He is interested in areas of music where genres meet and finding ways to incorporate this melding of influences back into his music. He has also toured the Southern United States, including headlining at Eyedrum in Atlanta.
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He has played all over the UK, solo and as part of larger ensembles, playing Huddersfield Contemporary Music Festival, Birmingham Symphony Hall, the ambisonic multi-channel system at Workington Town Centre and a series of village halls in Cumbria. soliditÈ d'un Ètat fragile.Ĭlutter: Clutter works between the fields of electroacoustic improvisation, ambient electronics and music concrete, adding touches of anything from dub, jazz and post rock to his eclectic mix of influences. l'araignÈe tend un fil entre une abstraction et une chose concrËte. reprendre une vieille idée… je choisis "inquiÈtude rythmique".
This is what eating poisoned chicken sounds like.Ĭhevo Légé: tas d'objets inanimÈs. The piece was made using SuperCollider.Īudra Dawn Fleming: Every emotion sounds like something. Boring.but I remained blocked on the first words on the tape ìTout seulî that means ìAloneî.Īstrometria: 6x7 by Astrometria uses random and chaotic algorithms to create a disturbing alien soundscape. On the cassette, there are reports of meeting in an french administrative establishment. Only one tape offered by my friend Denis Mc Carty. It was during the afternoon before my evening live act in this place on september 16th, 2010 i was alone and decided to play all the afternoon. I choose a sequence recorded in Cave40 at Bourges (France).
My challenge to classwar Karaoke is always to propose a different sound, a different easthetic, a sound collaboration or at least a good sound which shows my definitive commitment in this project. ì argh **** maybe not this time, but sure the next one *** î Finally i changed my mind and decided to listen to all my recent rushs to cut an extract and edit an original sound piece. And seeing the line soon dying, i said to A. 16th, 2010 / CWK 0012 survey / Thereís a long time i know that i must produce a sound piece for Survey0012 to honor the invitation of my three friends. Artwork by MYRIAM Īnton Mobin: Title: Tout Seul / Author: Anton Mobin / Year: Sept. These akoustik rekordings are interwoven with synthesised and sampled material to kreate an evokative environment for thee listener to use as they see fit. Field rekordings are also inkorporated within thee kompositions which kan range from graveyards to nature parks, from sewers to tree tops. Various Ritual Instruments from around thee world are utilised within these rekordings. These have been labelled as ëGeneral Ritual Intensifiersí and are designed to augment thee Gnostik experience. The expansive feeling, emotion, and the meditative quality of that music are really attractive to me.6 or 7: Project name: 6 or 7 / title: i will call you again / voice: kotomi nishiwaki / bass and sounds: hopek quirin / guitar: jacki engelken / bricolage/mix: jacki engelken and hopek quirin / cover by hopekĪkoustik Timbre Frekuency: Shifting Fokus of Intent / Length: 7m26s / Processed Instrumentation inkludes: Processed Drums, Seed Shakers, Processed Strings, Novation X-Station / Akoustik Timbre Frekuency mainly fokuses on kreating elektro-akoustik kompositions that are designed for Ritual usage, no matter what path thee praktitioner may follow. To this day, I listen to it every, every Sunday. A Love Supreme is my Sunday morning music. I don’t like everything, but I’ll listen to it. And then I would also go to the library and take out all the Nonesuch recordings and anything else that struck my fancy-like Stockhausen and John Cage. So, one week I’d buy Tauhid by Pharoah Sanders and the other album would be Blue Cheer. From the age of maybe about 12 or so, I would buy two records a week completely just based on the cover art. I’m really influenced by drummers, saxophone players, and pianists. My influences are definitely not only guitar players, by any means. “I was always attracted to different music and still am to this day.
(“Clapton is a bad word these days,” jokes Jackson.) He later got turned on to jazz giants like Wes Montgomery and Grant Green before veering off and checking out more obscure artists. In addition to Zeppelin, his early influences were classic rock acts like Hendrix and Eric Clapton. He took lessons at the local music store until he was around 14, and by that point he was already impressing audiences daily in his school’s expansive courtyard. Originally wanting to be a drummer, Jackson picked up the guitar at age 7 at his father’s urging.
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