DMSA Show featuring Robin Rimbaud (aka Scanner)

On June 4th members of the audience and students will have the chance to experience a unique mix of works from our first and second year students as well as the degree pieces on display by our third year students. Expect an eclectic selection of innovative multichannel digital music compositions, interactive installations, audiovisual pieces and films, radio art experiements, custom instruments and generative pieces.

In the occasion of the DMSA show we will also have the honour to have internationally acclaimed artist and composer Robin Rimbaud (aka Scanner).
Scanner traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music.

He scored the hit musical comedy Kirikou & Karaba (2007) and Narnia ballet (2015) based on the popular children’s book, Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and in 2016 installed his Water Drops sound work in Rijeka Airport in Croatia.

His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex House, the residential house he designed a permanent soundtrack with Chance de Silva architects, was finished to critical acclaim in 2017.

Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

DMSA Show is happening on the 4th of June, 12-6pm, Performance Studio, GP.
DMSA Show is curated by DMSA Alumni Maja Mihalik.

Defining Tradition of Sound Culture: Questioning The Importance of Authenticity | New Essay on Sonic Field by Guoda Dirzyte

DMSA Alumni Guoda Dirzyte has a new essay published on online resource Sonic Field. Titled ‘Defining Tradition of Sound Culture: Questioning The Importance of Authenticity’, the essay Guoda argues

[i]t is difficult to talk about contemporary sound culture or cultures in general, their traditions and heritage while living in the age of post-globalization. Every culture has in one way or the other adopted different aspects of other cultures, and by slightly transforming them, made them part of their own heritage. Japan is one of the best examples for such a phenomenon, since this country already has ages worth of history of adopting cultural elements from other Asian countries and the west, transforming foreign ideas and making them part of their own unique heritage.

Read the full essay here.

Pt 4: Other Voices // Guoda Dirzyte & Maja Mihalik

Graduate Monthly
14 St George’s Place, BN1 4GB
Friday 27th April, 7 – 8pm
Sound Performance // Guoda Dirzyte & Maja Mihalik
FREE

Alumni Guoda Dirzyte (LT) and Maja Mihalik (H) will be performing as part of Graduate Monthly series of events titled ‘Other Voices’.

More info:https://www.facebook.com/events/188840335250500/

Más Hangok is a collaborative experimental music project between Guoda Dirzyte (LT) and Maja Mihalik (H). Guoda plays a Japanese heritage inspired handmade instrument that is a crossover between the traditional Japanese lute also known as the shamisen and the western cello. Her instrumental experimentations are accompanied by Maja’s eerie vocals that are inspired by Hungarian folk traditions. This improvised collaboration creates a cultural dialogue between the elements of Japanese heritage, traditional Hungarian folk music, and experimental percussive and plucked music techniques that provides unique sonic experience, subverting the hierarchy of traditional western 12-tonal musical system.

Guoda Dirzyte is a Lithuanian-born experimental musical instruments designer, composer and sound artist. Guoda’s work is mainly orientated towards exploring world music and sound culture. It focuses on the approach to life and communication rather than cultural industry, and critically examines the Eurocentric approach towards musical culture traditions.

https://www.guodadirzyte.com/

Maja Mihalik’s work is lead by curiosity and playfulness with an awareness towards the ethical implications of creation as a process as well as an outcome. She deconstructs issues of cultural heritage, history, time, biodiversity, technology versus nature and synesthesia as well as waste, recycling and object permanence. Scarcely using traditional instruments, Maja opts for the more experimental, fabricated sounds of field recordings and non-synchronous Foley.

http://www.graesound.com/

Borderline Festival 2018

Maria Papadomanolaki will be performing with Robin Rimbaud (aka Scanner) as part of Borderline Festival in Athens on the 21st of April 2018.

Does it make sense to talk about borders in music? How can you fence in sound, a physical phenomenon that travels through solids, liquids and gases alike? Can we get to grips with something that’s in a state of constant flux, with what dominates the here and now?

Starting out with these questions, Borderline invites us to surrender to the infinitude of sound and experience live music free of barriers and compartmentalization. Song and noise, composition and improvisation, live dj sets and sound installations, talks and other activities at the 8th iteration of the Athenian festival that continues to support experimentation, new collaborations and sonic quests of every sort. At the OCC and beyond.

More info: http://www.sgt.gr/eng/SPG2023/

Aki Purser selected as a participant for this years RBMA in Berlin

Third year student Aki Purser has been selected to participate in this year’s Red Bull Music Academy to be taking place in Berlin. RBMA is an internationally acclaimed event where an eclectic group of emerging artists are given the chance to collaborate, create and learn from a series of sessions led by world-known music producers and industry specialists. The competition is often high and it not unusual to see participants from the Academy becoming professionals soon after their graduation. Aki’s unique approach to sound, image and dance made here stand out and in their own words

‘From the refined piano of Chilly Gonzales to the elegance of modern dance icon Pina Bausch and the precisely engineered music of producer Alva Noto, there is a certain delicacy connecting the influences of Brighton-based artist Akiko Haruna. Trained as a pianist, violinist, flautist and dancer, she is fluent in the rules of music and composition, which she now breaks with her experimental noise output. Akiko’s current project comes after two years as a professional dancer, during which she appeared in music videos for artists including AlunaGeorge and John Newman. Now a full-time music student, Akiko flexes her myriad abilities in her own work, including the 2017 video for “i, omega,” a surreal black-and-white pastiche in which she dances, stretches and smiles eerily at the camera over the glitches and fuzz of her far-out soundscape.’

