Han-earl Park digs deep into techniques and sounds and presents a fresh palette for the guitar. Pyrotechnics abound, but not in any kind of traditional sense. [Read the rest…]
Plus, with the inclusion of Catherine Sikora’s corners (“absorbing, pushing against and playing off the natural reverb”), and Nick Didkovsky’s CHORD IV, aJazzNoise’s selection almost like an informal Eris 136199 reunion!
Keith Prosk also chooses Of Life… for his Top 10 at Free Jazz, and in his review at harmonic series, Prosk writes of a music that “explores and rearranges material, or things whose characters seem similar though never the same, through its durations”:
Along with what’s kept there is always something left and something new. The country twang tune with popping harmonics from ‘Naught Opportune.’ The unsettling mandolinesque trill or quivering sustain in hazy delay from ‘Are Variant.’ The distorted suck, psychedelic and ecstatic, in slow crescendo from ‘Of Life, Recombinant.’ In its representation of real-time activity that ruminates on its material, it is as if it provides a glimpse into the improvising process, whose hushed reality of painstaking practice might often be misinterpreted as something closer to strokes of inspiration out of the ether. In between chaos and composure, it is something closer to the complexity of life. [Read the rest…]
Park’s approach changes, from jangling notes, to ambient passages, to twangy folk themes, to long-held chords. In doing so, he incorporates extended techniques into more conventional practices to the point where the former guide and direct the latter. [Read the rest…]
Elsewhere Corey Mwamba (Freeness, BBC Radio 3) describes “exquisite music-making” with musicians that “fuse and create this gorgeous glitchy stew together”, and, writing in Vital Weekly, Nick Roseblade describes Peculiar Velocities as an album in which “everything feels pushed as far is it can go”:
Like what rock music could, and possibly should, have sounded like it if musicians like Ornette Coleman became the norm. There is a freeness to the playing that is astounding, but there is also organisation. During sections, the guitars work together to give Sikora something tangible to stand on. When this happens ‘Eris 136199: Peculiar Velocities’ becomes something very special indeed. ‘Polytely I’ sees the guitars constantly churning to create vortex-esque soundscapes why Sikora’s light and airy saxophone wafts above it. Like stream on a freshly brewed tea. This is an album that reminds you of how good it is when musicians don’t care about the rules and just play. [Read the rest…]
And while Brady Gerber’s ‘7 For Seven’ finds a space in which “a nervous guitar fills an orange sky and empty beach”, and Takeshi Goda in JazzTokyo writes of velocities, perception, collisions, fusions, joy and brain-reforming experiences:
それはあたかも地球外の異境から到来した明滅する運動エネルギーによって脳外科手術を施されるような驚喜の頭脳改革体験である。 [Read the rest…]
And finally, Ken Shimamoto/The Stash Dauber writes about sounds that “slither and spatter like radio interference, shimmer like molten silver, or ring like a cymbal’s decay” music in which “the spirit of electricity becomes a living thing”:
The best type of musical conversation, abstract and oblique as it might be at times…. I’ve listened to this thing a half dozen times since I started writing yesterday, and am happy to have its company to help me get through what looks like it’s going to be a very tough winter… and the hopeful spring to follow. [Read the rest…]
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
Two+ Bagatelles
And one more thing: In his survey of solo guitar recordings, Paul Acquaro at Free Jazz reviews my recording released by, and in support of, The Vortex Jazz Club:
[Han-earl Park’s] playing was unusually expressive…. On Two+ Bagatelles, this same musical spirit that has stuck with me for so long, has been captured…. Melodies becoming almost like the sounds of an 8-bit shower. [Read the rest…]
Available from The Vortex’s Bandcamp page, all purchases of Two+ Bagatelles go towards helping their continued work presenting the very best jazz, improvised, and experimental musics.
Peculiar Velocities is Eris 136199’s first studio album, and captures the trio during their 2019 European tour; between the first date at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
https://soundcloud.com/hanearlpark/mix-engineer-works
Wondering what mixing strategy could possibly work for your recording of noisy, pretty, gentle and disorderly peculiar music? Hit me up if your left-of-field recording is in need of some…
https://www.youtube.com/watch?v=jewNzu1KL1Q
Violence and cruelty? Fantastical, twisted, dark, deeply affectionate humanism? Improvisation as embodiment and personification? Place, subjectivity and interiority? As part of the Free Jazz: Sunday Interview, in response to a…
An uncomfortable joy, a can’t-be-reproduced-in-the-laboratory combination of rare elements, a new musical alloy, an ongoing experiment, the perfect distillation of uneasy listening.
Formed in New York in 2012, Eris 136199 is the chaotic-slamming one-person rhythm section of Han-earl Park (Sirene 1009), the deep melodic intelligence and big-tenor sound of Catherine Sikora (Clockwork Mercury), and the anthems of glitch, experimentalism and riffage of Nick Didkovsky (Doctor Nerve). Recorded during the trio’s 2019 European tour, Peculiar Velocities (BAF002) is Eris 136199’s third CD, and first studio album. The album is the follow-up to the eponymous Eris 136199 (BAF001, 2018) described as “like letting an insane brain surgeon in through your ear” (aJazzNoise, Best of 2018), and Anomic Aphasia (SLAMCD 559, 2015) which was described as “a beautiful noise” (KFJC 89.7 FM).
Surprises abound on this disc from the collision of three seemingly incompatible notions of time and rhythm in [the title track] ‘Peculiar Velocities’; to ‘Sleeping Dragon’ which insistently claims to be one thing but reveals itself to be something else; to the aural love letter to No Wave that is ‘D-Loop’….
