Day 1: 24/02/2014
09:30 Phipps Concert Hall Minoru Sato – Workshop 1
13:00 Phipps Concert Hall Minoru Sato – Workshop 2
17:00 Phipps Concert Hall Lecture by Minoru Sato – Sound Art: Aesthetics and Approaches

Day 2: 25/02/2014
09:30 Phipps Concert Hall Minoru Sato – Workshop 3
13:00 Phipps Concert Hall David Toop – Workshop 1

Day 3: 26/02/2014
13:30 Phipps Concert Hall Lecture by David Toop – Kill the Formats: beyond sound, beyond object, beyond self
17:30 Phipps Concert Hall Pre-Concert Talk – Minoru Sato and David Toop
19:00 Atrium Installation – Phil Maguire
19:30 Phipps Concert Hall Concert 1 – Minoru Sato / David Toop

Day 4: 27/02/2014
17:30 Phipps Concert Hall Pre-Concert Talk – Hanna Hartman and Sylvain Pohu
19:00 Atrium Installation – Phil Maguire – 14AB2
19:30 Phipps Concert Hall Concert 2 – Sylvain Pohu / Hanna Hartman

Day 5: 28/02/2014
17:30 Phipps Concert Hall Pre-Concert Talk – Ambrose Field
19:00 Atrium Installation – Phil Maguire – 14AB2
19:30 Phipps Concert Hall Concert 3 – Ambrose Field

Day 6: 01/03/2014
09:30 Phipps Concert Hall Diffusion Workshop
12:30 Phipps Concert Hall MSP Power users symposium
17:30 Phipps Concert Hall Pre-Concert Talk – Autistici
19:00 Atrium Installation – Phil Maguire – 14AB2
19:30 Phipps Concert Hall Concert 4 – Autistici

Day 7: 02/03/2014
17:30 Phipps Concert Hall Pre-Concert Talk – Annie Mahtani and Iain Armstrong
19:00 Atrium Installation – Phil Maguire – 14AB2
19:30 Phipps Concert Hall Concert 5 – SOUNDkitchen / Patricia Alessandrini

Electric Spring @HCMF: 26/11/2014
19:30 Phipps Concert Hall electric spring @ 20

Concert 1 – Minoru Sato / David Toop

Group Performance with Sato + Toop
A showcase of music produced during the workshops and instrument building sessions featuring students from the University of Huddersfield.

Minoru Sato – Solo
SexGodSex / folding type

David Toop – Solo
A sinister resonance for digital and analogue electronics, resonant surfaces, strings, aerophones, small objects, organic debris.

Concert 2 – Sylvain Pohu / Hanna Hartman

Sylvain Pohu – Feedback
Feedback is a work for guitar and electronics, at the convergence of free jazz, glitch electroacoustics, and drone metal. It is the fruit of my graduate studies, and the culmination of a long personal project which led me to engage in advanced studies and research in music 10 years ago.

Hanna Hartman – Mezcal no.3

Concert 3 – Ambrose Field

Sam Hopkins – Decay
Decay follows the loose narrative of a patient facing death from a viral disease. The film tells the story of the patients mind and body as it combats this and as they approach the end of their life by using a mixture of oil paints, oils and lights. Each colour within the film represents a different process or state from within the patient’s body and mind.

Will Stead – Waves
Coming and going. Looking out to the horizon, not knowing what may find me, or what I may find. Feeling unrest in my daily routine. The slow pulsing of each element traveling back and forth through the cloudiness of my mind. Letting the music take me to new places unexplored by my body and thoughts. Thank you to my family and friends for your patience, ears and love. For Megan.

Ambrose Field – Solo
Summer 2011. We’ve stopped in a dusty lay-by on what must be the northern bypass around Rome. I’m not paying attention as to precisely where, as this has been a long journey already. In the car with me is a notable Japanese gentleman, a hardcore German DJ, and a Spanish fridge salesman who is driving. We’re en-route to play at a festival in what must be the back-end of nowhere, a further 4 hours drive into the Italian countryside. The German DJ turns out to be a primary school maths teacher. I ask my Japanese colleague about his approach to panning audio, to pass the time. I’ve previously admired the density of his work, and how that could be clearly articulated through space. I explain that I like his decision making process, trying to be friendly. So, ‘how do you decide on your panning, then’, I ask. ‘Left or right’, he replies, reaching into his stylish man-bag for his iPod.

