Tuesday 24 September 2019

Erased Tapes x LCO: Rival Consoles

Purcell Room, Southbank Centre, London

In a year-long collaborative programme, LCO joins forces with globally-respected independent record label Erased Tapes to create a season of experimental new works in the Southbank Centre’s most intimate venue, The Purcell Room. Featuring handpicked Erased Tapes artists, each performance in the Purcell Sessions: Erased Tapes x LCO series is the culmination of an afternoon of experimental workshops, where you can see the composers and players working together to test and develop new methods. 

#3 / September 2019 / Rival Consoles

Hear experimental sounds from Rival Consoles at this performance, one of a series bringing Erased Tapes artists together with London Contemporary Orchestra.

Ryan Lee West, aka Rival Consoles, explores themes of in-between states in his latest album Persona, inspired by Ingmar Bergman’s film of the same name. The image in the opening credits of a child reaching out to touch a woman’s face on a screen, shifting between one face and another, inspired an exploration of the persona, the difference between how we see ourselves and how others see us.

Afternoon drop-in workshop sessions: free to attend (no ticket required)

Evening performance: £15

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Sunday 6 October 2019

Moor Mother x LCO: The Great Bailout – Unsound Festival

Krakow, Poland

A first time collaboration between Philadelphia based interdisciplinary artist Moor Mother and the London Contemporary Orchestra, The Great Bailout is free verse poem that acts as a non linear word map about colonialism, slavery and commerce in Great Britain and her commonwealth. Moor Mother is an alias of Camae Ayewa, well known to the Unsound audience from her solo show, a collaboration with Zonal (Kevin Martin and Justin Broadrick) and the band Irreversible Entanglements.

Unsound Festival is an annual music festival that takes place in Kraków, Poland, dealing with evolving and mutating forms of music, as well as related visual arts.

The theme of Unsound 2019 is Solidarity. At a time of widespread instability, solidarity is a word that belongs to no one group. It takes as a starting point the 30th anniversary of democratic elections in Poland, a result of protests that spread across Central and Eastern Europe. Thirty years on, the festival will explore what solidarity means today, in the context of the wider world and Unsound.

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Saturday 12 October 2019

Moor Mother x LCO – Tusk Festival

Sage Gateshead

“If only all large-scale trans-Atlantic collaborations were this simple to initiate. We spotted a tweet by Moor Mother saying she’d love to work with an orchestra, started a conversation with Camae (Moor Mother) Ayewa and her agent, made contact with London Contemporary Orchestra and here we are. Not quite that breezy to actually develop the project of course and a whole lot of work has been going on at LCO’s studios in London and via cables under the ocean to Philadelphia to make this first-time collaboration dream come true. Moor Mother is of course the Afro-futurist rapper and poet who effortlessly merges the painfully social-realist with the eerily surreal and has an immediacy of delivery rarely matched. LCO have probably soundtracked half the films you’ve watched in the last few years – anything by Paul Thomas Anderson, You Were Never Really Here, collaborations with Jonny Greenwood, Actress, Chaines, Terry Riley, Stochhausen and more.”

“Initial meetings set Camae on the course of investigating the British slave industry as a core theme of the project – something the pavements we all walk are built on but that we rarely acknowledge. The two parties have such impressive discographies separately and dove into this project with such enthusiasm that we can’t help but expect the first few rows of Hall One to leave this performance with singed eyebrows and melted glasses at the very least.”

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Friday 6 December 2019

Erased Tapes x LCO: Hatis Noit

Purcell Room, Southbank Centre, London

In a year-long collaborative programme, LCO joins forces with globally-respected independent record label Erased Tapes to create a season of experimental new works in the Southbank Centre’s most intimate venue, The Purcell Room. Featuring handpicked Erased Tapes artists, each performance in the Purcell Sessions: Erased Tapes x LCO series is the culmination of an afternoon of experimental workshops, where you can see the composers and players working together to test and develop new methods.

#4 / December 2019 / Hatis Noit

Be the first to hear new music created by vocalist Hatis Noit and LCO at this performance which rounds off a year of Erased Tapes x LCO sessions at The Purcell Room.

The Japanese vocal performer’s EP Illogical Dance, released in 2018, creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western classical, Japanese folk and nature’s own ambient atmosphere. Inspired by gagaku – Japanese classical music – and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists, the record was co-produced by Haruhisa Tanaka and Björk collaborators Matmos.

Afternoon drop-in workshop sessions: free to attend (no ticket required)

Evening performance: £15

Tickets and more information »


Friday 17 January 2020

London Contemporary Orchestra – Rushes

Queen Elizabeth Hall, Southbank Centre, London

An installation inspired by the visual art of Bridget Riley responds to the sound of the LCO playing Michael Gordon’s mesmerising piece Rushes. The artwork – triggered by the music in tonight’s concert – is the product of the orchestra’s recent experimentation with Artificial Intelligence, imagery and music, and is influenced by the perceptual effects of Riley’s work.

Gordon’s monolithic work Rushes is an hour-long wall of sound made up of pulsating, hypnotic, and slowly shifting patterns, performed by an instrumental ensemble of seven bassoons. Early in the compositional process, Gordon said he ‘was particularly drawn to the short percussive attacks by all the bassoons in counterpoint with each other’. What emerged was an extraordinary work that he describes as ‘a non-stop barrage of ethereal rapid-fire points of sound that seamlessly shifted from one instrument to the next’.

The audience is flanked on each side by the musicians of the LCO, with their focus directed to a central portal in which a generative algorithm creates visuals in direct reaction to the sound. The visuals examine the limits of perception and the way the mind receives and perceives sensory information, and act as a counterpoint to the music.

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