Moments of absolute clarity, where two of us may deliberately hit exactly the same notes, are juxtaposed by equally comfortable bursts of raging chaos and easy silences.
— From the liner notes‡
Recorded with a lean, efficient boldness by Sean Woodlock, and mastered by Richard Scott, the album captures music that leaps from wispy, delicate webs to massive weather-beaten mountains. Recorded over just three hours in a single live room, Peculiar Velocities catches Eris 136199 between the first date of the tour at The Vortex (London) and their performance at Jazz em Agosto (Lisbon).
Insectoid ASMR glitches to powerful ballads of weight and light; gentle, languorous shimmers to startling No Wave noise; raspy double-guitar hockets to gutted, dismantled chorales.
Han-earl Park is the instigator and mastermind behind Eris 136199, as well as groups including Sirene 1009 with Dominic Lash, Mark Sanders and rit. (f.k.a. Caroline Pugh), and co-conspirator in projects with Richard Barrett and others. Park is the constructor of the machine improviser io 0.0.1 beta++, and of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Josh Sinton, Louise Dam Eckardt Jensen, Ingrid Laubrock, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder. His ensembles have performed at festivals including Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), CEAIT (Los Angeles) and Sonic Acts (Amsterdam).
Saxophonist, improviser and composer Catherine Sikora, known for her big sound and lyrical melodic work, works as a solo performer and with Eric Mingus, Enrique Haneine, Brian Chase, Han-earl Park, Ethan Winogrand, Christopher Culpo and Ross Hammond. In recent years Sikora has toured in Canada, the United States, Europe and Australia. She was a featured soloist in Eric Mingus’ radical reimagining of Tommy by the Who (Adelaide Festival 2015), and was artist in residence at the Centre Culturel Irlandais in Paris in 2014 and in 2020.
Guitarist, composer, and computer music programmer Nick Didkovsky has composed music for Kathleen Supové, ETHEL, Bang on a Can All-Stars, Meridian Arts Ensemble, New Century Players, ARTE Quartett, as part of the Fred Frith Guitar Quartet, and his own bands Doctor Nerve, Vomit Fist, Häßliche Luftmasken, and others. His compositions and guitar performances appear on more than 50 records. For over 30 years, his avant-metal big band Doctor Nerve has fueled Didkovsky’s intricate compositions with the energy of rock, punching holes through the walls between heavy metal, contemporary music, and improvisation, and performing at festivals including Moers, FIMAV, and the Whitney Museum’s ‘Whitney Live.’ With computer music pioneer Phil Burk, Didkovsky developed the computer music language Java Music Specification Language (JMSL).
Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
A big thanks to the backers of our Kickstarter project for their awe-inspiring generosity; helping bring this music to you! A massive thanks to Phillip A., Bruno Bissonnette, Mike Borella, Colin Cahill, Jeremy Clarke, Gary Couse, Nicholas Croft, Don Davis, Andrew Raffo Dewar, Tom Duff, Erik Ellestad, Lee Rice Epstein, Goldi, Owen Green, Rich Hollis, Martin Hoogeboom, Terry Kattleman, Gary W. Kennedy, Liam, Bartholomew R. Mallio, walt mattes, Andrew McKenzie, Rob Miller, Eric Mingus, John Minnock, david m morris, Neil, Matthew Nolan, Michael Rogers, Steffen Schindler, Ken Shimamoto, Craig Sines, j. sinton, Marte van der Loop, Tom Ward, Bernd Wimmer, aJazzNoise, and the Newcastle Festival of Jazz and Improvised Music, and to our anonymous backers.
Track listing: Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.
A “control of noise”, “saturated electricity” and “fighting… with the underground”? or “free-wheeling” with experiments in sound injected with lyricism? or “electronic mayhem” with “a full bodied sound”? In among the reviews of Eris 136199’s performance at Jazz em Agosto, David Cristol, writing in Jazz Magazine, follows “a trio of an absolute radicality”, and concludes by discovering “art music!”
Pour la dernière soirée, le directeur artistique Rui Neves nous a réservé un trio d’une radicalité absolue, proposition courageuse voire casse-gueule dans le contexte d’une salle de plusieurs centaines de places…. Et même pour les spectateurs aguerris, il s’est agi sans nul doute du concert le plus difficile d’accès du festival, présentant peu de repères auxquels se raccrocher. Il faut ici saluer la grande majorité des spectateurs, déterminés à suivre les musiciens dans leur recherche ou idée fixe, voir où le voyage va les mener. Le son est magnifiquement restitué. Park joue beaucoup de l’accordage de la main gauche, dans le registre de la basse. Les guitaristes dessinent des paysages métalliques, via un jeu non conventionnel, selon leurs propres codes, multipliant les dissonances…. Catherine Sikora est une révélation, son jeu oblique, sensible et lumineux offrant un contrepoint idéal aux élucubrations crépusculaires de ses partenaires. Le ténor adopte une approche décidément tonale et mélodique, et néanmoins exploratoire. D’un bout à l’autre un set sans concession aucune, dont on ressort essoré, mais ravi que de telles expériences soient tentées. Art music! [Read the rest…]
Meanwhile, Erik Ellestad, reviewing Eris’ most recent album, sketches a verisimilar portrait of the trio (Han-earl Park “functioning as the de facto rhythm section in Eris 136199”; Catherine Sikora’s “unvarnished and unapologetic sound… while at the same time maintaining a core of melodicism”, and Nick Didkovsky expressing “digitally warped washes of static-like sound and angry slashes of melody”):
It is 50-plus minutes of riveting music making from three fantastic and fascinating musicians. I’ve been listening avidly to Eris 136199 all week on my commute and have looked forward to it every day. Wondering what new thing I will discover in Sikora’s technique while at the same time trying to pay attention and tease out which guitarist is playing what.
