Monday, 30 May 2011


Sunday 12th June 2011 @ Islington Mill, Salford


From 17.30 - An evening of live music with Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern), Eva Frutos, Jaime Soler, David Martinez (Spanish Theatre), Victor Lazzarini, Gordon Delap, John Lato, Jesse Ronneau, Eoin Smith and PhD Composers (National University of Ireland, Maynooth) and a selection MANTIS composers.
£3 donation
  • Angela Guyton, Rodrigo Constanzo, and Anton Hunter (Takahashi's Shellfish Concern)
  • Orbit by Gordon Delap:
  • Une étude étrangère, by John Lato
  • Noctilucent Clouds 8' by Victor Lazzarini
  • Opalesce: 6’ by Eoin Smith
  • Connect for by Jesse Ronneau
  • Jane Hall, Stephen Homoky (Hardwater)
  • Manchester solo 4: "Several Cities" by Richard Scott
  • untitled for fixed media (2011) 5:00 by Michael Lau
  • Europa: Irma Catalina Alvarez, Eva Frutos, Jaime Soler, David Martinez
  • (electronic duo) Mark Pilkington- Constantin Popp

£3 donation


Takahashi's Shellfish Concern
Takahashi's Shellfish Concern combines abstract expressionist visual art with experimental electronic-acoustic music to accentuate the similarities of both during improvised exchanges. Angela Guyton and Rodrigo Constanzo create a new event that requires the audience to consider this merger of music and art as a single expression. The concept for Takahashi's Shellfish Concern took shape in early 2006 back in their hometown, Miami, Florida. Rodrigo and Angela had both worked along similar lines in Failure, Arc of Beauty, and continued their collaboration after the group's dissolution in 2006. Now based in Manchester England, Takahashi’s Shellfish Concern is performing as a trio with musician Anton Hunter across the UK.
Rodrigo Constanzo was born in Madrid, Spain in 1976. He then spent the next three decades living in Miami, Florida, before moving to Manchester, England where he resides today. He has performed as a solo musician or as part of various groups for the majority of his life, including at the FUTURESONIC Festival in Manchester, the SOUND Festival in Aberdeen, and the GEM DAYS Festival in Huddersfield
Angela Guyton is a Colombian-American artist hailing from Miami, Florida. She is currently pursuing an MA in Contemporary Fine Art.
Anton Hunter is a jazz guitarist now living in Manchester, working with a wide range of groups with a strong free-jazz influence, alongside more conventional projects. Co-runs The Noise Upstairs free-improv jam night with Rodrigo Constanzo.
Anton Hunter is a jazz guitarist now living in Manchester, working with a wide range of groups with a strong free-jazz influence, alongside more conventional projects. Co-runs The Noise Upstairs free-improv jam night with Rodrigo Constanzo.

NUI Maynooth:
Orbit by Gordon Delap:
Une étude étrangère , by John Lato
Noctilucent Clouds 8' by Victor Lazzarini
Opalesce: 6’ by Eoin Smith
Double bass + electronics impro by Jesse Ronneau

Gordon Delap: "Orbit" (piece tbc)
8 channels, fixed media. Generated from Stefan Bilbao’s physical models.
The sounds in this piece were generated using a short Matlab script, of approximately 200--300 lines, simulating a network of interconnected bar and plate elements using finite difference schemes. The composer in this case is faced with not only the tasks of writing a score, consisting of a series of strikes sent to prescribed locations on the instrument, but also the somewhat larger job of designing the instrument itself, which may consist of upward of 100 elements. The composer may also specify locations at which output is read to a soundfile---any number of these may be chosen, and the sounds in this piece have all been generated directly in a multichannel format.

Gordon Delap comes from Co. Donegal in Ireland. He studied composition at City University, London, and Queen's University, Belfast. He has undertaken residencies at Nadine Arts Centre in Brussels, and at the Technische Universität in Berlin where he carried out research into compositional applications of non-linear plate models. In recent times he has received commissions from the British Council, Spacenet, the Naughton Gellery, and Radio 3, and in 2005 he won first prize in the Projet Itinerant competition "Point de Repere". He is currently lecturer in music technology at the National University of Ireland, Maynooth.

Une étude étrangère , by John Lato
Une étude étrangère is a short piece focusing on development of line and counterpoint within an acousmatic medium. The composition is in essence a Baroque invention in that it features two lines of equal importance that develop together into a whole. Traditionally an étude provides a performer with study in a particular technique while challenging the composer to write fluently with those considerable performance restrictions. As there is no performer with this work, it may instead serve as a study to the audience, providing an opportunity to critically engage with matters of form and structure within an acousmatic setting.

