Wadada Leo Smith
Wadada Leo Smith
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
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.
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
Veterans of the psych-infused UK free noise scene, the Vibracathedral Orchestra is a hypnotic ur-drone group hailing from Leeds.
One of the most revered and legendary underground acts of the past 20+ years, Current 93 is the constantly evolving creation of David Tibet.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
How do poetry and maths stitch together pictures of our fractured situation from its wreckage and relics, from the debris of hope and the well of residues that make us what we are?
A whistle stop tour of visual and material culture that has anchored the sex workers rights movement through the decades until today.
Over 3 days Episode 8 celebrates all the unruly ways we escape attempts to constrain us, tear down the walls of normative culture and build joy in flight.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”