Obviously, Eris 136199 isn’t Lawrence Welk, however, there is something in the players expressiveness and in their interactions which prevents it from being too harsh or overwhelming.
Rough enough to keep it exciting, yet tender enough to keep you coming back. [Read the rest…]
I think I might want “Eris 136199 isn’t Lawrence Welk” on a T-shirt.
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
*† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
First, my thanks as always to those who came to listen and witness musicking in real-time collisions. It was great to see so many old friends and new faces; to hear from so many of how you made your way into this music. My heartfelt thanks to you for embarking on the journey with us!
I am so very grateful to all our hosts: a big, big, big thanks to Jazz em Agosto for making all this possible. My deepest gratitude to Rui Neves for first inviting this unruly trio to perform at the festival, and to his unerring belief in the necessity of difficult music. Thanks also to the super-professional sound and stage team; to Petra Cvelbar for the awesome photography; to João Brilhante for all the media work; and to the unshakable patience and enthusiasm of Inês Nunes who got this trio from A-to-B and back again (I expect big things in all your future endeavors).
Warmest thanks everyone at The Vortex for their generosity and enthusiasm—what a true community! In particular, thanks to the amazing Kathianne Hingwan for her kindness and generosity, to Kim Macari for the invitation to perform, and to our fantastic sound engineer Ali Ward for the faster-than-light energy. (And of course Nutmeg for greeting the band!)
Thanks to everyone behind the scenes at the Dublin event: to Note Productions (to Matthew Nolan for putting together the program), and to Improvise Music Company (to Aoife Concannon, Adam Nolan, Kenneth Killeen, and, in particular for the Question & Answer, to Caitríona O’Mahony). Thanks also to Zeropunkt (Fergus Cullen, Jamie Davis and Damien Lennon) for graciously sharing the stage with us.
Kudos, Sean Woodlock, mastermind behind Hackney Road Studios for the smoothest, quickest, most professional of setups, and for creating the most musically, technically, logistically and acoustically satisfying studio recording experience I’ve ever had. Truly, if anyone needs a recording, hit Sean up. (And thanks to Colin Webster for recommending the studio.)
Thanks to Laurent Carrier and everyone Colore for handling all the paperwork, and to the tireless Lee Paterson who helped negotiate the details, and guided this musician carefully through the whole paperwork process. You were just above-and-beyond, Lee! (And thanks to Ingrid Laubrock for introducing me to Lee, and to Alex Hawkins and Charles Hayward for BTS consultations.)
Kudos to Paul Acquaro and everyone at Free Jazz, to Mike Borella at Avant Music News, to Dave Foxall at a Jazz Noise, and Tim Owen of _____on Sound for their continued support, and help getting the word out about our music and these performances.
Last, but certainly not least, thanks go to my travel companions, both in musical and geographical space (and in hypothetical lived simulations and dream states). A big thanks to Catherine for the big note, the moments of harmonic serendipity, and the unexpectedly expected interjections; and to Nick for the super-critical noise, the human-controlled virtual reverb chamber, and for the dreamy soundscapes (or is that the sound dreamscapes). Thank you both for observing and noting the synchronicity in our travels (of foxes, of tango, of almost forgotten ancestors, of frozen assets). As we discussed on multiple occasions on the tour, the ensemble is the composition, and it was a pleasure to study this composition more fully with each performance: experiencing the music of changes from energetic play of weight and light (Vortex, London), high-risk explorations of the outer reaches of idiom (Hackney Road, London), games of serendipity and of disjunction (Lisbon), and music of counterpoint and real harmony (Dublin).
Track listing: Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.
A science fictional foray? the specter of drumming giant Rashied Ali? searing, erupting explosions? striking song-like passages over the rumble and din? climbing over a breathless downpour of sound? John Pietaro writes in the February issue of The New York City Jazz Record that: “In a field of experimentation and free music, Eris 136199 stands as singular.”
The closing work, two-part “Hypnagogia”, begins with the most electronic of sounds in [Nick] Didkovsky’s canon and as it fades the saxophonist blows an aerial passage that turns expressionistic as [Han-earl] Park hurls rapid- fire fills about her (think Interstellar Space as a starting point). By the time Didkovsky returns, his guitar embellishes Park’s and [Catherine] Sikora closes with lush postbop improvisation that will give listeners chills. [Read the rest…]
I love this review! Not just for its generosity and not just that it’s evident that the writer listened carefully (though, of course, it’s both of those), but I appreciate that it devotes space, in turn, to each musician of the trio. So big thanks to John for the review, and thanks, John, for hearing the Ali-connection back in 2013.
Mike Borella at Avant Music News finds monstrous extemporizations; jangling, twisting uneasiness; and an internal battle of self-restraint:
Eris 136199 is much more than deconstructivistic listening. Putting these three explorers together results in a surprising pleasant, if not angular and abstract, experience. Sikora and Didkovsky are a wonderful stylistic matchup – a sax player who is both aggressive and understated with a guitarist who seems to be fighting an internal battle of self-restraint. Park hangs around in the background, adding texture and an ephemeral context for their parts. [Read the rest…]
He concludes by writing: “Great stuff and highly recommended.”
Elsewhere, Avant Scena writes that “the music is just wonderful and charming – all kinds of colors, rhythms, expressions and sounds are condensed together in one form.” And Dolf Mulder writing in Vital Weekly describes a complex music emerging from the meeting of three very different individuals: “A radical kind of music.”