John Lato (b. 1979) has written music in a wide variety of different media, ranging from the symphonic band to acousmatic tape music. He has numerous performances of his chamber and wind ensemble works throughout the United States, and his electronic music has been performed across the U.S. and Europe, including performances at the 2005 International Computer Music Conference, SEAMUS, and Spark festivals. He was awarded 1st prize in the 2008 ASCAP/SEAMUS Student Composer Commission Competition for his electro-acoustic work Les Réactions de la Terre Abandonée. John received the D.M.A from UT-Austin in 2009, where he studied with Russell Pinkston and Donald Grantham. John is currently a member of the Electro-Acoustic Revue, a Dublin-based composer’s collective.

Noctilucent Clouds (2010), 8' by Victor Lazzarini
Night-shining clouds, seldom seen, happening in late Summer evenings, when the angle of the earth allows the reflected sun rays to make these clouds visible. They are possibly made up of ice crystals high up in the atmosphere, beyond the ordinary clouds. Just as they indicate the radiance of a hidden sun, the sonic nebulae in this piece reflects the various shades of an audio source that is finally revealed at the work’s end.

Victor Lazzarini (1969) is a Senior Lecturer at the Music Department and director of the Music Technology Laboratory, working mainly in the area of Computer Music. A graduate of the Universidade Estadual de Campinas (UNICAMP) in Brazil, he completed his doctorate at the University of Nottingham in 1996.
Among his awards, he received an Honour Mention for his orchestral piece Anima Mea, in Brazil (1995); the Heyman Research Scholarship and the Hallward Composition Prize, for his Magnificat, in England (1996); the NUIM New Researcher Award (2001); the ICUF scholarship (2005); and the IMRO/AIC Mostly Modern International Composition Prize (2006), for Dance of the Dawn (Timelines IIIa).

Opalesce: 6’ by Eoin Smith
''Opalesce' is a live piece for turntable and visuals. It is centered around my research in the field of electro-acoustic music and my interest in turntablism. 'Opalesce' is an exploration of the subtle nature of various different lighting shades and patterns. It attempts to use sonic material to compliment and contrast with these shades, creating an engaging sensory experience controlled solely by a turntable.

Eoin Smith is a composer and electronic musician from Dublin, Ireland. He is a Phd student at National College of Ireland, Maynooth, where he studies electro-acoustic music composition. His research is centered around exploring the expressive qualities of the turntable in both the performance and composition of electro-acoustic music, more specifically using the turntable as both a controller and instrument for computer based audio and visual tools.

Connect for - for fixed media by Jesse Ronneau

In October 2010 the Galway-based Chrysalis Dance Company commissioned, Connect for, which toured the Republic of Ireland and Northern Ireland and was subsequently chosen to co-represent Ireland at the International Dublin Dance Festival in May 2011.
The choreographer, Jude Sibley, approached me with an abstract idea about writing a piece which explored the frustrations, problems, anxiety and yet constant pursuit of making and maintaining meaningful connections with others.
I approached the work as a sort of “Musique Concrète Instrumentale Electronique” to coin a cumbersome term. What I mean is there are, for the most part, only extended techniques for the bass used in the work. These sounds are ones I use regularly in my compositions and improvisation. Aside from editing and layering there is no processing of the sound. Yet it was always conceived as a tape piece which could stand alone- an acoustic piece for fixed media.
The version heard here is edited down from the original, omitting sections which with the narrative of the dance make sense but as a purely audio experience make little sense.

Jesse Ronneau, from Chicago, is a composer of acoustic music (often featuring live electronic manipulation) as well as being an active improviser. His compositions have been enjoying ever increasing international exposure with recent performances in Germany, Thailand, Slovenia, the UK, throughout the United States and Ireland.
His works have been performed by some of the leading interpreters of New Music including Ensemble Sur Plus, the H2 Quartet, Carin Levine, Ian Pace, and Geoff Deibel, et al. He received his Doctorate with Honors from Northwestern University where he studied with Jason Eckhart, Jay Alan Yim, Steve Syverud, and Amy Williams. He holds a Masters with Honors from Roosevelt University where he studied composition, acoustics, and electronics with Don Malone. His undergraduate degree, also in composition, is from the University of Cincinnati College-Conservatory of Music.
He has held minor teaching posts at Northwestern University and the University of Illinois-Chicago. From 2006 to 2010 he was a lecturer at University College Cork. In 2009 he was a fellow at the Summer Akademie Schloss Solitude in Stuttgart. He has also been a composer-in-residence at Focam's Electronic Days at the University of Leeds. In October 2010 a commission from the Chrysalis Dance Company of Galway will be touring throughout the Republic.
His music has also been broadcast by Hessischer Rundfunk and RTÉ Lyric FM.
His research interests also include Extended Instrumental Techniques, the contemporary music of continental Europe (especially the work of Helmut Lachenmann, Salvatore Sciarrino, etc.), and Spectral Music.

