I’ll be joining the innovative team from CLIP to get creative with sound and explore how to make electronic music this Sunday 🙂
We’ll begin by experimenting with circuit bending, the art of taking apart old musical toys and playing with the circuits themselves to create new music! Then we’ll combine this with the newest musical apps (using our collection of iPads), to bend, twist and morph sound into exciting electronic music. Zero equipment or previous experience is required.
Workshops are FREE but must be booked in advance as numbers are limited.
All of our workshops and activity will be delivered in line with the latest government guidance on covid-secure working.
Starting at 7.30pm, I’ll be performing a live solo electronics set using a range of different synthesisers, moving between ambient, drone, and wonky polyrhythmic dance music. From 8.30pm Beatrice will be playing some of her stunning classical repertoire – Moonlight Sonata, Gershwin Preludes, Clair De Lune, Chopin Waltzes and more. And as a handover between the two sets, Beatrice and I will be collaborating to perform Erik Satie’s Gymnopédie suite together which is SUPER EXCITING!!
The sound system is
There’s a bar and hot food being served, and in terms of Covid safety, the venue is the best of both worlds – undercover but with one wall entirely open at the side for full ventilation.
GO ON, Treat yourself to some FEEL-GOOD DELUXE PAMPERING by booking your tix now using the eventbrite link. Cheers loves 🥰 Loula x
Excited to be able to announce I have new music coming out on Antechamber Music, an EXCELLENT Accidental Records cassette/digi compilation releasing 30th July 2021 The track is called YES and is the first piece on the comp. Being quite intimate and dreamy, it’s a bit of new departure for me, and a really good example of this current Yamaha CS-60 drone trip I’m on. Goes without saying that the other tracks on this are ALSO SO GOOD. It’s a fantastic selection by Hugh Jones and team that I’m really proud to be part of. Big thank you to label owner Matthew Herbert.
Late winter-time I brought my live synthesis set-up and CV-controlled laser to Oxford Covered Market to throw some sounds and shapes around! This was for a filmed live session with Oxford Contemporary Music in assoc. with Upcycled Sounds. Other artist sessions that day included the ever-lovely Alabaster dePlume and band, and atmospheric new vocalist-producer feeo.
A film of my session will premiere on the OCM YouTube channel on 8 September 2021. In the meantime, here’s my funny face accompanying the day’s coverage in the Oxford Times 🙂
I’m playing out on Saturday night at an arts space in Leicester. The gig will be invite-only but streamed via this link for those at home. All I’m taking with me is one very special vintage synthesizer and one reverb pedal. I will be caressing the keys, then taping them down and sweeping every single filter, troubling every setting in every combination imaginable, improvising within the confines of the 8-note polyphony, adding notes and moving bits of tape around as I go. This is part of my new drone / organ output currently going by the name of Our Ears Were Canyons.
Interact Digital Arts says: “Interact Live is back! After a year and a half without any live events, we have teamed up with Ceremony to put on a night of live music and visuals to mark the closing of the 8-bit Exhibition. Due to continuing COVID-19 restrictions, the event is invite-only but will be streamed publically on YouTube.”
I’ve just installed a new work Snow Day at the Art Station as part of their forthcoming launch exhibition HERE.
The exhibition is curated by artists Clare Palmier and Jane Watt and celebrates new and recent work by emerging and established contemporary artists with a strong connection to Suffolk and East Anglia – with work that responds to our first floor space within the 1954 post office and also to the idea of HERE.
The exhibition will be open to the public for bookable small group tours and visits on Saturdays and Sundays 12-5pm, or by appointment
Twenty-five artists with a diverse range of practices that reflect contemporary engagement with materials, process and ideas will install work across 5500 sq ft of the previously disused 1950s industrial building. Works include site-specific installation, sound, video, VR, photography, drawing, painting, ceramic, sculpture and performance.
Artists: SE Barnet, Les Bicknell, Stuart Bowditch, Frances Brennan, William Card, Clip Sound and Music, William Cobbing, Graham Crowley, Mikey Cuddihy, Laurence Edwards, Edgefield Dance Company, Maddie Exton, Emily Godden, Kabir Hussain, Ann-Marie James, Abigail Lane, Anna Mac, Ruth Philo, Clare Palmier, Emily Richardson, Lol Sargent, Srinivas Surti, Jane Watt, Emma Withers, Loula Yorke.
There will be accompanying online audio and visual material available throughout the exhibition.
Supported by East Anglia Art Fund, Arts Council England.
I’ve moved to doing shows are every other month 🙂 Less pressure, more fun to be had. Also as of the May 2021 edition, the DJ controller is back in action (been borked for a like year…) SOOO no more music all laid out in some kind of sensible order in a DAW, with my awkward ‘radio host’ persona plastered over the beginning and end… just 100% mayhem … ALL THE FX! ALL THE SPEEDS! ALL THE DECKS! YES! 😍
Sisters with Transistors is the remarkable untold story of some of electronic music’s female pioneers, composers and innovators who embraced the emerging potentiality of machines and their liberating technologies to utterly transform the sonic landscape – how we create, produce and listen to music and sound today.
The film maps the lesser known history of electronic music through these visionary women, whose radical experimentations with machines reimagined and redefined the boundaries of music, from Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani and Laurie Spiegel.
To mark the release of Sisters with Transistors, to celebrate this story and those involved in electronic composition (past and present), Sound and Music were thrilled to host a free, online panel discussion, Sisters with Transistors: Then, Now, Next, on Thursday 6th May 2021.
Moderated by Victoria Johnson-Henckel and Heather Blair from the Sound and Music team, our discussion explored the making of Sisters with Transistors and why it’s important that this music (and story) is heard today. We also asked: Who is missing from this picture? What challenges and barriers do women and gender-minority composers still face in the electronic music world? What changes do we need to see? And what do we want the future to look and sound like?
Each of the panellists also shared an extract of music or sound, their own or someone else’s, that particularly inspired them.
A review of my performance at Sonic Electronics festival, which was part of Iklectik ArtLab’s [offsite] program, has made it into the print edition of Wire Magazine! Many thanks to Laura Netz for asking me to play. Issue 447 is available to read online here.
I wrote a very long, detailed breakdown of the four days here.
BPA just created a whole network of community musicians that live between Ipswich and Lowestoft which is … and I cannot stress this enough … WHERE I LIVE. Not London or Belfast or Cardiff or Glasgow … RURAL SUFFOLK. Big moves.
So many different musical styles and backgrounds represented! Felt super refreshing, diverse, no chance of groupthink, lots of opportunities for adapting and flexing the things we’ve learned to work for our own styles and practices with a bit of thought.
Really appreciated having training in how to run and facilitate workshops – having only done it by instinct before, I have definitely sometimes found myself getting flustered and feeling ‘on the back foot’ because I’ve thought a lot about the activity itself and not as much about the soft stuff that goes with it. Great to have had a brain dump of resources and ideas in one go.
Things I’ll be using immediately for Atari Punk Girls: phased clapping rhythm exercises; composing short musical gestures on noise instruments, passing them round the room, triggering them by conducting/making shapes of a clock to make a composition; using cut-ups for generating spoken word elements. Having my machines running, already generating music when participants arrive – use them to create a ‘greeting song’ to help us learn each other’s names; calming / centering ‘eyes up, eyes down’ exercise to close sessions.
Be great to have more info and perspectives on using experimental music or hardware electronics in long-term community music projects – anyone else doing that? How?