And finally, in Free Jazz’s survey of the recent albums by Catherine Sikora, Fotis Nikolakopoulos describes, in his ☆☆☆☆ review of Eris 136199, dismantling of the rock guitar solo pose, multidimensional timbres and atmosphere, and a constant battle of metallic guitar sounds and the organic feel of the saxophone: “like-minded improvisers who try to find their way through collective thinking and playing…. Eris 136199 is an album that blossoms after repeated listenings and deserves more than a quick listen….”
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
*† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
Boiling down 2018 to this list involved many very difficult decisions. We stand by all of the records on this list and think they will stand the test of time.” [Read the rest…]
Thank you so much, Cisco and everyone at Jazz Right Now! And a special thanks to Gabriel Jermaine Vanlandingham-Dunn who wrote that honest, most unique of reviews:
At times guitarist Han-earl Park reminds me of what my bones and muscles would sound like if this speeding vehicle had in fact crushed or torn any of them (I do not have any broken bones, but I am still awaiting test results on my foot muscles). The sometimes slow, sometimes fast plucking and riffing literally makes me cringe today while writing this. My screaming at this speeding driver a split second before their vehicle crashed into the back of my bicycle might recall the blare of Catherine Sikora’s tenor sax throughout the album. I think of my repeating “WOAH, WOAH, WOAH” slowed down and amplified for full effect; loud enough that people heard the crash and my descent into the concrete of Nick Didkovsky’s improvised patterns. [Read the rest…]
Exquisitely constructed, spontaneously messed-up, endless depth, kind of like letting an insane brain surgeon in through your ear. [Read the rest…]
I’m very proud of the noise/music that is Eris 136199, and I am very proud to find it listed among such stupendously noisy music. Thanks also to a Jazz Noise for their amazing support of our work (in case you missed it, please have a read of the interviews with Nick, Catherine and me that were published in the run-up to the album release).
Big thanks again to Cisco Bradley, Jermaine Vanlandingham-Dunn and everyone at Jazz Right Now, Takeshi Goda at JazzTokyo, to Dave Foxall at a Jazz Noise, to Lee Rice Epstein and Paul Acquaro at Free Jazz Blog, and to Mike Borella of Avant Music News for their continued support!
CD: €11 minimum (‘name your price’) plus shipping.*
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
*† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
In case you missed it, I wrote a short piece for the June edition of The Wire (issue 448) in which I muse about speaker cabinets, cyborgs, simulations, rooms-within-rooms, and…
November 17, 2020: Eris 136199’s latest album is out now (compact disc and digital download)! Eris 136199 is the chaotic snap’n’pop of Han-earl Park’s cyborg virtuosity, the symphonies of power…
Formed in New York in 2012, Eris 136199 is the quick-reacting cyborg virtuosity of Han-earl Park (Sirene 1009), the mighty melodic imagination and big tenor sound of Catherine Sikora (Clockwork Mercury), and the diamond-cut precision and grind-meets-experimentalism of Nick Didkovsky (Doctor Nerve). Recorded during the 2017 European tour, Eris 136199’s eponymous album is the trio’s followup to their debut recording Anomic Aphasia (SLAMCD 559, 2015) which was described as “a beautiful noise” (KFJC 89.7 FM) and “atmospheric as to become almost frightening” (The New York City Jazz Record).
Noise multiplies via telephone futz, riding the transcontinental signal; a clockwork tight-rope walker dances, navigating (gears shift and gear grind) tension; and, above all, rises the Big Note around which we all fall to orbit.
Han-earl Park variously occupies the role of Eris 136199’s drummer, bassist, and second horn-player. He is the instigator and mastermind behind Eris 136199, as well as groups like Sirene 1009 (with Dominic Lash, Mark Sanders and Caroline Pugh), and co-conspirator in projects with Richard Barrett and others. Park is navigator-engineer of the interactive, with playing that is by turns accommodating and interventionist. Changing direction and turning on a dime, Park demonstrates, with little more than a guitar, volume pedal and amplifier, a mutable, physical virtuosity.
In contrast, Nick Didkovsky creates anthems of glitch and distortion, playing the (analog and digital) signal chain from vibrating string to vibrating speaker via pedals and tube saturation. Demonstrating a deep understanding of rock, noise and experimentalism, Didkovsky rides the line between process-based mutations and heavy-rock riffage. Best known for his avant-metal big band Doctor Nerve, Didkovsky is also an active composer, working with ensembles such as Bang On A Can All Stars, ETHEL, and the Meridian Arts Ensemble, and the author of Java Music Specification Language, a system for algorithmic composition and real-time computer music.
Completing the trio is improviser, composer, saxophonist Catherine Sikora. Seated stage-center, Sikora brings a deep melodic and harmonic intelligence to the performances. In addition to long-standing collaborations with Eric Mingus, Christopher Culpo, Stanley Zappa, and Brian Chase, Sikora’s big, bold sound, and extraordinary melodic sense, has been in demand with artists such as Enrique Haneine, Elliott Sharp, and Ross Hammond. That same sound and technique grounds Eris, simultaneously rooting it in tradition while continually stepping beyond its borders.
Recorded with clarity and punch by Troels Bech and Charlie McGovern, and beautifully mastered by the amazing Richard Scott, the album presents two near-complete sets; from earlier in the tour (Copenhagen), and from the final date of the tour (Newcastle).
Update: thanks to everyone who pre-ordered! The pre-order period is now over, and the bonus album, Cryptogenic Animals, is no longer available to download. And free and exclusive to pre-orders of the album: the download-only Cryptogenic Animals. Recorded live in Cheltenham a day after Copenhagen, two days before Newcastle, Cryptogenic Animals, offers a unique opportunity to track the evolution of this improvising trio during the 2017 European tour, showcasing the trio’s adaptability to context, and creativity born from the contingent. [Listen/about Cryptogenic Animals…]
Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.