Manchester solo 4: "Several Cities" - a fixed media work by Richard scott
Richard Scott exchanged formative experiments with synthesisers and drum machines in the post-punk early eighties for a move to London and the free music scene. Inspired by encounters with John Stevens, Evan Parker, Derek Bailey and AMM, he studied briefly with Steve Lacy, completed a doctorate thesis on free improvisation, and made extended trips to play music in West Africa. Subsequently he has aimed to straddle these two musical worlds searching for connections, through free-improvisation, between music, movement and the body. Richard uses a system of complex motion-controlled electronics, based around the Buchla Lightning.

In the 1990s he moved to Manchester, where he played and recorded with Bark!, Stock, Hausen and Walkman, Grew Trio and Pool and recorded the plunderphonic album Magnificence of Stereo with Rex Casswell (sruti BOX records). He has worked on a variety of projects with David Ross including Let's Make a Solar System (Inu.itu records) and Long Shore Drift ( and recently released an electroacoustic album, Wood Wind Tide with Clive Bell (Kwan Yin records). In 2009 PSI released Essex Foam Party by Grutronic, the first release (possibly ever?) to make subsatntial use of the Buchla Lightning in the context of freely improvised music.
The Buchla lightning is reminiscent of two conducting wands which can be used as percussive controllers, as a kind of sophisticated theremin, as virtual space controllers, as an array of potentiometers or in many other ways. Richard has further combined the wands with two Nintendo wii-mote controllers strapped to the handsets creating a bank of switches, controllers and shift keys which can be used to alter the response and mapping of the lightning on the fly as it is mapped through STEIM's interface software JunXion. The controllers are then routed to the live sampling environment LiSa and an internal synthesizer and external processors. The instrument as it stands is designed to be an improvising instrument, as heard on the recent Grutronic CD "Essex Foam Party" on Evan Parker's PSI label but he is also exploring its potential as compositional studio tool, in 2009 creating two electroacoustic pieces featuring percussionist Gustavo Aguilar. He is currently exploring the Buchla Lightning as a means of interacting with other media, for example film, light and sound diffusion.
Richards sound sources for this instrument are varied but are in many cases derived from musicians who he works with, for example Evan Parker, Clive Bell and Gustavo Aguilar. He also works and performs extensively with analogue modular synthesizers which form the sound source for much of his solo work, including a variety of unusual devices such as Rob
Hordijk's blippoo box, Jo Grys's Jumpstep sequencer, STEIM's cracklebox and Tom Bugs' postcard weevil.
He lives in Berlin and Manchester where he is currently studying electroacoustic composition, and is an Artist-in-Residence at STEIM, Amsterdam focussing on infra-red and movement based performance technologies.

Jane Hall /Stephen Homoky - 'Hardwater' ca 5:00
This piece uses precomposed work by Stephen Homoky (also known as HARDWATER) as a sound source to explore the different properties of liquid and solid, eventually ending up as ice crystals - because what is ice, if not a form of 'hard water?'
Stephen's compositional method is to create familiar sounds using artificial means, then compress the results and use them as source sounds for his own loops. The loops created are not music, but soundscape platforms, which Jane is utilizing in this piece.

Europa ( Presion. First Scene) by Irma Catalina Álvarez
Collaborators: David Martínez, Eva Frutos, Jaime Soler-Huete, Néstor López, Miseria y Hambre S.L.
This work is a stage performance focused on the combination of two research concepts: Using a theatrical text as a sound object and using a video projection as an stage object.
Sound plays a leading role, both as a connection between the actors and the video projection and as a drama thread leading the audience through a journey to experience the play in a unique way.

Bio: Irma Catalina Alvarez was born in Cuenca, Spain in 1980. She began her music studies at the Conservatory of Music of Cuenca, where she obtained primary and medium degree in music and piano. Later, she read music at the Real Conservatory of Music of Atocha in Madrid, specialised in Contemporary Music Composition and Electroacoustic Music Composition. Last year she studied a MusM in electroacoustic music composition in the Manchester University supervised by Ricardo Climent and David Berezan. Additionally, she studied Philosophy at the Complutense University in Madrid and sound technician studies (F.I.P).
She is co-fundator of the interdisciplinary art group ‘Miseria y Hambre’ a and co-director of the ‘Encounters Festival’, an annual music-and-art festival in Cuenca, Spain.
She has worked as a composer, performer, arranger and musical director for theatrical plays and she has composed music for short films, dance and other type of performances.
She is currently in Manchester studying a PhD in electroacoustic music composition supervised by Ricardo Climent.

Mark Pilkington- Constantin Popp (electronic duo)