Wednesday 23 October 2019

Moor Mother x LCO: The Great Bailout – London (+ Klein + Galya Bisengalieva)

Milton Court Concert Hall
Barbican

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 a representative of Afro-futurism with her social activist texts and furiously experimental electronics.

Merging social realism with eerily surreal imagery and an immediacy of delivery, Camae Ayewa (Moor Mother) is unmatched in inventiveness. A musician, poet and visual artist, Camae has performed around the world, sharing the stage with King Britt, Roscoe Mitchell, Claudia Rankine, Bell Hooks and more. Camae is a vocalist with Irreversible Entanglements, Moor Jewelry, 700bliss and the Art Ensemble of Chicago. 

Opening sets come from South London producer Klein and violinist Galya Bisengalieva

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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

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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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