Most recent titles:

LLUSTRATIONS - Grind Some Coffee download
Rubber Bus - Take It Easy download
Kaleidophon: - White Dwarf download
PMT - Beak ep download
DR:WR - Sci-Fi Morality Play cassette

Wednesday, 22 December 2010

Our top records of 2010 part 1

Ryu Hankil becoming typewriter [Taumaturgia] cd-r

A recording featuring an interesting compositional use of silence. The middle of three tracks has the unsettling title ominous motel room but is in fact a short duration of digital silence. Well, motel rooms generally are usually pretty ominous or at least nearly all of the ones I’ve ever had the pleasure of staying in have been. Should we imagine we are alone in a motel room when we listen to this disc? Or is the recording of an unusually quiet motel room? Or was the track of digital silence recorded while Hankil was staying in the motel, or perhaps digital silence makes Hankil think of motel rooms...?
The first track; various accidents by vibrating speakers with 3 interconnected clockworks, spends its first half treading quite gently with scatterings of electro-acoustic sounds nicely paced, spidery in parts; trebly and mid mannered. Then around the halfway mark we are suddenly treated to what sounds like an oily robot fish leaping out of the water and flapping around on the bottom of our boat. This is Hankil’s trademark clockworks at full pelt. Five or six minutes of this robotic popping noise gives way to high pitched sine waves joined later by more random clockwork activity. Toward the end, the interplay between the mechanical soundings and multi-part high frequency sines/feedback is compounded by the addition of some mid range crackling. I’m really not sure how this was produced and as the only information we are given is the track titles themselves I shall not speculate further.
The second track; various accidents by vibrating speakers with interconnected mechanical clock parts is more robust in terms of demonstrating a broad range of sounds that the set up is able to generate. And it is more aggressive, too. Hankil includes a small amount of melodic information near the end of this much shorter piece. I think its apt to describe Hankil’s sounds as “information” as the dense clusters seem made up of far more than the sum of the parts. It’s like he is attempting to transmit data rather than compose music.
Its worth noting that the beautiful pen and ink drawing of a typewriter-headed figure sat on the edge of a bed in a motel room on the sleeve of this release was drawn by Hankil.

Michael Pisaro, Greg Stuart a wave and waves [Cathnor] cd
This has got to be one of my favourite pieces of music at the moment. Composed of many, many short recordings of Greg Stuart playing “...anything as a possible percussion instrument”, and made up of three sections; Part 1: A world is an integer, four minutes of digital silence and Part 2: A haven of serenity and unreachable. Michael Pisaro has cooked up a pretty complex and refined idea, realised by Greg Stuart whose extremely hard work he put into its realisation I don’t envy one bit. Based around the concept of the wave form, Part 1 emulates the sound of waves by “gradual accumulation and subtraction of sounds”. Part 2 is a rigorous and precise construction of one hundred wave events each of which “...last thirty seconds – there is a ten second overlap from one wave to the next”. So, to construct all this, Greg Stuart has seemingly spent a hell of a lot of time in front of his laptop. God help him if he edited it all down on analogue tape. No, that’s crazy. Who would do such a thing in this day and age? The effect of all this micro-recording and programming reveals a stunning composition where the music is heard without the albeit impressive technical aspects intruding. In terms of dense micro-sound, this is firmly in the same category as a live performance by John Wall I witnessed a couple of years ago where the detailed grain of the music captivated me entirely. All quotes are taken from the sleevenotes by Michael Pisaro.

Daniel Jones when on and off collide [Cathnor] 3” cd

Although Daniel is an improviser, (see his past and present activities with Loris, Tierce, Jez riley French, David Papapostolou and myself), whose primary instrument is turntable, this short piece actually strikes me as almost composed so controlled and deliberate is his delicate touch. The piece appears to be loosely structured in three parts; simply put: (what sounds to me like) turntable motor rumble followed by crackly voltage followed by more varied sounds possibly derived from the turntable mechanism itself. There is an interesting compositional use of silence bridging each of the segments, and the fidelity of the recording is very high so that at a reasonably loud volume the listener becomes enveloped in the low end material while those mid-point voltage crackles take on a surprising, almost physical aspect in the room. They made me jump on the first couple of listens and that’s a good thing. The duration suits the material very well, with good pace and balance that keeps the listener involved. Possibly this is thanks to the editing credited to Daniel’s colleague in Loris, Patrick Farmer. I would say that this release fits in well with the other titles in the Cathnor catalogue, (I’ve been a fan of this label since the Mimeo Sight release), thanks to its quiet presence and Daniel’s skilful and unusual use of turntable as sound source.