Well done Aki!

‘resounding’ – a new piece by Jean Martin to be premiered on April 6th

Jean Martin will be premiering ‘resounding’ a new piece for piano, vibraphone, and flute on 6 April at 7.30pm as part of the Broken Line event.

The performance will be held in St. Luke’s Church, Brighton

Musicians:
Adam Bushell (vibraphone/percussion), Adam Swayne (piano) and
Helen Whitaker (flute)

Programme
Vetrarþoka (Winter Fog) (2015) – Helgi Rafn Ingvarsson (b. 1985) – Trio
Vibra Elufa (2003) – Karlheinz Stockhausen (1928-2007) – solo vibes
Invisible Worlds (2009) – Nicholas S. Omiccioli (b. 1982) – flute & piano duet
Resounding (2018) – Jean Martin – Trio

Interval

Adagio from Sonata No.1 for violin, transcribed for alto flute – J. S. Bach
Broken Line (2006) – Alvin Lucier (b. 1931) – Trio
For Morty (1987) (- Christian Wolff (b. 1934) – piano & percussion duet
LRL Anthem (after Gopi Sander) (2017) – Dave Smith (b. 1949) – piano solo
Carillon ( 1998) – Martin Butler (b. 1960) – Trio

Professor Kelly Snook @ ReBalance initiative to support female artists and producers

Professor Kelly Snook has joined ReBalance, a three-year programme from Festival Republic in association with PRS Foundation. The initiative aims to support female-led bands and solo artists by offering studio recording time. Professor Snook will produce an EP for Liverpool-based artist Mary Gregson-Miller.

PRS Foundation, the UK’s leading charitable funder of new music and talent development, launched the initiative for women this year building on its Women Make Music fund, which began in 2011 to support the development of women songwriters and composers of all genres and backgrounds at different stages of their career. More info here.

DMSA Feature: Sloth Operator Radio

This month we are taking to  Ivan Camps & Boogie Man Aka Álvaro Villar, both Year 3 students and producers of ‘Sloth Operator Radio’, a weekly broadcast of emerging techno music on Resonance Extra.

DMSA: Three Important words that represent you as a creative person.

I.C.: Perseverance, Integrity and exploration.

B.M.: Creative, alchemist and bored.

DMSA: When did you start working with sound and music?

I.C. I started back on 2008 when I formed a band with a friend and started creating music and gigging, meanwhile, also I was doing some DJ’ing in local venues in Brighton.

B.M. I went for five years to a music school playing guitar studying Classical music and Flamenco. I went to the Conservatory in Madrid, so I got a bit depressed because the little kids in my class were far better than I. Then, when I was 15, I discovered techno, left music school and started to produce with my computer and my old friend Luis. Luis had an old mixer from his uncle, who used to be a wedding DJ back in the 70’s, another friend bought a turntable and a stereo Hi-fi with cassette deck, and we started to record our first mix tapes. Those were really inspiring, challenging, and learning times because we played with a cassette and one turntable, so was just possible to mix one way, we looked for tracks with a melodic intro to be able to sync the cassette with the turntable.

DMSA: In What ways has the DMSA course supported or helped you to develop in to who you are today creatively and professionally?

I.C. Has helped me to understand better my creative instincts.

B.M. DMSA opened my mind musically speaking. All my life I saw myself as a Techno DJ “Superstar”. The course showed me that I could be ending composing music and sound design for TV, films and/or video games. The course has also shown me how to create my own sounds on ways previously unimaginable for me, like creating my own devices and sound field recording. Practices that blew my mind were the soundwalks lead by Dr. J. Milo Taylor.

Can you tell us a bit about Sloth Operator Radio?

I.C. The original idea comes from Álvaro, I liked it and joined the project.

B.M. The idea of creating a radio show came from my first year at University of Brighton. It was not successful and end it up just as an idea. A couple of years later I discussed the idea with Ivan and Kevin. We joined forces and developed the idea of the program’s format. Thanks to Maria Papadomanolaki who gave us the contact of Peter Lanceley in Resonance Extra we were able to start the broadcast of the program.

The program pretends to offer an alternative view on Brighton Club scene which lacks of the genres we play in our show.

DMSA:What are your plans for near future? Projects, events, visions…

I.C. Be a better DJ, lunching our own collective, releasing our own productions and running a night, at least once a month. Ideally weekly, about dance music (non-commercial) in Brighton.