My work isn’t about left or right, on or off, error or truth, or digital or not. Instead, it inhabits a flexible space between these polarities, references the extra-musical, and evokes times and places other than the here and now. I also like to think about what might happen to existing musical ideas, once they have been altered or converted to other forms. As a teenager learning piano, I used to infuriate my teachers by editing extensive Liszt passagework down to smaller, more defined forms, in search of what I thought was the musical substance amongst endless harmonic padding. Something of that has carried over into my compositional practice: I enjoy re-contextualising and generally ‘hacking’ (in the non- computer science sense of the word) existing music. Having spent a while experimenting on what might arise if Early Music could be contemporary again on Being Dufay (ECM Records, ECM2071), I wondered what might it be like be to apply a similar process to the work of a living composer. I had previously enjoyed the music of Ken Kirschner, a New York composer who has a knack of being able to express simple ideas without any excessive baggage. However, my piece isn’t a remix.

As Ken’s material was piano-based, I decided that the fastest route to transforming this work was not to subject it to sampling, or computer based manipulation, but to simply re-perform it with alterations. With his kind permission, I transcribed his performance, and set about making modifications. I recorded sections of acoustically transformed piano material which became the template for large-scale electro-acoustic structures. As a result, there isn’t a note of Ken’s piece in my work, but the two are closely linked and you might hear a kind of negative imprint of one on the other if put in proximity. Ken’s original work has a variety of recorded ambient backgrounds that play as much a part in our experience of the piece as the piano. Here, I’ve taken this idea to the extreme, substituting old Yorkshire for trendy bustling downtown New York. The odd, emptyness of these dense sounds, and their structural potential pre-occupy me, and as a result, there is very little piano material remaining. The Kirschner Fragments Project is the result.

Tonight’s performance includes material from Frozen Voyagers, a work created at Asphodel/Recombinant media labs in San Francisco, 2007. This is pure musique concrète – sounds are used here for the raw joy of using sound, rather than what they might represent or which morphologies might be ascribed to them. Prior to this point, despite having made previous releases in the electronic medium, I had what could be described as a pretty standard working process. I would record material, make modifications, studio treatments, and let those modifications and original media suggest the next actions I might take. If you’d asked me about if my sounds were first order surrogates (Smalley) I’d have been able to give you a sensible answer. However, something about working at Asphodel changed my practice for each and every piece I have made from then on in. Frozen Voyagers was my first pre-specified work since writting score-based musics: everything in this piece has an appropriate time, an appropriate length and an assigned trajectory. Much like working out the metrical structure of a phrase before the internal components, I would apply timescale constraints to material which would not exist yet in reality. I realised that if I knew types of sound I liked then I could start to plan pieces in advance of their execution with a reasonable degree of precision. This was a radical departure for me resulting in a considerably more focused workflow. Importantly, this didn’t close the door to sonic experiment, rather, positioned it in areas of the work which actually required it. Frozen Voyagers thus represents the end of a journey, and a new departure. It was performed at the MUTEK festival in Canada, 2012.

The set runs without a break.

Concert 4 – Autistici

Phil Maguire – Solo

Aaron Cassidy – APOFIR-REDUX
APOFIR-REDUX is both a reclamation project and an obliteration … an effort to decimate and scramble and an effort to reimagine a mural out of the rubble. The work uses as its source material EXAUDI’s recording of A painter of figures in rooms, commissioned for the 2012 London Cultural Olympiad. It is, like its source, a continuation of my fascination with the work of the painter Francis Bacon and its grit, violence, and twisted beauty, and in particular its depiction of faces and mouths. The work is my first ever foray into electronic sounds, and I am hugely grateful for the encouragement and assistance of Monty Adkins, Alex Harker, PA Tremblay, Simon Cummings, and Evan Johnson.

