27 August 2012


Norwegian poet Arild Vange has been working with improvisers for several years. With his book annerledes enn he worked to integrate forms of listening into his writing. In October 2010 he and Neil Davidson embarked on a tour of high schools in the Trøndelag area of Norway as part of the Kulturelle Skolesekken (cultural schoolbag) initiative. This concert was recorded at the end of the tour.

Arild Vange - voice / poems

Michael Duch - double bass
Kyrre Laastad - percussion
Neil Davidson - acoustic guitar


21 August 2012


Dario Fariello - solo saxophone


07 August 2012

Other Islands

other islands by Nick Fells

"other islands is an ensemble piece involving 4 players, for piano, violin, sax and computer. There is some manipulation of the performed sound by the computer player, and there is also a fixed soundtrack that creates an environment for the performed sounds.

It grew from an earlier collaboration with violinist Barbara Lueneburg on another piece (CoS). We’d spent time at STEIM in Amsterdam honing a particular way of playing very simple materials, developing a style of playing hand in hand with what we considered to be an appropriate sonic and technological environment. With intense focus from both sides, the making process itself took on a particular mood. It goes without saying that personal predispositions and musical histories bear massively on this kind of thing.

other islands is a little different to CoS in that we didn’t spend much time collaborating on the composition. It grew more from a consideration of how ensemble situations per se seem to distil the interplay of memory, identity, and desire into a sort of group ‘affect’. Thinking about these things while walking around the streets in Glasgow made me reflect on how the improvised making and breaking of tiny-scale short-term relationships in everyday life simply continues into ensemble playing of any kind.

As well, Barbara had invited me to come and work with ensemble Intégrales in Hamburg to make a piece for a concert they were doing called utopia. The island state seemed to be an appropriate metaphor for the interplay of isolation and integration taking place in ensemble playing."

The piece was performed by ensemble Intégrales at the Operastabile in Hamburg in December 2009, and recorded and broadcast by Deutschlandfunk for Konzertdokument der Woche on Sunday 24th January 2010.

Violin – Barbara Lueneburg
Sax – Burkhardt Friedrich
Piano – Ninon Gloger
Computer – Nick Fells
Concert sound projection – Marko Ciciliani
Recording & Production - Deutschlandfunk

Recording used with kind permission of Deutschlandfunk and ensemble


06 April 2012

Gobi Wow LP

FvRTvR -  Gobi Wow, (a new Long Playing record on the Never Come Ashore label) available from our shop page
FvRTvR is Guido Henneböhl from Germany and Fritz Welch, formerly of the United States, currently residing in the United Kingdom. 
FvRTvR is a two-body locus for demolecularized disco realized through meat shredding, science fiction improvisation. There are no beats here, however, just a relentless pyroclastic flow of robot voices gurgling indecipherable quips of the “baby, that volcano looks so good on you” variety. 
Guido Henneböhl plays an archaic electronic instrument of his own design that appears to be trapped in the ancient mysteries of circuit bending but it is in fact a dynamic oxygen filtration system. There are no longer any animal bones contained in the device but DNA is still present in its circuits. Fritz Welch manipulates vibrating surfaces such as drums, cymbals, moral certainties and puddles using sticks and objects while his syllabic utterances are offset with percussive concussion. 
Gobi Wow was recorded (or infected?) in Berlin on Halloween, halfway between a disused beer warehouse and a giant sagging inflatable rainbow. Sounds were tossed back and forth between these two sites utilizing a post afro-futuristic drum machine propulsion system. This method of composition is informed by asteroid dust arrangements and transducer vibration analysis. 
Gobi Wow was engineered by Brendan Dougherty and mixed and mastered by Guido Henneböhl. It is the follow up to Demon Cycle 1-9 (Niente Records, 2010). Cover artwork is by Rachel Lowther. Two sides, 39 minutes in total playing at 45rpm for extra science fiction reproduction. 
Available here


19 February 2012

FvRTvR Gobi Wow LP

FvRTvR's new LP - Gobi Wow promo video

05 January 2012

Jean-Luc Guionnet Project

Never Come Ashore and Arika and Glasgow University Music Department Present:

Investigation 1: Jean-Luc Guionnet

What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?

We’ve asked the highly interesting and all round fantastic Jean-Luc Guionnet to come to Glasgow to play, to talk about what he does and to collaborate. There will be two public concerts, a talk and four days of investigative work with musicians, theorists and artists from around Glasgow. There will be a solo organ concert on Sunday the 5th of February and Jean-Luc will be accompanied by his long term colleague Seijiro Murayama for a performance at the Kinning Park Complex on the 9th.

Concert 1: Jean-Luc Guionnet organ solo, University of Glasgow Chapel Sunday 5th February 8pm, free.

Talk : Jean-Luc Guionnet - ‘Propositions for an Inhabited Architecture of Listening’ Wednesday 8th February 5:15pm Room 2, first floor, Music Department.

Concert 2: Duo with Seijiro Murayama + performances of compositions by Jean-Luc Guionnet, Seijiro Murayama and others. Kinning Park Complex Thursday 9th February 8pm, free.

Jean-Luc Guionnet's work is divided into as many parts as he has opportunities to think and act in sound and image. This work is to do with encountering something strong external to himself and is articulated through improvisation, composition, electroacoustic projects, field recording, electronics and theory. His organ performances are about encountering the machine, the mechanism of the organ; part vehicle and part artificial intellegence, taking the breath of the machine and its direction in space and letting that breath vibrate in its own certain way without losing its raw quality; exploring the length of propagation, the magnitude of the reverb. Each organ is unique. The project is to find out what makes it unique.

Seijiro Murayama’s percussion work and compositions are wildly serious. Super focused and tactile whether hovering on the inaudible spectrum or cracking space open. His approach is based on attention to space and place, the energy of the public and especially the quality of silence at different levels, physical, social, ontological. Since 1999 he has lived and worked in France collaborating within other art forms such as dance (Catherine Diverrès), video (Olivier Gallon), painting (Francis Bidault), philosophy (Jean-Luc Nancy, Ray Brassier) and performance (Diego Chamy) etc.. He also works on many purely sonic projects; with Jean-Luc Guionnet, Eric La Casa, Axel Dörner, Tim Blechmann, Seymour Wright, Toshimaru Nakamura, Toshiya Tsunoda.

Review of their recent duo CD.