My guest this time is double bassist, composer and visual artist Adam Goodwin, from Texas. I had a lot of fun chatting with him about the Berlin scene, where’s he’s based now, and Classical music training, hallucinations and really delving into what it is to make music.
Having completed music degrees in both classical and contemporary double bass performance, Goodwin moved to Berlin to delve fully into the world of experimental and improvised music. He is also active within the Turkish and Arab music scene there. Find out more here.
Like the previous episode, this interview was recorded in the corner of a large, empty gallery room, so there’s a lot of echo but it creates a somewhat fitting sonic environment. The music you’ll hear throughout this episode comes from various releases of Adam’s and you can listen to and buy them online here and here.
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My guest for this episode, the fourth, is improviser Audrey Chen, whose work with voice, cello and analog electronics has been described by David Harrington of the Kronos Quartet as “possessing something extremely vital and vivid….”. Recent projects include duos with artists such as Phil Minton, Maria Chavez, Jean-Yves Evrard, Richard Scott, Flandrew Fleisenberg, John Bock, as well as duos BEAM SPLITTER and AFTERBURNER.
Like the previous episode, this interview was recorded in the corner of a large, empty gallery room, so there’s a lot of echo but it creates an intimate, somewhat fitting sonic environment.
The music you’ll hear throughout this episode comes exclusively from Audrey’s most recent collaboration with Richard Scott, their album Hiss and Viscera which is out now on the Sound Anatomy label.
If you’d like to support me in order to keep up a high standard of research and interviews, please do so and become a patron on patreon.com.
Finally, if this discussion has resonated with you and you have particular questions – or if you’d be interested in taking part in one of the next interviews, please get in touch in my ABOUT page or through facebook.
! ATTENTION ! My greatest apologies as I won’t be uploading the newest episode of ECHO CHAMBER this week. This is due to terrible bandwidth where I’m currently hiding out in the woods and means that I have to push the release of the next episode to next Wednesday – April 25. Sorry.
Episode 4 features the one and only Audrey Chen. Look out for it next Wednesday.
My guest for this third episode is improviser and composer Hannes Buder, whose work concentrates on issues of movement, authenticity, intuition, minimalism, density and slowness.
Buder’s current projects include the bands ‘Zug Zug’ with Todd Capp and Andrew Lafkas, ‘Gravity’ with Hannes Lingens and Andrew Lafkas, the duo with Luc Houtkamp, the dance company “one:third”, and his solo project. Having performed across Europe, Australia and in the USA, Buder has also composed, improvised and recorded music for different dance, theater and film projects, as well as given workshops at festivals, music schools and prisons.
This interview was recorded at the Lite-Haus gallery in Berlin, while I was working on my sound installation Echo Organ. We talked in the corner of the room, lit only by a low-level lamp, which created all at once an acoustically cavernous yet visually intimate environment.
The music featured throughout this episode can be streamed and downloaded here:
Hannes Buder – cello, composition
Andrew Lafkas – doublebass
Hannes Lingens – drums
Here’s the second episode, this time with Benedict Taylor. Whilst chatting over coffee we talk academic training, crossovers between visual and sonic art, the birth of language, and the importance of chatting over coffee in making great music. Thanks Benedict!
We held the discussion on a bustling summer afternoon on the sidewalk outside Café Oto in London, so there’s a lot of extraneous noises and sounds of vehicles, roadworks and people chatting right next to us. Although this only came about due to bad planning on my part, I actually think the end result is pretty cool. I should apologize though for the wind buffeting every so often, it’s not the most comfortable sound but I couldn’t do anything much about that with all the plugins in the world.
Benedict Taylor is a solo violist & composer. He is a leading figure within the area of contemporary string performance, at the forefront of the British & European new and improvised music scene. He performs, records & composes internationally, featuring in many leading venues and festivals including: Cafe Oto, Jazz en Nord France, Royal Court Theatre, The Vortex, Ronnie Scott’s, BBC Arts Online, BBC Radio 3 & 2, Huddersfield Contemporary Music Festival, London Contemporary Music Festival, Aldeburgh Festival, Cantiere D’Arte di Montepulciano, Edinburgh Fringe, CRAM Festival, The Barbican, Royal Albert Hall, Southbank Centre, ICA London, Radio Libertaire Paris, Resonance FM London. As an improviser, he has worked with Evan Parker, Terry Day, Keith Tippett, Wadada Leo Smith, Alex Ward, Renee Baker, Steve Beresford, Angharad Davies, Hannah Marshall, Phil Minton, Pat Thomas, Tetsu Saito, Gianni Mimmo, Veryan Weston, Sylvia Hallett, Dirk Serries amongst others. He is involved with a number of higher education institutions, giving lectures in performance, improvisation & composition at the Royal College of Music, City University of London, Goldsmiths College, Royal Holloway College London. He is the founder / director of CRAM, a music collective and independent label.
Here it is, the first episode. I talk with Sam Mackay, researcher and co-founder of the London Contemporary Music Festival. We chat about improvised and experimental music practices, being uni grads from Edinburgh, and noise in a post-colonial setting.
Listen, enjoy, leave a comment! Don’t be afraid to get in touch.
For the Substructured Loss residency, I invited several active musicians in the experimental scene in Berlin to take part in interviews in which we talked about their life as musicians and the emotional struggle and release involved in the art they practice.
Space played a key role throughout the project, not only in the interview stage but also in conceiving the installation itself. Interviews took place in the corner of a large gallery space lit only by a low-level lamp. This created all at once a cavernous acoustic space, reminiscent of a church, and a visually intimate environment, reminiscent perhaps of a confessional.
The installation, entitled ECHO ORGAN, attempted to recreate the echoic intimacy of the interview space by taking the shape of an empty, open structure which suggests the “inner world of subdued thoughtfulness” my father believed accessible through musical experience. Though without walls and placed in the midst of cavernous reverberation, it still provides a space of physical detachment.
Recordings of my father discussing these ideas can be heard in the headphones within the structure. Spliced with these are bits of the interviews, and the aforementioned aphorisms integral to these discussions can be found inscribed on the structure’s wooden beams in Fraktur typeface.
The structure and surrounding sound relate to my own grieving as a means of reflection of the self and communion with loved ones no longer there who are, like music, only really present in the memory.
For more info check out the Echo Organ page on my website, or get in touch if you feel this is related to your own artistic practice and you’d be interested in taking part in one of the next interviews.