Track listing: Cryptogenic Animals I (5:26), Cryptogenic Animals II (6:46), Cryptogenic Animals III (5:01), Monkey Wrench I (6:09), Monkey Wrench II (7:59), Spherical Cow I (7:30), Spherical Cow II (3:05), Dendrobranchiata Murmurationis I (3:18), Dendrobranchiata Murmurationis II (5:10). Total duration: 50:23.
Eris 136199 plays on the crossroads of noise, melody, rhythm, space, density, contrast, synchronicity, asymmetry, serendipity and contradiction. Eris 136199 is the corporeal, cyborg virtuosity of constructor and guitarist Han-earl Park; the noisy, unruly complexity of composer, computer artist and guitarist Nick Didkovsky; and the no-nonsense melodic logic of composer and saxophonist Catherine Sikora.
Together, Park, Didkovsky and Sikora forge an improvisative space where melody can be melody, noise can be noise, meter can be meter, metal becomes metal, bluegrass turns to bluegrass, jazz transforms into jazz, all there, all necessary without imploding under idiomatic pressures. [More about the trio…]
about the performers
Improviser, guitarist and constructor Han-earl Park (박한얼) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe and the USA.
Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.
Ensembles include Sirene 1009 with Dominic Lash, Mark Sanders and Caroline Pugh, Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. Park is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder, and as part of large ensembles led by Wadada Leo Smith, Evan Parker and Pauline Oliveros.
Festival appearances include Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh), CEAIT (Los Angeles) and Sonic Acts (Amsterdam). His recordings have been released by labels including SLAM Productions, Creative Sources and DUNS Limited Edition.
Park teaches improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
“Guitarist Han-earl Park is a musical philosopher…. Expect unexpected things from Park, who is a delightful shape-shifter….”
Brian Morton (Point of Departure)
Saxophonist, improviser and composer Catherine Sikora was born and raised in West Cork, Ireland. Self taught to begin with, she moved to New York City to study and play with great improvisers.
Sikora works in a broad range of settings, from highly complex composed music, to folk songs, to free improvisation. She works regularly with Eric Mingus, Enrique Haneine, Brian Chase, Han-earl Park, Stanley Zappa, Christopher Culpo and Ross Hammond, as well as actively pursuing solo performance.
In the past few years Sikora has toured in Canada, the United States, Europe and Australia. She was a featured soloist in Eric Mingus’ radical reimagining of Tommy by the Who (Adelaide Festival 2015), and was artist in residence at the Centre Culturel Irlandais in Paris for the fall of 2014, working on a project inspired by stories from her female ancestors. Catherine’s first solo album Jersey was released on Relative Pitch Records in July 2016.
“Sikora has invited us into her musical world, and like the neighbor from Queens, it is our good fortune to be in its midsts.”
— Paul Acquaro (Free Jazz)
“Sikora resembles [Evan] Parker on tenor saxophone in that she has created a personal language in which she sublimates technique according to what she wants to achieve and maintains a discernible relationship to the free jazz tradition in her syntax; she recalls another English saxophonist, John Butcher, in her absolute control and deployment of overtones. Where she remains distinct from both Butcher and Parker is in how she incorporates such dissonance into a stream of delicate abstract lyricism. -John Sharpe, New York City Jazz Record”
— John Sharpe (New York City Jazz Record)
Nick Didkovsky is a guitarist, composer, and computer music programmer. His non-didactic approach to combining human and machine creativity is a unique musical fingerprint. Didkovsky has composed new music for Kathleen Supove, Ethel, Bang on a Can All-Stars, Meridian Arts Ensemble, New Century Players, ARTE Quartett, his own bands Doctor Nerve, Vomit Fist, Häßliche Luftmasken, and others. His compositions and guitar performances appear on more than 50 records.
For over 30 years, Doctor Nerve has fueled Didkovsky’s intricate compositions with the energy of rock, often challenging the boundaries between heavy metal, contemporary music, and improvisation. Doctor Nerve has released nine albums of more than 50 of his compositions. The band has performed at numerous festivals including FIMAV, the Moers Festival, Musique Action, Creative Time, MIMI Festival, and ‘Whitney Live’ at the Whitney Museum of American Art.
As a guitarist and composer, Didkovsky was a member of the Fred Frith Guitar Quartet, contributing twelve compositions to its repertoire. Didkovsky’s electric guitar compositions continue to be performed by newer ensembles such as Dither Quartet, E-Werk, and Fracture Guitar Quartet, and by soloists such as Kevin Gallagher, Marco Cappelli, and Wiek Hijmans. As a soloist, he has performed at numerous events such as Bang On A Can festival, Guitarévolutions in Montreal, New Ballet festival at the Miller Theatre, and John Zorn’s East Asian Bar Bands. His 2015 Residency at The Stone in NYC resulted in numerous premiere performances of new works.
Track listing: Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
This has been my favorite tour! Excellent company; exemplary hosts; faultless, above-and-beyond support from all. Everyone here worked so hard for no material gain to make the musicians’ journey as effortless as possible. My hosts have reminded me why we all do this; that creative music brings gradations and spectra to the sometimes hard-edged world, that it refuses and resists and rewrites the 1-bit world into something altogether more colorful and toneful and rhythmic and noisy.
I am forever grateful; it was a true pleasure to work with y’all.
