ii Gig #6

Tuesday 2nd November 2010 - 8pm - Sleepers Bar, Huddersfield, HD1 5DL, UK

Acts

Aht-n

Aht-n are a trio of North West electronic improvisers playing a blend of electro-acoustic improvisation, Krautrock and ambient trance. They are made up of Ian Simpson and Harry Gallimore from Fonik and Shaun Blezard of Clutter/orfeo 5. They had played on the same bill at many gigs and festivals and slowly realised that they had a shared love of Krautrock, ambient dance and space rock and decided to join together to make music that was still at it's heart improvised but that included these shared influences. They all play various electronic gizmos in ever changing set ups, all under pinned with Shaun's solid Krautrock bass.

http://www.myspace.com/aht-n

Abigail Sanders

French Horn with Live Electronics

Part of a continuing mission to extend the possibilities for her instrument, Abigail Sanders will premier her Pure Data patch that allows her control over an ever growing bank of recorded french horn sounds.

Building sonorous textures through cyclic drones, Abigail uses a tactile control which allows improvisatory freedom, but will also include pre-composed pieces that include passages of improvisation.

The structure is as follows:

  1. Cyclic Drones
  2. Lemont by A Sanders
  3. Residuum III - Ghost in the Machine by Ben Gaunt

(Many thanks to Ben for writing a piece for me, tailored toward my obsession with the harmonic series)

Pocket Electronic Keyboards

“Little battery-powered keyboards which fit inside the pocket of your raincoat are finally given the attention which they so richly deserve.

Playing these bundles of fun will be Joseph Kudirka, Scott McLaughlin and Richard Glover.”

RSVP

Email

rsvp@inclusiveimprov.co.uk

Facebook

Facebook event

The Sampler

'Contemporary music and sound art listings for the UK' http://www.soundandmusic.org/thesampler/event/2010/11/iigig-6

Documentation

Poster

Recording

mp3s (≈ 1 Mb per min):

Raw recordings available on request.

Photos

Video




Inclusive Improv gratefully acknowledges financial support from the PRS for Music Foundation
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