Anthony Moore & Friends navigate winding paths in dazzlingly contrasting to enigmatically cryptic realms. Electroacoustic excursions through diverse territory (many countries, porous borders), an irreverently heterogeneous waking dream, a tricky potpourri full of noise, music and language. The concert opens with the 17-minute study for violin (Richard Moore) and electronics (Anthony Moore), based on the work “CSound + Saz” (Touch), released in late 2022. Furthermore, motifs and themes from the releases “The April Sessions” (2021, Sub Rosa) and “The Present is Missing” (2016, Sonig) will be interpreted in new variations together with members of the Therapeutic Listening Group. [Trans. from German]
Friday 10 March 2023 | Doors: 7:30pm | First Act: 8pm
Our outdoor Kiosk opens 1 hour before the event.
Tickets: £7.50 General Admission link.dice.fm/q35c071a2cec
Anthony Moore (Slapp Happy & Henry Cow) with Richard Moore (no relation) – Violin – and multi-instrumentalists Keith Rodway and Amanda Thompson, play an evening of electroacoustic improvisation and spoken words over 90 minutes of atmospheric drift – a dark cinema for the ears, structured as a whole in two 45 minute parts.
Artwork and photography by Jon Wozencroft
CD – 1 track – 30:37
Release date: Friday 2nd December 2022
1. CSound & Saz
Anthony Moore (b. August 1948) is a composer/musician, now based in the UK, formerly professor in Cologne for sound art and music working on the social and technical history of sound. He operates across many genres; ambient drone, musique concrète, electroacoustic, songwriting and immersive, multi-channel sound installations. He continues to compose, perform and release work on various labels such as Touch, Drag City (Chicago), P-Vine (Tokyo) and others.
Anthony Moore recently conducted a lengthy interview with Julian Cowley for The Wire, which appeared in their October ’22 edition in the form of a 6 page feature length article.
“Touch.40 live at Iklectik. I received an invitation to perform at the 40th anniversary gathering, June 2022. Previous works for the label, “Arithmetic in the Dark” and “Isoladrone2020” illuminated the landing strip for a new work. It should be continuous – a further play on moving and remaining. I wanted to balance the digital output of a CSound orchestra with an analogue instrument and chose the Turkish saz, a sound I’ve loved and lived with for the last 6 decades. I prepared the ground for the live performance with a graphical interface for CSound and an e-bow for the Saz (along with some short pre-recordings of picking and strumming). Then, a few days before the concert, I got Covid. On the suggestion of Jon and Mike I recorded a live performance-for-one, (myself at home) which was played back at Iklectik. Unedited, unchanged, here it is.” (amoore st leonards 220807)
Three pairs of thin, wire strings on the Turkish saz are struck, and the resulting sound is harmonised, filtered and then sustained in an infinite but gradually shifting chord of harmonics. In addition, an ebow is used to excite the strings in realtime. This sound is natural, untreated, and adds layers to the sustained chord. Subsequently, two Csound programs running in parallel are ‘fed’ the natural sound of the saz and the output is heavily effected with filters, resonators, vocoders etc. These sonic gestures are allowed to take over as the original chord fades to leave the more transparent sounds of the Csound outputs. The organum returns with much more warm, low end. The saz transformations thin out to leave a keening call. And finally the last minutes are filled with a deep chord which fades to silence.
This sound installation, a composition by musician Anthony Moore, is a six channel, minimalist composition for non-human voices accompanied by a granular synthesis drone played through a small acousmonium of six loudspeakers. The speakers are arranged like a vocal ensemble; deeper pitched voices come from back row of three, two ‘alto’ voices from the next row, and a high-pitched, child-like voice positioned at the front.
Each agent, text-to-speech ‘bot’ or disembodied voice, reads excerpts from texts written by Jasper Morrison. These texts provide the names of each of the five short movements of the piece; The Object Itself, The power of Identical Repetition, I Didn’t Care Much for Minimalism, Free to Multiply and to Represent an End.
The piece commences with each voice introducing itself. It lasts 8 minutes and 25 seconds followed by a pause of 20 seconds before staring again. It was realised with Ardour (open source software) and an RME UCX interface.
A World of Ordinary Things
Anthony Moore is playing Cafe Oto this coming Saturday April 2nd from 8pm. The evening will present multi channel installations, minimalist music and experimental song.
20+ new and exclusive tracks recorded by Touch artists. A photographic counterpoint,
the view from Hampstead Heath during the London lockdown. Touch: Isolation is a subscription project that will evolve over the coming weeks. Click here to subscribe.
A time to support independent music while it still exists!