Thursday, 16 December 2010

Forthcoming for 2011

first up in the new year on TSOKL,
Gimlet Eyed Mariners a dark secret love cd-r

followed by 5 titles in our new Poetry Series (using the word "poetry" loosely):
Anthony Murphy/Adam Lygo/EMB blood blister 2 disc set (3" cd-r & standard cd-r)
Adam Lygo the girl with the leopard in her mouth cd-r in hand-made sleeve
Daniel Spicer [title to be confirmed] cd-r
Martin Preston chemical trespass cd-r
Paul Khimasia Morgan the marsh harrier cd-r & booklet

later in the year:
Sam Eden-Green & Paul Khimasia Morgan in faraday's cage cd-r
Best Left Alone iamistherea / Yvs cd-r

a release on engraved glass for Paul Khimasia Morgan

Wednesday, 1 December 2010

Ortolan Fragments out now!

here's the pack shot.
edition of 30.
cd-r in jewel case with b/w sleeve and inlay.

to avail yrself of a copy, email or Paypal the sum of £6 (inc. p&p) to same address.

Tuesday, 26 October 2010

Ortolan - Fragments

This first release from our new "signing" (what a quaint old fashioned term) Ortolan is set for release in November. A mixture of found voice recordings, vintage Roland drum machine, no-input mixing board, feedback; stylistically jumping from doom metal to gabba to dark ambient (or so i'm told) Ortolan creates a brutal listening experience designed for soundtracking dark winter nights of apathetic window gazing. Named after the bird/French dish:

For centuries, a rite of passage for French gourmets has been the eating of the Ortolan. These tiny birds—captured alive, force-fed, then drowned in Armagnac—were roasted whole and eaten that way, bones and all, while the diner draped his head with a linen napkin to preserve the precious aromas and, some believe, to hide from God.
The Wine Spectator

...our man Ortolan aims to provide a similarly coppery aural experience.

Club Silencio nov 2010

Adam Lygo presents the fourth installment of his Club Silencio events at Brighton's Coachwerks venue on the 4th of November 2010.

Participants this time around include Lygo himself, HRT, Anthony Murphy trio, Euphonious Murmur Blend, Slow Listener, Duncan Harrison, Buick Lygo, Louise Baker...

Simon Whetham & Paul Khimasia Morgan


Before Con-V already released a MP3 by Simon Whetham (who is these days a lot in these pages) in collaboration with one Paul Khimasia Morgan. That was a live recording, which they liked very much, so they decided to return to the Grey Area Gallery when Whetham was back in Brighton. I am not sure what Paul brought to the table, but Whetham uses field recordings, radio transmissions and electro magnetic signals. The music is all quite softly recorded, so I had to put the volume quite a bit. I am not sure if its really necessary to do such thing this soft. But once you put the level up a bit, then you'll find some interesting improvised bits and pieces of indeed a grey area where improvised electronics, microsound buzz and humm and processed (?) field recordings meet up.

- Frans de Waard, Vital Weekly

Friday, 24 September 2010

Club Silencio (3) june 10th 2010 review

A feast for the senses this one.
Buried in an unlikely residential area of Brighton, Coachwerks is a visually exciting venue. A converted bus depot / workshop, now a warren of small studios housing artists, printmakers, photographers, musicians and other varied creatives. The main performance space is vast and apart from having a proper dance floor fitted and a coat of gallery white on the walls, it looks pretty much the same as when it was used for mending coaches I imagine. I particularly like the way the light changes over the course of this evening due to the transparent roof of the main performance space. Cosy too, when the large clay oven is lit, heats up and the smell of freshly made pizza fills the space.
Let’s not dally; here’s what was served this evening:


Anthony Murphy Trio

A trio of a poet (Anthony Murphy), a noise guitarist (Adam Lygo) and improvisor (Euphonious Murmur Blend). Noises plus poetry/spoken word is not something Lygo/EMB have tried before, although they have tried many permutations of Noise guitar combined with noise(s) guitar over the last few years (releases on SOK and Hive Music and The Sound Projector)... This performance is their first as a trio, ahead of an album slated for release toward the end of 2010 I gather. From the evidence presented here; a restrained yet clouded backing of electronic murmurings, scrapes, hums, crackles and a smattering of zither, under the unprocessed clarity of Murphy’s stark, alliterative prose, the album should intrigue. Murphy’s stories involve pub settings, psychological flailing, parental responsibilities confronted, nature, fist fights, love, loss.....the usual literary collection of human curiosities, and even a bit of English civil war history. Will be interesting to see how this unit develops.


