
JILAT
JLIAT / James Whitehead
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
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UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Freeform Super 8mm documentation of Sunday at Instal 06 by filmmaker Matt Hulse.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
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?
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.