
Six Organs of Admittance
Six Organs of Admittance
Pitching Fahey inspired, eastern-infused folk vibrations, sad elliptical drones and oracle chants into one kaleidoscopic 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.
Pitching Fahey inspired, eastern-infused folk vibrations, sad elliptical drones and oracle chants into one kaleidoscopic sound.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Perhaps the paradigm of America’s covert musical subculture, Sun City Girls operate just over the border of raucous delirium.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?