Benefitting from the extra space afforded them by this good size venue, vocalists hhh stretch themselves somewhat tonight. The boy hare descends into primalism while girl hare soars, croaks and squeals to the point where, eyes shut, she backs away from her mic sending her amplified shadow slowly away. Boy hare seems unaware of this aspect of their performance, although he becomes bassier and more distraught in sympathy. A characteristically short set ends with girl hare away from us and herself in reveries completely unamped with boy hare clutching every oxygen particulate he can get his head to swallow. Completely engrossing.

Adam Lygo

Shadows on the wall side lit mask tics and fidgets birdlike
Guitar sounded with small fan alone was regularly repositioned about the prone guitar body
Tendons bubble around tan brow vein beaded brittle chord
Bedlam hum stopped short of fabric collapse caught weightless
Gilded sun bloom hydrogen flame



Only the second performance (version) of Euphonious Murmur Blend’s new composition For Uma Devi, a pseudo-psychotropic glittering tour de force manipulating sounds from a 1989 solo guitar piece into unrecognisable fragments of crystal lysergy. One moment shining; bell-like the next - worming away in a dark jetstream of lower mids. A trifle short at 13 or 14 minutes perhaps, but enjoyable nonetheless.

Duncan Harrison

Best use of a looping device in live performance i’ve yet seen i think. That’s a bold claim but seriously, this boy is good. Voice, drumstick, tubular metal cutlery holder from Ikea, perhaps the ubiquitous lime green Line 6 looping pedal plus some kind of distortion device. God alone knows what other electronic shicanery he had perched on that table; not a lot perhaps only one or 2 more unrecognisable devices but then its not the fx we’re interested in, by god, its what the hell’s he doing with it??? The big question for tonight. Whatever it is, its dark, physical, weird and scary. Scary in so many different ways; in a schlock horror way, a how come he’s so good way, a jesus i think he’s actually summoning something up here way, a do you think he’s okay way... And possibly the biggest potential. Watch him like a hawk.



Heavy, striking drone-ambient 3 piece. Two immobile; seated, seemingly placid participants and the bass wielding clown-masked one muttering half-heard utterances, performing against a professional looking kaleidoscopic dvd backdrop wrought, it turns out, from Russia’s first commercial horror movie. Faces obscured; a subtle air of foreboding or menace? Or an attempt to introduce faintly comic reassurance? As the set progresses, the various electronic chitterings and evil samples get pinned down by a monotone bass part, the video backdrop becomes ever more lysergic and from time to time even, perhaps worryingly, vaguely erotic. The climax of HRT’s set involved the mystery men wandering off to James Joyce (i think) grinding out from a portable cassette deck. Highly recommended.

Adam Lygo’s Club Silencio (4) next due November 2010 at Coachwerks, Brighton.

Wednesday, 25 August 2010

next releases info

next up:

sok033 Ortolan Bloody Fragments cd-r

sok034 Adam Lygo & EMB live at latest 3" cd-r SOLD OUT

sok035 Best left Alone Wurst / Frosty Lee ep 3"cd-r

more info soon

Wednesday, 16 June 2010

EMB video footage

EMB live at The Gluerooms link:

Club Silencio

Adam Lygo presented his third Club Silencio event, this time at Coachwerks in Brighton last week.

Music from Adam, HRT, Duncan Harrison, Hereharehere, EMB and Anthony Murphy trio.

Sculpture by Buick Lygo.

Here's a handful of photos taken by Graeme at Coachwerks.

I'll sort some proper reviews of the music to follow soon.

