlesbrough Institute of Modern Art, Firstsite Colchester, and Nottingham Contemporary; Hannah is currently the Open House artist in residence at Kettle’s Yard, Cambridge.
DMSA: Where do we find you now?
HKW: I’m currently at Kettle’s Yard, the University of Cambridge’s modern and contemporary art gallery, on a year long residency . I’ve chosen to focus my research on early developments in radio in North Cambridge by the Pye Group, and create radio art works with local community groups, culminating in a day of broadcasts on the local radio station and a display at the gallery opening in March. I also run a music project in Brixton for people with mental health needs, creating new routes into music education, so that people in challenging circumstances can access quality music production spaces, equipment and resources.
DMSA: Three important words that represent you as a creative person
HKW: Social, committed, active.
DMSA: When did you start working with sound and music?
HKW: I’ve been running a community music project since 2013, and working on sound art commissions since a couple of years after completing my MA. I spent a year after university interning in art galleries, and then worked at Tate for 5 years on an action research project. This was great experience; I learnt about the variety of careers in the arts and grew my networks until I started to get commissions. I’m now a freelance artist and work on a variety of residencies, commissions and education projects.
DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?
HKW: The DMSA course was my first introduction to sound art, a field I now work in. It offered an entry point, inspiration, and a space to experiment with ideas alongside support and guidance to create work. I learnt a lot of methodology, and was directed to artists and writers whose ideas were very influential in forming my work and values. I’ve stayed in touch Kersten Glandien, who has been very supportive of my work since supervising my dissertation 10 years ago.
DMSA: Can you tell us a bit more about Vanguard, your recent project for Art Gene?
HKW: In November 2018 I was selected for a residency in the Cumbrian town of Barrow-in-Furness, and lived and worked with ten artists to create new works in response to the local area. Barrow is famously where BAE Systems build nuclear submarines. As I’m vice-chair of the London branch of Campaign for Nuclear Disarmament, I felt a pull to make work about this controversial industry, yet was aware that a high percentage of Barrow residents are employed by BAE, so any response must be highly sensitive to the context. My work in Cambridge on the Open House residency programme had put me in touch with amateur radio operators, so I found a local meeting of Furness Amateur Radio Society and asked members questions about submarine communication systems. I interviewed local residents, recorded sounds of the docks, and attempted to listen to submarine transmissions via VLF, compiling my recordings into an audio work. The residency ended with an exhibition at Art Gene, and I made a zine to sit alongside the sound work with images and texts drawn from my research.
DMSA: Other plans for the future? projects, events, visions?
HKW: I’m working on a few other projects at the moment, delivering sound art workshops for October Gallery and contributing to a publication on arts education for Tate and TENT Rotterdam. An 8-channel sound work I created with my collaborator Lisa Hall is on display at Sound Reasons festival in New Delhi [and soon to be included in a series of concerts at London College of Communication, UAL. I’m preparing for Hyperlocal Radio , my display at Kettle’s Yard and takeover broadcast on World Radio Day. I’m also delivering lectures at Goldsmiths and for the V&A in February, and hoping to help out with Soundcamp in London on International Dawn Chorus Day in May.
Past this, I’m really keen to develop social practice sound art, seeing a potential to introduce new people to artistic audio production and a need to make sound art accessible and culturally relevant outside of the framework of institutions. I’d love to set up a sound art education studio, or work in a collective of social practice artists. Ideally, I’d like to spend as much time as possible on residencies, learning about new spaces and sharing ideas through sound.
The first Professional Practice Masterclass for 2019 is with Hannah Kemp Welch on Monday 14th January, 4:30-6, Performance studio.
Hannah Kemp-Welch is a social practice sound artist, working collaboratively with communities, educators and artists, to listen to the world around. Using a range of strategies such as sound recording, audio interventions, broadcasts, performance and digital making, works explore communication and ask how do we listen? and who can be heard?
Hannah has worked with communities across the UK, and shown works at Tate Modern, Middlesbrough Institute of Modern Art, Firstsite Colchester, and Nottingham Contemporary; Hannah is currently the Open House artist in residence at Kettle’s Yard, Cambridge.
This session will focus on setting up as freelance artist, working with large and small institutions, and packaging your practice for residencies, commissions and open calls. Within this, there’ll be focus on socially engaged practice and community arts, exploring current debates in arts education. Students will gain insight into the value of collaboration and knowledge exchange with community groups and we’ll discuss strategies for engaging new audiences with sound arts.
20:00 | Fri 11 Jan 2019
All That Scratching Is Making Me Itch is a en event curated by Stephen Mallinder featuring films by our students Aki Purser, Jedd Winterburn along with a fine selection of Scratch Video films, live music and more.
Two of our Level 5 students have received awards for their outstanding performance on the course as part of University of Brighton’s annual Student & Staff Celebration Event.The event is an opportunity for the University to thank their donors for their fantastic, generous support and to celebrate the achievements of students, Olivia Louvel has been awarded the Norman Cook Digital Music and Sound Arts Breakthrough Award and Louis Sterling an Employability Fund Award!
Monday 10th December 2018 | 8pm – Late
Successfully running for its 10th year, the student-led DMSA club night is happening again on the 10th of December at Komedia, one of Brighton’s established music venues.
More infor below and on the facebook event page.
EXPERIMENTAL | LIVE PERFORMANCES | ELECTRONICA | DJ’S
Training Ground is a fun live performance night in the heart of Brighton at Komedia.
There will be a variety of performances all showcasing different elements of music, sound and image.
***£5 On the door
Jack & Jordan
Josh & Ryan
Sunday, Early Morning (+Tarek)
Tarek (+ Sunday, Early Morning)