Nmperign + Jason Lescalleet
Jason Lescalleet Nmperign
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
Austrian guitarist who specialises in a warm digital deconstruction of guitar noise
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Giants of the Japanese avant-rock scene Ruins are a hardcore prog rock bass + drums duo led by drummer extraordinaire Tatsuya Yoshida and joined in Dundee by Sasaki Hisashi.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?