Wednesday, 2 June 2010

Splitting The Atom review

Club Zygotic presented an all day event of “eclectronica”, as they describe it, over two stages at The Hydrant in Brighton, providing off-kilter music fans of all stripes a viable destination on a Bank Holiday Sunday otherwise haunted by the spectre of the England-Japan game.

Ian Murphy & Duncan Harrison
I saw Ian Murphy in duo with Dylan Nyoukis at Active Crossover II earlier this year, but Duncan Harrison’s name is new to me. Playing through the main PA with their backs to the audience, they quickly set up a dense, high volume set of electronic modulations from seemingly very little equipment. Ominous for the most part. Mr Harrison wrestling with a microphone searching for feedback. Glass smashing sounds appeared through the mug of filtered repeats in a satisfying way. Moving drones at work; darkly psychedelic possibly. A great start to the proceedings and certainly set the tone well.

Adam Lygo & EMB
Formerly an improv/noise guitar duo approaching ten years vintage, Adam Lygo & EMB now resort to using the guitar as a starting point only. Adam Lygo uses his guitar flat on a table, sounding its strings with a small fan and modulating the resulting drone with a series of processors while EMB forsakes his guitar completely to rely on effecting a number of samples taken from a 1989 recording of his solo guitar.

Remedial Queen Of England
Girls beating the boys at their own game. Craven guitar-bashing resulting in spectacular, full spectrum drone.

Slow Listener
Slow Listener seems to me at least, to be about maintaining the equilibrium of pure tone relationships. He needs strength and stamina to keep physical control of multiple devices constantly on the brink of collapse. Like a juggler, he keeps his eyes on many things at once; skilfully adept at manipulation.

Noteherder & McCloud
Annoyingly, I missed these guys’ set somehow but my last experience of their electronics / sax improv attack left a good impression.

Crayola Lectern
Proggy, Robert Wyatty. A flautist. “Proper” music played on “proper” instruments and not experimental in any perceivable way. Well, that’s how it seemed to me. Sorry, not my cup of tea.

Earth Creature
Boy/girl noise duo it seems. Boy on electronic devices; girl on theremin, vocals and pink boilersuit. Fantasy songtitles could be: “I Am Looping My Theremin”, “I Am Producing An Unholy Racket”, “I Am Lying On The Floor...”, “I Am Screaming Pointlessly”, “I Have Removed All My Clothing And I Am Now Running Around The Venue Scaring The Audience”. Brilliant.

The A Band
Empty flailing. Fantastic. If you like the idea of watching a random group of freaks trying to make as much noise as possible, that is. A megaphone seemed to be the focus instrument as several group members had a go on it. You’ll probably have read about them in the wire recently so you’ll know what hype is all about; and no, the fella from ASC did not attend.

In terms of seaside town analogies, if the A band are Sidmouth, Bolide are St Tropez. There’s an unlikely yet appealing aura of Beefheartian rigour mixed with electric-era Miles Davis’ cigarette butts. Sure enough its free, but its not empty flailing. They’re much more sophisticated, and presumably like to lean more towards louche jazz histories than freedom for freedom’s sake. I was also charmed by the variety of wind instruments used which leant the proceedings a vaguely North African flavour one moment and an Asian or Indonesian one the next. Plus there was nonsensical shouting off mic which was great. Exuberant. That’s a key word here.

Ian Helliwell
This film-maker and perhaps more specifically Artist certainly presented himself as such tonight. Perched mid stage with a self-built example of his “Hellitronics”, dubbed The Hellisizer, (a large item visually resembling a cross between something made by Don Buchla and a sideboard), resplendent in garish vintage polyester and 1960’s NHS specs, Helliwell cut a figure that could have been straight out of a Frans Haals painting if a time machine were handy, that is. His self-built knobular, analogue instrument, presumably the latest in Helliwell’s individual approach to the development of dc circuitry, disgorged a stream of multi-phonic moving tones; cracked sines and sawtooth waves, modulated arpeggiation; its synthesis, (and I won’t bore you with technical terms any longer), although simply produced, very otherworldly and somehow disconcerting.

Will of ViV
Vocalese, a bit of flute and what i would describe as an “homage” to Derek Bailey on acoustic guitar.