Autistici – Live set

Concert 5 – SOUNDkitchen / Patricia Alessandrini

Patricia Alessandrini – Bodied Chambers
Bodied Chambers is somewhat outside of the standard instrument and electronics model, as it does not involve sending electronic sound through speakers, but rather through the body of the cello itself. After some conversations about this project and our respective research on interaction and the ‘prosthetic body’, we decided that in Bodied Chambers, all of the technology will be placed on the body of the performer, rather than on the body of the cello.

This technology enables Seth to capture the sound of the cello -in part through the resonance of his own body – and re-transmit that sound through the instrument. Within this feedback loop, the sound of the cello is processed in real-time, creating the illusion of altering the resonant properties of the instrument itself. This latter aspect is informed by current research by the Active Musical Instruments including Virtual Adjustments (IMAREV) research project at IRCAM, led by Adrien Mamou-Mani.

This ‘pre-première’ version is in a somewhat experimental stage, allowing us to improvise somewhat with both the musical material and its live processing.

SOUNDkitchen – Live set
SOUNDkitchen present a new collaborative performance from SOUNDkitchen collective members Iain Armstrong and Annie Mahtani. In this SONICfeast the pair will be mixing-up new sonic concoctions to explore live acousmatic improvisation and spatialisation. The material, derived from recorded sound objects and field recordings, will be mixed and processed to take the listener on a journey through a rich and immersive soundworld.

electric spring @ 20

Alex Harker – Fractures
Thoughts crystallise, become atmosphere. Ambiences contract, seize up, splinter. Everything within; the eye sees in all directions. Fractures seeks to bring together previously disparate strands of my musical life, the roles of performer, programmer, engineer and improviser. All the material was ‘performed’ in the studio, either instrumentally or electronically via the use of hardware controllers and audio analysis-driven control. Sample manipulation was carried out in custom-written software allowing explicit gestural control in combination with strongly parameterised pseudo-random processes. This flexible hybrid approach enabled the creation of sophisticated and distinct sonic behaviours in a highly immediate and organic manner. Underlying the transparent interaction with the computer in the studio is a sophisticated audio engine capable of radical warping of samples, dynamic filtering and real-time audio descriptor matching of sample material. The musical forms concern the intertwining of multiple layers musical material; some sonic, some harmonic, others strongly gestural and yet more largely textural in nature. Out of these layers constellations emerge suddenly, only to recede moments later as an unexpected gesture spins out into a new musical space, leaving the material surface fractured…

Michael Clarke – Enmeshed 3
Enmeshed 3, for cello and live electronics, is the third in a series of works in which a solo instrument becomes ‘enmeshed’ in multiple layers of digital transformations derived from the live performance. The works are shaped and structured in terms of the varying relationships between these layers. Multichannel spatialisation also plays an important part both in terms of spatial positioning and movement, the creation of different virtual spatial environments and in the definition of different layers. Enmeshed 3 was written for Madeleine Shapiro who premiered it at the New York City Electroacoustic Music Festival in April 2013.

Monty Adkins + Jason Payne – Rift Patterns
Rift Patterns (Video Trilogy) is all about the psychogeographical exploration of places and how they impact on our identity and feelings. Psychogeography has historically been associated with the exploration of our cities and the ‘drift’, and has been described by Joseph Hart as ‘a whole toy box full of playful, inventive strategies for exploring cities… just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape’. In Rift Patterns we wanted to continue our drift from the city, into the country and into our inner world of thoughts and relationships.

Pierre Alexandre Tremblay – Still, Again
A short chamber opera, dedicated to Peyee Chen

Waiting in vain, a story of hope, self-doubt, anticipation, impatience, fantasy, exasperation, resentment, despair… usually directed at the other, it is mostly a hatred of our own latent life, to which, after the turmoil of these contradicting emotions, we will return, still, again, waiting in vain.