Thanks to Rica Zinn and the entire creative crew of the MS Stubnitz! Thank you for the force-of-nature hospitality (plus the best shower, and the best stock-and-carrots combination), the sound, and the acoustics! Thanks to Georg Hajdu who initially got us in touch with Rica, to Heinrich Metzger and Michael Maierhof of Verband für aktuelle Musik Hamburg for their support, and to Steffen Schindler for the awesome photography.
Thanks to Jakob Drong Jensen, Jonas Vognsen, Troels Bech Jessen, and everyone at Jazz Club Loco, Bryggekælderen, and Jvtlandt for putting together an awesome gig (tied, musically, as my favorite of the tour).
Warmest thanks to Stuart Wilding for being a truly wonderful host; cooking wonderful meals, bringing together a great company of people (including Mark Unsworth for the playful and fascinating visuals, Anthea Millier for the gezellig accommodation, and Jamie Dawson for the amplifiers), and allowing us to play in that fantastic space.
To the mastermind behind OUT FRONT!, the busiest man I know, Corey Mwamba! Thank you so, so much for finding time in your busy schedule to put on a performance, and thanks for your apparently limitless enthusiasm for creative music! Thanks also to Walt Shaw for helping at the door, and to the fantastic Chris Trent for documenting the performance.
Thanks to everyone at the mighty Jazz North East: to Paul Bream for securing the work permits; to Ken Drew for the photography; to Charlie McGovern for the recording; and especially to Wesley Stephenson for his indefatigable work organizing this event, and patiently and graciously addressing my queries. What a great team, great city, and what a great way to end the tour!
Special thanks to all the musicians who graciously shared the bill with Eris: to Eugene Chadbourne; to Sonja LaBianca and Heine Thorhauge Mathiasen; and to Herve Perez, Martin Archer and Peter Fairclough (a.k.a. Inclusion Principle). And thanks to John Pope for hosting an informal session the day after the tour.
And, of course, none of this would be possible without the awe-inspiring generosity of the backers of our Kickstarter project: Cath Roberts, Franziska Schroeder, Owen Green, Han-Ter Park, Richard Hollis, Tom Duff, Jan Langedijk, Thomas Buckner, Liam Nagle, Andrew Raffo Dewar, Randy McKean, Anton Hunter, Marte van der Loop, Ian Boswell, Nancy Meli Walker, David M. Morris, Nicholas Croft, Eva Zelig, Bart Mallio, Jeremy Clarke, Martin Pyne, Josh Sinton, Moon Soon Han, Eun-He Moon, Yoon-Mi Cho, 고항심, Katie O’Looney, Jamie Smith, Phil Burk, Andrea Wolper, Kyoko Kitamura, DIDI, Caroline Pugh, Edozie Edoga, Yu Seon Hee, Danny McCarthy, Richard Barrett, Leejiyoung, Ed Bennett, Young-Shin Park, Ga Hyun Noh, Inkyung Kim, Keith Stonell, Peter O’Doherty, Viv Corringham, Korhan Erel, Tony O’Connor, Vikram Kapur and Maneesha Chawala, and our anonymous backers.
And my warmest thanks to Nick and Catherine. From the unexpected to the unexpected: from concise chamber noise (Hamburg), to the forged-by-sheer-force-of-will difficult music (Copenhagen), to soaring, luxurious sci-fi spirituals (Cheltenham), to the creative reexaminations and revisitations (Derby), to the pitch-perfect distillations of discord and affinity (Newcastle). I could not have asked for better travel companions; artists who revel in the unknown and unknowable with spirit and good humor. A no-brainer (or plush-pony)—there be prawn crackers of silent screams—I think we kept the poodle warm on the toaster 😉
Finally, as always, thanks to all who came to listen. For those who continue to patronize these events at Stubnitz/VAHM, Bryggekælderen/Loco/Jvtlandt, Xposed, OUT FRONT!, and Jazz North East, know that you are part of something alive and so very, very special.
by Han-earl Park, Nick Didkovsky and Catherine Sikora
ここでも音楽の概念を拡張する創造性が遺憾なく発揮されている。ギター、ベース、ドラムというオーソドックスな編成で繰り出されるアンサンブルは、彼らしくそれぞれの楽器の「気配」を過剰に抽出した物音狂想曲を奏でる。演者の感情がまったく伺えない硬質な世界はパクの使うピック同様に鉱物的な響きを供するが、合同演奏の向こうに垣間見える風景は人間の営みを動物に例えた鳥獣戯画の如きカリカチュアに他ならない。それはすなわち、岩石絵具で彩色筆された水墨画である。[Read the rest…]
Meanwhile, David Menestres at Free Jazz, giving the album ☆☆☆☆½, hears in it “a cyborg slowly coming to terms with having a consciousness”, “drums like an octopus”, and “syllabic squeaks”, “animalish noises” and “full sentences”:
There are few bands that cross as much territory as this one does. From thrashing, spastic aggressive riffs that put most punks to shame to explorations of the quietest of spaces in-between thoughts, Sirene 1009 is a fierce, adventurous band that goes where most bands don’t: into the unknown, fearlessly in search of the new….
Don’t expect the band to hold your hand. There isn’t any way off once they take flight. Go along for the ride. If you bail out mid-flight you’ll just end up another D.B. Cooper, lost to time, never to be found again. [Read the rest…]
Menestres also described Kuramoto Synchronization, the free bonus album that comes with pre-orders of ‘Sirene 1009,’ as “an exquisite exploration of space, time, nightmares, and dreamscapes.”
Elsewhere, A Closer Listen writes that “Han-earl Park, Dominic Lash, Mark Sanders and Caroline Pugh make quite a racket on Sirene 1009, tossing clatter and gentle obscenities all around the playroom….” Finally, although it’s not even released yet, ‘Sirene 1009’ still manages to get on Avant Music News’ 2016 Runners-Up list (Mike Borella, thanks for listening!).