John Wall & Clive Graham
Shame they had to wait all night to play, it was around midnight as they took to the stage and by then the audience had diminished somewhat to a raggletaggle collection of drunken revellers all chatting, drinking and/or playing pool rather than giving their full attention to what should have been the focus of the event. Still, John and Clive took this Bank Holiday attitude in their stride and proceeded to give us a great experience of contemporary electronic composition.

Overall, a nicely varied bill which maintained momentum over the whole day. Plaudits to the boys from Club Zygotic for having the balls to manoeuvre the difficult logistics of events of this type. Same time next year?

Saturday, 22 May 2010

Seijiro Murayama, Yoshikawa/Jones/PKM, Vitamin B12

The Northern Tavern is a recently refurbed cosy little boozer near the Level in Brighton; usually quiet, unassuming localish haunt for post-work locals, darts players, the occasional karaoke-ers etc which on the evening of weds 19th may became the unexpected hub of brighton's experimental / improvising community for a few hours.
The evening began with a quartet improvisation of around 20 minutes by Daichi Yoshikawa on speaker cones, overdriven digital mixer and electronics; Daniel Jones using contact mic's and electronics, Seijiro Murayama's snare drum and event organiser Paul Khimasia Morgan on autoharp, sampler and objects. This quartet fashioned a quiet and minimal set with the electronicists' complementary chirruping lashed together by Seijiro's occasional hard hitting snare blows.
The Vitamin B12 followed with an acoustic performance featuring saxophones, ms10 synth, flute, devices, tape machines and accordian. Nice flow and a very beautiful quiet section about two thirds of the way in.
But it was Seijiro's solo percussion set comprising four compositions played out variously on vocals, serrated tube, amplified snare and bowed cymbal which really stood out. he created a truly immersive soundworld which despite the overall duration of the set (40 minutes) kept the audience on the edge of their seats and earned a huge ovation at its end.

Tuesday, 4 May 2010

more info on Seijiro Murayama concert


His approach is based on the attention to space and place, to the energy of the audience, and to the quality of silence in various levels. His solo is a kind of continuum with microscopic sounds. He uses a snare drum and a cymbal with brushes, sticks etc and air and contact microphones (in order to work on the edge of perceptions).

and special guests

wednesday 19th may 8pm
at the northern tavern, 85 ditchling road, brighton, uk
£5 on the door / £4 in advance
tickets available from the northern tavern and edgeworld records

Monday, 22 March 2010

Adam Lygo/EMB performance review

below is a link to a review of the recent live performance by Adam Lygo and Euphonious Murmur Blend at Brighton's Latest Musicbar by Anthony Murphy...

Friday, 26 February 2010

Ryu Hankil, Jez riley French, Patrick Farmer, Daniel Jones and more live

aural detritus presents:

Thursday 18th March 2010
At Coachwerks, 19 Hollingdean Terrace BN1 7HB 01273 562658

an evening of improvisation with:

Ryu Hankil
[korea – Manual, uk - Cathnor] Modisti

Ryu Hankil was born in 1975 in Seoul, South Korea. He worked for about two years as a professional graphic designer. Hankil was a keyboard player in two famous Korean indie pop groups, but eventually left the groups because he was tired of typical music making and sounds. Then he started his own solo electro pop project, Daytripper, and released two solo albums, A Collector (2001) and Brownpaper (2004).

When he made Brownpaper, Hankil collaborated for the first time with the Korean noise/improvisation duo Astronoise. At that time, he saw a concert by Otomo Yoshihide, Sachiko M, Axel Dörner, and Taku Unami in Seoul. He changed his musical instrument and concentrated more and more on improvised music. Hankil has organised a monthly event called RELAY since 2005. He established his own publishing office called Manual, and releases improvised music and magazines.

Hankil uses clockworks as an instrument. He is interested in finding musical structures and so on in the vibration of objects. He focuses on using non-instruments--abandoned objects like old telephones and typewriters. FTARRI

Jez riley French

Jez Riley French is a Uk based artist whose work focuses on the exploration of detail via intuitive composition, extended field recording techniques and photography. Elements such as sonic architecture, audible silence and compositional arcs have evolved from French’s need to remain open to an emotive, intuitive response to situations and environments.

