Reactor blog

Reactor Halls E14: Cables

Feb 18, 2015

Reactor Halls E14: Cables
Rammel Club
Saturday 28 February

Workshops: 14:00-16:00
Installation: 16:00-
Performances: 16:00-23:00
£3 on the door

A cable is more than a mere length of wire. It is a trail to be followed, tracing a line between two points, or a meshwork of interwoven threads. Rammel Club will present installations, workshops and performances that explore the electronic aspects of auditory arts and collaborative improvisation.

The cable carries the pulse of electricity or light in response to a trigger. Cables are bookended by 'plugs', affording an abundance of possible connections. Some connections will be recommended for you in the user guide. But why stop there? Plug a synthesiser into a television, a hard-drive into an amplifier, a cello into a sat-nav, internally rewiring existing circuits or creating new possibilities for interactions between sounds and their players, recordists and engineers.

Celebrating the humble cable with a range of performers, makers and artists for whom venturing into the electric realms has always been a very natural part of contemporary sound practice.

▬▬ Workshops (14:00-16:00) ▬▬


CONTACT MIC SURGERY by Murray Royston-Ward

▬▬ Installation (16:00-) ▬▬


▬▬ Performances (16:00-23:00) ▬▬


Artist's bios:


Abstract Noise Terrorists Attack workshop… Bring any instrument/object, plug in your lead and join in…
Rising from the ashes of Abstract Noise Ting, the collective returns with a noise/free improvisational workshop. Having previously consisted of members of Kosmonaut Death Trip, Modulator ESP, Corglin Grange, No Duty to Retreat, Kay Hill, Sludge Lord, Dick Sputnik, Ed’s Truck and Vinolent. Now, Scott Bradley and Richard Morfett of Croglin Grange, are hosting this creative platform where you are encouraged to join in and take part. Whilst often a chaotic, aggressive and volatile sonic assault there is also space for building a narrative and understanding through collective play.

► CONTACT MIC SURGERY by Murray Royston-Ward
There is something inherently musical in the process of actually building and using audio technology. We tend to view music as the artefacts left behind (scores, recordings etc.) rather than as a complex of participatory social activities (playing intruments, listening, dancing etc.) Through workshops I aim to facilitate an exploration of an expanded rubric of improvised 'musicking' which incorporates the making and use of such technologies.
For 'Cables' I will be drawing upon recent workshops in Uganda, Nepal, Sheffield and Nottingham; offering a drop-in surgery for the humble 'contact mic'. Materials and tools will be available to build and experiment with contact mics so come along and get involved.


Experimental Sonic Machines is the name of a project begun in 2010 by British artist Peter K. Rollings, based at Lincoln, UK. The title Experimental Sonic Machines is self-explanatory: trying ideas in sound (and vision) with experimental instruments & machines. He also experiments with visuals such as masks, helmets & outfits.
Rollings started to make his music machines in the late Eighties with the 'Cardboard Disc Player' (CDP), and a series of machines were made in the ensuing years. Since 2010 he has been more active with 'The Rocket, 'The Rhythm Wheel', Strox, Supastrox (2011) Flanjo (2011) OSP Machine (2012) Round Xylophone (2012) 36cm Turntable (2013) 20cm Turntable (2013) and others.


► [D-C]
[D-C] is a new collaboration between local experimental musicians Jez Creek [Modulator ESP] and Benjamin Hallatt [Kay Hill], combining the improvised analogue electronics approach of Creek with the loop based musique concrete approach of Hallatt. The performance will use inter-connected systems calling for an intuitive response to each others sounds.

Born, raised and current of London (south).
Previously in No Bra (2004–6): co-wrote unexpected hit Munchausen.
Terse humour and observations/worldly interests further evident with work of ecstatic noise trio Baraclough (2006–2012). Current focus is on solo recordings, for labels including Entr'acte, The Tapeworm and Beartown Records. 2014 saw the release of Xeric and a new collaboration with Phil Julian. 2015 will see two new solo releases and further collaborations.