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (artwork, etc.) not included in the download version of the album.
† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
https://youtu.be/sAVoldoR06M
A descent into the concrete? rafting over a boiling river? a collisions of thousands of years of musical history? music to communicate cyclists’ collisions? and who are the “bass/drum/guitar boys”,…
https://www.youtube.com/playlist?list=PL5q2-_ENer6mY0iz7CByqal_9uGkNqsUH
Mathy grindcore? tubular gates? shrieks of crustaceans? 100% perishable skills? guitars burning-up on reentry? what do Special Forces snipers and saxophonists have in common? and what is The Shitty Gig…
Sometimes violent and revelatory listening experience that infuses modern aesthetics with the spirit of the ancient…. Ancient and primordial with ideas as open as the night sky, it is not hard to imagine that some of humanity’s first music would have sounded something like this. [More…]
☆☆☆☆½
There are few bands that cross as much territory as this one does. From thrashing, spastic aggressive riffs that put most punks to shame to explorations of the quietest of spaces in-between thoughts, Sirene 1009 is a fierce, adventurous band that goes where most bands don’t: into the unknown, fearlessly in search of the new…. [More…]
Sirene 1009 don’t so much push the envelope of improvisation as tear it into small pieces and eat them, just to spite any listener preconceptions…. Sirene 1009 may just be the auditory experience that [Derek] Bailey’s label [‘non-idiomatic improvisation’] has been waiting for. [More…]
Eponymous first album by Sirene 1009. Sirene 1009 is the cyborg virtuosity of Han-earl Park (Eris 136199, Mathilde 253), the indomitable low-end growl of Dominic Lash (Convergence Quartet, The Set Ensemble), the unstoppable hits and clangs of Mark Sanders (John Butcher, Christian Marclay), and the controlled vocal mayhem of Caroline Pugh (Performing Identity and The Unknown, Photo Ballads).
Muffled junkyard hammering (clang! thud! snap!) beat unlikely counter-rhythms; suspension bridge rumble in the turbulence with subwoofer scratches; bad traffic and extreme weather conspire elemental percussion; broken public address system splutter and loop, evoke the intelligible.
Conjuring up rhythmic and sonic detritus from just a guitar and a volume pedal, Han-earl Park has performed with some of the craftiest improvisers from the Americas, Asia and Europe. The instigator of Sirene 1009, Park also (co-)leads Eris 136199 with Nick Didkovsky and Catherine Sikora, Mathilde 253 with Charles Hayward and Ian Smith, and Numbers with Richard Barrett.
The molten, musical core of Sirene 1009 comprises the virtuosic bassist, composer and sound artist Dominic Lash, and Mark Sanders, arguably the most sought-after avant-jazz and free improvisation drummer of his generation. Sirene’s rhythm section adeptly plays the borders of idiom and the explicable.
Having variously collaborated over the years in different contexts and configurations, in 2014 Park, Lash and Sanders performed for the first time as a trio.
During the 2015 tour, Belfast-based avant-folk singer and electronic artist Caroline Pugh joined the group. With a practice that critically, sometimes mischievously, intersects with digital, gallery and performance arts, and unmatched microphone technique (from whisper to scream, from embodied sound to flights into the stereo panorama), Pugh brings an additional layer of levity and exuberance to the already playful interactions of the trio.
Recorded at Cafe OTO (London) during a Culture Ireland funded tour of England, and during a single afternoon studio session in Birmingham, the album documents an ensemble of musicians representing diverse strands of present-day improvised musics; performances that fragment and recombine musical histories, that leaps unexpectedly between noise, melody, dissonance, harmony and rhythm.
Psychohistory III (≥9:47), Cliodynamics I (10:44), Cliodynamics II (12:22), Cliodynamics III (5:11), Hopeful Monsters (9:41), Psychohistory V (≥10:40). Total duration ≥58:25.
Tracks 2–5 recorded live December 3, 2015, Cafe OTO, London. Recorded by Alex Fiennes.
Tracks 1 and 6 recorded June 16, 2016, Flood Studio, Birmingham. Recorded by Luke Morrish-Thomas.
Mixed and mastered by Han-earl Park.
Design and artwork by Han-earl Park.
Somewhere out there, there’s an SUV-sized violin tailgating, a No Wave guitarist desperately trying to survive in the Appalachian Mountains, someone dropping sheets of metal during a Jazz Session, an evolutionary biologist finding themselves speaking in tongues (Awash in Blue).
Hear guitarist Han-earl Park push and pull on the guitar-amplifier dancing partners, Dominic Lash and his double bass damage hanging artwork, Mark Sanders excavate caverns in the smallest spaces for his percussion, and Caroline Pugh sing the lines that border the intelligible and the cryptic. [More about Sirene 1009…]
about the performers
Improviser, guitarist and constructor Han-earl Park (박한얼) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe and the USA.
Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.
Ensembles include Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. Park is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Mark Sanders, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder, and as part of large ensembles led by Wadada Leo Smith, Evan Parker and Pauline Oliveros.
Festival appearances include Freedom of the City (London), Sonorities (Belfast), ISIM (New York), dialogues festival (Edinburgh), CEAIT (Los Angeles) and Sonic Acts (Amsterdam). His recordings have been released by labels including Slam Productions, Creative Sources and DUNS Limited Edition.
Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
“Guitarist Han-earl Park is a musical philosopher…. Expect unexpected things from Park, who is a delightful shape-shifter….”