Patrick Farmer, Daniel Jones

“The slow loris, of course, is a notably sluggish primate hailing from southeast Asia. Loris, here, is Patrick Farmer (natural objects, e-bow snare, tapes, wood), Sarah Hughes (chorded zither, piano, e-bow) and Daniel Jones (turntable, e-bow, piezo discs, electronics) and if they move slow (they don't really) they're thinking fast, pace Wolff, and the results are gorgeous. Enormous range of sounds, very open feel. How to quantify except to say that the choices made, subtle to brutal (and there's a surprising amount of fierceness in play here) seem utterly apt. The various flutterings and spare piano that begin the second cut, "Sophie", for example; the way the e-bow (?) intersects them. Each piece unfurls at its own pace, each telling a lovely, sometimes harsh story. Beautiful work, highly recommended.”
- Brian Olewnick, Just Outside

Slow Listener

Slow Listener come from Brighton, but you couldn't guess from the music - he manages to produce a shockingly beautiful long-form pieces of hissing, degraded beauty which defies easy comparison although I guess the most obvious link would be to William Basinski, who shares a similar love for the slow and degraded sounds of old tapes. Slow Listener also has much in common with the Skaters (or side project Vodka Soap) or even Tim Hecker with the carefully harmonized clouds of gorgeous sound. Even the artist name itself gives a hint at what you might expect - this is slow music to be listened to slowly, you have to give it time and attention, you have to ignore the pace of the modern world for almost an hour and just listen. Cassette recorded drones trip over dense waves of tempered distortion and shimmering, hissing breaths - it is almost impossible to recognise exactly where the sounds are coming from but the source becomes unimportant, all that's required is the gorgeous sound itself which wraps us up in a blanket of alluring haze. Huge recommendation.

Paul Khimasia Morgan

Rubbed stones, manipulated dc motors and amplified small movements.

..nice poise, nice control; confident recordings... Almost half-finished music, but its good.”
– Audition, the Sound 323 radio programme

Thursday 18th March 2010
At Coachwerks, 19 Hollingdean Terrace BN1 7HB 01273 562658

please note: performances start promptly at 8pm
Admittance £5

Monday, 22 February 2010

Active Crossover II at Grey Area Gallery

Just a few words about Bristolian field recordist and composer Simon Whetham's Active Crossover II multi-disciplinary arts exhibition at the Grey Area Gallery in Brighton on until 28th Feb.

The launch event at the sanctuary cella featured unique collaborations between Dylan Nyoukis and Ian Murphy, Rowan Forestier-Walker and Jez riley French and Simon Whetham and myself. a great evening!

the wrap event at the gallery itself on sun 28th feb promises more great things this time from Joseph Young aka Field, Daniel Jones, Mike Blow and Simon Whetham.

The exhibition itself features two chambers featuring soundworks by Simon Whetham, Jez riley French and other sound artists and runs until the 28th feb.

EMB & Adam Lygo live performance

Friday, 8 January 2010

Saturday, 2 January 2010

aural detritus presents The Sealed Knot

Friday 22nd January 2010
At the Upper Lounge, Caroline Of Brunswick, 39 Ditchling Road, Brighton BN1 4SB
8pm start £5 entry.

Aural Detritus presents:
[in association with Sound 323 and The Slightly Off Kilter Label]

The Sealed Knot
Burkhard Beins [percussion], Rhodri Davies [harp], Mark Wastell [tam tam]

The Sealed Knot were one of the key groups in the wave of Reductionism which swept over improvised music a decade ago. They have continued to play together sporadically over the past 10 years, continually shifting their battery of instruments to explore new soundscapes. 2010 will unveil a new electro-acoustic version of The Sealed Knot.

Releases on Quakebasket, Confront, Another Timbre

“The music contains little silence but plenty of space and delicacy….that chamber music feel of acoustic instruments intertwining via simple systems to create little fragments of subtle beauty.”
- Richard Pinnell, The Watchful Ear

Paul Khimasia Morgan

Rubbing stones together, sounding brass objects and agitating copper under tension.

“...I quite like this; this is an untitled disc of Daniel Jones and Paul Khimasia Morgan....its two pieces that have got nice poise, nice control; confident recordings and shows two really good new musicians coming through I think. Almost half-finished music, but its good.”
– Audition, the Sound 323 radio programme on Resonance 104.4FM


Celestial guitar processing.

“The trance-dream state of somnambulism. Adam Lygo's music as Invisible.”
- Neil Cheyney, Noise Is A Friend