Electromatronic 5 at St Columbas Church, Oxford 19th November 2016

On a cold and wet Saturday evening Electromatronic welcomed a pioneer of live electronic improvisation Lawrence Casserley performing with Martin Hackett on a heavily circuit bent Korg MS10, Lori E Allen’s band Tears|OV- consisting of Cello, Percussion, synthesizer and live sampling, then us as CSMA

Lawrence Casserley has been working with live electronics since before synthesizers and  before commercial music technology was available; in those days equipment was largely self built and Lawrence  started off as a student of Tristram Cary at the Royal College of Music, who co-founded EMS and help design the VCS3 synth.

These days Lawrence works with a laptop, Max and various control surfaces including Launchpad in order to control the samples and manipulate them in real time, often with various improvising bands. On this occasion he teamed up with Martin Hackett, who played a heavily circuit bent Korg MS10, often putting passive components in circuit with the patch bay.  The output of the synth was routed into Lawrence’s soundcard. This set up a dialogue with Martin Hackett generating sounds on the synthesizer and Lawrence live sampling the signal and transforming the sound, often while the original sound is still being played, other times Lawrence generated a sound and Martin responded to it- so role of action /reaction could work both ways. Martin’s approach was also to include some spectacular keyboard playing as well as control manipulation on the synth – again this added another dimension.

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Martin Hacketts circuit bent Korg MS10

Lori E Allen’s Band Tears¦OV

This continued the theme of the evening set up by Lawrence Casserley and Martin Hackett exploring live sampling and playback/ manipulation- this time with Synthesizer, percussion and Cello, with additional samples from various sources including speech being played out into the mix. This created some very interesting textures and structures, building up complex patterns and some intriguing effects, and some very atmospheric ensemble music where the instruments played without manipulation, again making another contrast and like Lawrence and Martin, the direction of action/reaction moved around.

Stills from the evening

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