Brian Morton (Point of Departure)
Dominic Lash is a freely improvising double bassist, although his activities also range much more widely and include playing bass guitar and other instruments; both writing and performing composed music; and writing about music and various other subjects.
He has performed with musicians such as Tony Conrad (in duo and quartet formations), Joe Morris (trio and quartet), Evan Parker (duo, quartet and large ensemble) and the late Steve Reid. His main projects include The Dominic Lash Quartet, The Set Ensemble (an experimental music group focused on the work of the Wandelweiser collective) and The Convergence Quartet.
Based in Bristol, Lash has performed in the UK, Austria, Finland, France, Germany, the Netherlands, Norway, Spain, Switzerland, Turkey and USA. For nearly a decade he was based in Oxford and played a central role in the activities of Oxford Improvisers; much of 2011 was spent living in Manhattan. In 2013 and 2014 he is taking part in Take Five, the professional development programme administered by Serious.
Festival appearances include Akbank Jazz Festival (Istanbul), Audiograft (Oxford), Freedom of the City (London), Huddersfield Contemporary Music Festival, Hurta Cordel (Madrid), Konfrontationen (Nickelsdorf), LMC Festival (London), Manchester Jazz Festival and Tampere Jazz Happening.
His work has been broadcast on a number of radio stations, including BBC Radios 1 and 3 and Germany’s SWR2, and released on labels including Another Timbre, b-boim, Bead, Cathnor, Clean Feed, Compost and Height, Emanem, Erstwhile, FMR, Foghorn, Leo and NoBusiness.
Since moving to Bristol he has been involved in organising concerts under the banners of Bang the Bore and Insignificant Variation. A new venture is the monthly series happening every second Wednesday at the Arnolfini entitled Several 2nds. Events include performances, workshops, film screenings and discussions.
“Following in an illustrious lineage from Barry Guy through Simon Fell… breathtaking.”
John Sharpe (All About Jazz)
Mark Sanders has played with many renowned musicians from around the world including Evan Parker, Peter Brotzmann, Derek Bailey, Myra Melford, Paul Rogers, Henry Grimes, Roswell Rudd, Okkyung Lee, Barry Guy, Tim Berne, Otomo Yoshihide, Luc Ex, Ken Vandermark, Sidsel Endresen and Jean Francois Pauvrois, in duo and quartets with Wadada Leo Smith and trios with Charles Gayle with Sirone and William Parker.
New collaborative projects include ‘Riverloam Trio’ with Mikolaj Trzaska and Olie Brice, ‘Asunder’ with Hasse Poulsen and Paul Dunmall, duos with John Butcher and DJ Sniff, ‘Statics’ with Georg Graewe and John Butcher, and trio with Rachel Musson and Liam Noble.
Mark and John Edwards play as a rhythm section with many groups including Trevor Watts Quartet, ‘Foils’ with Frank Paul Schubert and Matthius Muller, Mathew Shipp’s ‘London Quartet,’ also playing with Fred Frith, Wadada Leo Smith and Shabaka Hutchins amongst many others.
Christian Marclay’s ‘Everyday’ project includes Mark with Christian, Steve Beresford, John Butcher and Alan Tomlinson, he also works regularly in the projects of Mikolaj Trzaska, Gail Brand, Paul Dunmall, Peter Jaquemyn, and Simon H. Fell.
Mark has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Mozambique and Turkey, playing at many major festivals including, Nickelsdorf, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, Mulhouse, Luz, Minniapolis, Banlieue Bleues, Son D’hiver and Hurta Cordel.
He has released over 120 CDs.
“A gifted player capable of seamless movement between free-rhythms and propulsive swing.”
John Fordham (The Guardian)
Scottish vocalist and composer Caroline Pugh borrows old-fangled technologies and honours oral histories to create new performances. With a background in both folk and improvisation, her solo works You’ve Probably Heard These Songs Before, Timing By Ear, Measuring By Hand and Platform Audio also draw on performance art and pinhole photography.
Originally from Edinburgh, Caroline has performed across Europe and North America with new improvisation performances including Los Angeles’ Betalevel in 2012, NIME 2011 in Oslo, Just Listening 2011 in Limerick and Experimentica09 in Cardiff. She is also in a band called ABODE and an improvisation collective called E=MCH.
Now based in Belfast, Caroline sings in a folk duo with Meabh Meir and together with Myles McCormack they run traditional song sessions at the Garrick Bar on Mondays from 7.30-10pm.
In 2011, Caroline was awarded an Art Council Northern Ireland grant for her solo work and gained a Distinction for her AHRC-funded Master of Music at Newcastle University. She coaches students at Queen’s University Belfast and has worked in collaboration with visual artists (Connecting through Scape 2008), theatre practitioners (hour8+9 2009), video artists (SAAB 2009), dancers and psychologists (Newcastle and Northumbria Universities 2010). She also got a BA in Scottish Music from the Royal Academy of Music and Drama in Glasgow, and studied Contemporary Music at the University of Central Lancashire for a wee while too.
“Every once in a while you happen upon a gig or event that’s so fundamentally unlike anything you’ve experienced before that you can’t help but reconsider your own thoughts on what defines music, performance and entertainment.”
Screeching and scraping in an improv style, this quartet assailed the ears with a pleasing melee of noise, some of it vaguely intelligible. Caroline Pugh jabbered away in what sounded like snatches of Greek, while the guitarist Han-earl Park did impossibly intricate yet percussive stuff on his guitar fret. Mad but entertaining. It was in the backroom of a gloomy back-street boozer. When I tentatively asked the elderly landlord “Where’s the jazz tonight?”, he said “I wouldn’t call it jazz. More like a fookin’ racket.” He was right! [Read the rest…]