“Please keep your distance, the trail leads from here…”
The cancellation of gigs and festivals has already severely impacted our artists creatively and financially. In addition it has denied you, our audience, the opportunity to see them play and support them. The notion of ‘independent music’ might, in effect, be pushed deeper into the self-isolation mode it is already struggling to break free from. We don’t need studios to the same extent, but we do need a stage, a physical reference and if not, a mental space with which to question the drive to online existence.
We set out to respond to these challenging times in a creative and helpful way. The idea is to present Touch: Isolation whereby a new exclusive track from one of our artists, each with a bespoke photograph/cover image, is presented on a regular basis over the coming weeks. All the income received is collected from your subscriptions and put in a kitty, the proceeds of which are then divided up between the contributing artists.
These new and exclusive interventions will include works by Oren Ambarchi, Richard Chartier, ELEH, farmersmanual, Fennesz, fennesz sakamoto, Bana Haffar, Howlround, Philip Jeck, Bethan Kellough, Daniel Menche, Anthony Moore, Yann Novak, Zachary Paul, Claire M Singer, Geneva Skeen, UnicaZürn, Mark Van Hoen, CM von Hausswolff, Chris Watson, Jana Winderen and others to be confirmed – all expertly mastered by Denis Blackham.
We invite you to take this unique opportunity to support the artists, without whom there would be no alternative to corporate art… support the industries which realise the artists’ creation – the uncredited producers, designers, software developers, distributors, vinyl cutters, mastering engineers, friends and family etc., who all symbiotically depend on the other to bring their works to fruition…
The subscription costs £20 for 20 (or more) tracks – please support the artists by investing in the Touch: Isolation project, and expect surprises – good ones for a change.
Social distancing. Actual space. If you can get out, you have to get out. Escape velocity – from Brexit, then somehow prevent institutional meltdown? The UK shows the way, in a method that beggars belief.
The photographs were taken on Hampstead Heath during the early days of the UK/London lockdown, 25 March 2020, primarily in West Heath and the area around Golders Hill whose open space minimises the problems of social distancing. The weather, being superb after weeks of high winds and heavy rain, seemed a metaphor for regeneration and recovery, with the trees coming into bloom – in defiance of the scene we witnessed 33 years earlier after the Great Storm of October 1987 when, in the days that followed, the Heath looked like an arboreal graveyard.
The objective is to find a sense of quiet celebration, to look at the balance between the detail and the scaling force of open spaces. Let’s hope they can remain open.
To make 20 (or more) record covers in less than a week for sound and music we had yet to hear, and to then match the photography to each artist’s contribution… If this seems somewhat in the style of the children’s game, ‘Pin the tail on the donkey’, then perhaps that’s more apt than pretending we know how everything fits together at this juncture.
This might also be seen an opportunity to give an early documentation to the mental state of 2020, remembering the year 2000 and the threat of the ‘millennium bug’, this may well become known as the year when x melted into y, to avoid z.
Roughly a dozen years ago, life went broadband. Today we see our reliance on digital systems like never before.
‘As a dwindling member of the generation that lived through and served in the Second World War I think in some ways this is much worse. It was possible to live in a country area and apart from rationing see little of the war. Bombing was spasmodic and haphazard, and our defences were really good. After a year, there was very little chance of an invasion and much of life – sport, theatres and radio, continued as before. Restaurants and hotels remained largely open, rationed according to turnover.’ David John Harding, b. 1925.
Arithmetic in the Dark
[Touch # Tone 66, download only]
DL – 19 tracks – 67 minutes
I like to imagine a time and place where arithmetic is done in a natural way by simply experiencing the unique possibility offered by sound, that of distinguishing simultaneous differences; the non-displacing waves of either AND both. Despite the observations of cool cats like Bill Sethares on the subjective nature of the octave´s perception, one fact remains unfailingly true. An octave is a doubling of frequency – the higher octave has exactly twice the number of vibrations per second than the lower. I am imagining a planet without the invention of writing, even of symbols and scratchings in the sand where, on hearing the sound of a child and an adult singing together, a listener is doing a multiplication by two in a mathematics without signs; arithmetic in the dark.
The album consists of a set of 10 works which focus on repetition and change. The pieces evolve mostly through the active perception of the listener. Saccades and oto-acoustic emissions are evidence that perception is far from passive reception. The transmitting ear determines much about what it takes in. [Anthony Moore, Arles, November 2018]
Artwork & photography by Jon Wozencroft; additional bonus pdf supplied with the download
03. Synthi AKS waves
06. A chime of psalters
08. The psaltery sea
09. A likely outcome
10. Arithmetic in the dark