Electromatronic 3 at Margate

We started out Autumn series mini-tour at the wonderful Tom Thumb Theatre in Margate. This lovely intimate space made for a different atmosphere than the usual large open spaces we’ve played in. We had a good appreciative audience in the snug space which made it feel all the more special.

The line up this time consisted of local sound art collective Athelstan Sound, who derive their name from the street in Margate where their rehearsal space is located. This night their line up consisted of Martin Tanton on his home made Aiophone, Ruth Duckworth on Flute,  Dan Scott on Electric Guitar and Adam Flowers on Soprano Sax. They played three pieces written for the group- ‘Untitled’ by Robert Stillman, ‘Steamtalk’ by Ruth Duckworth and ‘Radio Replay’ by Dan Scott. The last two pieces (written by ensemble members) were by far the strongest pieces in my opinion, Steamtalk was particularly well played with ensemble sounds mixing seamlessly with processed steam driven equipment recorded at the Manchester Science Museum, Radio Replay, consisted of Dan Scott listening to a radio with a pair of headphones and repeating into the microphone what he heard whilst constantly scanning the stations as the ensemble improvised.

Iris Garrelfs performed solo with her laptop, live recording and looping some object from a current installation project, adding vocalisations as she went, merging repeating sounds into neatly defined rhythms and back again, pitching these sounds through all the ranges, continually evolving the material as she progressed.


Finally Chrissie and myself performed as CSMA, this time adding a new algorithmic piece originally devised for a fellow electronic composers birthday, this piece is based on iteration but is in effect a palindrome: in the first stage the idea is to fill each semi-quaver slot on my step sequencer with beats but only a few at a time and only additions, no removals, until all slots on all 3 channels are filled, then removing them all by the same process- so its addition/subtraction. The time signature doesnt change- the notes/beats are substituted for rests, the piece stops at the point I have a rhythm that is similar (but not the same) as where I started- Chrissies part starts as additive harmonies in the first, additive bit, then melodic in the subtractive part.


You can also read Chrissies blog about portability on tour here





2 thoughts on “Electromatronic 3 at Margate

  1. Pingback: Electromatronic 3 at Margate | Stuart Russell

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