B.M. The first thing to accomplish is to finish my final degree project and graduate at University of Brighton. Future plans?? As Yoda said, “Impossible to see, the future is”.

SOR Facebook Group
 
SOR Soundcloud

Sloth Operator Radio | Inaugural Transmission on Resonance Extra

Producers and sound designers, and DMSA L6 students, Ivan Camps and Álvaro Villar (aka Boogie) with Kevin Noon, recently launched the first episode of their radiophonic series Sloth Operator Radio, broadcast weekly on Resonance Extra, Thursdays 6-8pm.

Sloth Operator Radio is an electronic dance music show with special
dedication to the latest tendencies on Techno music in the U.K.

The 2 hours show is divided into two Dj sets, one run by guests, with a brief
interview from presenters , and the second half a Dj set run by hosts.
The program gives room to both emergent as well as established Djs who
give us their perspective on Brighton’s as well as U.K’s scene.

Sloth Operator streams real-time via Facebook Live, which also it is available,
at later stage, as podcast on Soundcloud and Mixcloud.

Podcasts contain a detailed track list of each set emitted on the show.
The show takes place at University of Brighton, broadcasting live with an
audience.

soundcloud
facebook/

DMSA Feature: Louis Sterling (Y2 Student)

In anticipation of Loadbang~, we talk to Louis Sterling, a 2nd Year DMSA student who was in the organising team for the evant and who will be performing under his AUXX alias.

DMSA: Three words that describe you as a creative person?

LS: Observant, Exploratory, Technical.

DMSA: When did you start working with sound and music?

LS: I’ve been practically approaching music and sound from a very early age – around 8/9 years old. I’d been classically trained at the Bath Abbey under Dr. Peter King for a few years before leaving to explore my own musical interests. On early visits to Leeds, around 2010 – my dad and uncle still had copies of music production software from their contemporary electronic group from the early 1990’s, from where I naturally gained a curiosity in digital music and would persistently ask about their creative process. It was through an organic interest and drive for solving problems that I gained the technical knowledge and hands-on experience with composition, sequencing and sound design, with digital music technology now being is the center of my practise. This is through which I have progressively studied and self-taught different production techniques, and eventually settled with Ableton Live, occasionally dabbling amongst the MaxMSP and Gleetchlab environments.

DMSA: In what ways has the DMSA course supported or helped you to develop into who you are today creatively and professionally?

LS:The course here in Brighton has an incredibly strong community within such a thriving city for the arts. Back in my hometown the educational programs would section you into “academic” or “enterprise pathways, which is why I find it quite surreal to now be in touch with professionals such as Dr. Kelly Snook, formerly of NASA – who utilises the sound arts and her experience with digital music as the backbone to creating innovative technology, projects and scientific research. If it weren’t for these encouragements I’d assume the end-goal was to release more records and play gigs (which has been done in the past), as opposed to now planning for installations, composing soundtracks for films, studying projection mapping, programming computers or planning live events to name the very least.

Auxx – Underlying The Beautiful from Louis Sterling on Vimeo.

DMSA: Can you tell us a few words about your AUXX project?

LS: Auxx is an exploratory electronic project I’d began back in 2012. The alias was created to express my conventional approach to music, through which eventually branched out to more technical musical production, sound design and experimental compositional approaches. So far the project has achieved a discography of 5 releases, two of which were released this year; entitled “Spirit Image” (7” vinyl) for record store day 2017, and 23/09 (10” vinyl) signed to URBNET records, North America – and since been supported by BBC music. Sonically speaking, I’m from a background of hip-hop culture, but later came the influences of Warp, Detund and Ninja Tune, which is why the recent work is relatively up-tempo, full of breakbeats/glitches and more recently remixed by artists such as Kidkanevil (Red Bull), Valance Drakes (Detroit Underground) and later distributed onto vinyl for DJ mixes, radio shows, not to mention great followers of (relatively weird) electronic music.

DMSA: What are your plans for the near future? projects, events, visions?

LS: As for my artistic direction, I’ve discovered new musical and sonic approaches, writing and drafting new projects and gathering together an archive of works to be sent out for the new year. Recently I’ve been bridging the influences of my older work with ambient, electroacoustic and industrial soundscapes – not paying as much attention to genre, style or scene – and quite literally going down my own lane. A few weeks ago I’d been talking to The Dedekind Cut (Ninja Tune/Kranky), and through studying his work, it has really encouraged me to showcase my new material and live performance through the unfamiliar, but always maintaining the roots of hip-hop and soul that had brought us up. Whether this is showcased through future cover art, installations/performance or just through aesthetic, I don’t yet know, but it’s an approach that I’m in the process of refining for the new year.

I’ll be playing in Green Door Store and Komedia (Brighton), as well as the Art House and Exchange in Bristol. These will be followed with some new live/radio shows in London for early 2018. I’ve recently been in touch with NTS Radio London and some guys at Radar Radio, but as always, it will be a case of feeling most comfortable to showcase and perform the new works to these new and larger audiences as and when.