Ian Watson is a Cardiff based artist who practice oscillates between illustration, painting and sound. He often employs home-made electronics in his sound work exploring sonic textures with an improvisatory and richly detailed focus. With recent releases under his own name and 'Swefn', along with performance and installation for Cardiff Contemporary and Experimentica. He will be presenting work based around his 'Only Surface Noise is Real' which involved making resin copies of 7" records with his own sound sound sources contained within. The imperfections created in the casting process providing the raw material to be contemplated and realised through performance.

Marlo Eggplant was born in Baltimore, MD and was originally trained in voice, classical guitar, piano, and cello. She's a prominent figure in a thriving and diverse international scene of female experimental music performers. As curator of the pioneering Ladyz in Noyz compilation series, an ongoing project from 2008 to the present, she has helped to foster this scene and continues to promote emerging artists from around the world on her record label Corpus Callosum. With an intuitive command of minimal instrumentation, including processed autoharp and contact microphones, Marlo Eggplant's sparsely structured notes and layered static textures build into sonically dense improvisations.

Based in Leeds, Melanie O'Dubhshlaine concentrates on electronic extensions of the capacity of the human voice. Not the pitched clarity of the performative singing voice, but the staccato rhythms and microtonal changes in pitch of the talking voice. A talking voice synthesized into abstraction and stripped of communicative utilitarianism. Listening to voices in a language you don't understand or the mutated alien voices which jump out from under layers of shortwave radio static, devoid of meaning, content or signification.
She is a member of Ashtray Navigations whom she has appeared with at ATP (Nightmare Before Christmas, curated by Thurston Moore), Music Lover’s Field Companion in Gateshead, Incubate in Tilburg, Netherlands, Swn Festival in Cardiff and Sotto Voce at Cafe Oto. Her first LP “Deformed Vowels” is due out soon.

Mari King is based in London and previously performed at Rammel Club as one member of the now defunct noise improv duo KAYA KING, she has also been a member of the ephemeral energetic doom band The Runs and the disinterested open market science fiction free form rock band Indifference. During a 4 year hiatus from these absurd and chaotic live performances Mari has been working as a sound and moving image archivist/researcher at The British Library and Tate Britain. Under the pseudonym Morfar Fiskeren, Mari is now presenting a series of very different sound pieces. The first composition was presented through the medium of recorded voice, words and the 4th dimension of time and was performed at Hideous Porta in London. At 'Cables' the second part of the series will be revealed as a conversation gathered up and reformed through free associated unfinished findings.

Australian-born Tara Pattenden is currently works from Bristol and is active in the field of analog electronics, noise performance and soft circuitry. Phantom Chips performs with an array of home-made electronic instruments, samplers and wearable noisemakers. Concocting rhythms from manipulated found and recorded sounds Phantom Chips invites the audience to don her costumes and join in with the audio. The costumes create sound through movement and allow audience members to experiment with a brand-new form of musical expression. The deliberately clumsy and awkward interfaces invite playfulness and improvisation.

Phil Julian is a UK based sound artist, composer and improviser. Under both the Cheapmachines alias and his own name, Phil Julian has been venturing across various strains of unorthodox sound since the late 1990’s, with his prolific output on a catalogue of imprints encompassing sonic textures ranging from harsh squalls of noise to compositions structured around hyper-minimalistic timbres and drones.
Studio recordings and live performances within Europe and North America have focused on the use of analogue electronics (particularly unstable and/or chaotic systems – modular analogue synthesizers, feedback, contact microphones, objects and surfaces) and computer based works.
Audio works by Julian have been published on labels including Entr’acte, Banned Production, The Tapeworm, Harbinger Sound, Confront Recordings, Staalplaat (Open Circuit imprint), con-v, Beartown Records as well as numerous compilation appearances.

Adam Denton and Luke Twyman began collaborating under the name Trans/Human at The Audacious Art Experiment HQ in Sheffield during 2011. Employing several noise making devices and techniques in their performances, including mobile phones, radio, cassette tape, prepared electric guitar, processed drums, strobe lighting, contact microphones, field recordings and feedback systems, Trans/Human’s concerns lie within the physical act of music making and its relationship to environment and audience. Throughout 2012 Trans/Human have developed their performances to use the artist’s body as a conduit between noise and audience. By amplifying objects used by Kilby or Canavan during these performances, Trans/Human have added to their repository of noise making devices, bringing together performance and sound art in an innovative and engaging way.