Betty Apple (Taiwan)
Clare Cooper (Sydney)
Ducklingmonster (Aotearoa – NZ)
Liquid Architecture presents a rare program led by two fearless and famously uncompromising musicians: Peter Brötzmann and Heather Leigh. Capable of both extreme dynamics and specific sonic subtleties, the duo began their musical partnership in May 2015 at the Tectonics Festival in Glasgow, Scotland. Since then, they’ve furthered their collaboration into a fruitful dialogue that, in the words of The Wire’s Richard Thomas, “spews a raucous, unrelenting, spiteful, acid-drenched, caterwauling hate-bomb; a maelstrom; a toxic dreamscape; a grotesque collision of desperate lungs and screaming metal; a romantic Taser blast to the heart.”the voices
Peter Brötzmann is a pioneering German music radical, active since the 1960s, still profoundly forcing music open to the uncompromising and incendiary energies of free improvisation.
West Virginia-born, now Scotland-based Heather Leigh furthers the vast unexplored reaches of pedal steel guitar with physical-phantasmic spontaneous compositions invoking both flesh and hallucinatory power sources.
Image: Peter Brötzmann and Heather Leigh, Cafe OTO 2016, Photo David Jones
Leading voice of the new Taiwanese avant-garde, Betty Apple is a sound artist whose electrifying live performances equally critique social politesse and gendered expectations through embodied confrontation at very edges of sound.
Image: Betty Apple, Mirage City, Entering Tone, Liquid Architecture 2017, Photo Zito Tseng
Clare Cooper’s passion for the sociability of improvisation and its capacity to engender compassion and radical acts of trust permeates her work across live performance, research, community futuring and skill-sharing.
Image: Clare Cooper, FM[X] What Would A Feminist Methodology Sound Like?, Liquid Architecture 2015, West Space, Photo Mia Mala McDonald
Ducklingmonster, from Onehunga, Aotearoa – New Zealand, reimagines out-of-bounds areas and unheard thoughts through handbuilt and broken electronics, field recordings, presets, drum machine, keyboard, and vocals.
Music is a kind of polythinking. One understanding of improvisation is that from a field of unlimited sonic choices, one trajectory is selected. In this way, it’s a movement from the poly to the one. But the next possible movement is always unknown – by definition, undetermined by anything but the moment – so what happens next is always open, a movement from the one to the poly. Improv is polythinking because it is a constantly unfolding polymorphous possibility of sonic action.
Noise is also polythinking, because noise can only be understood in relation to that which it is not (signal, melody, silence, ‘good taste’). Constitutively never in isolation, noise is always already a multiple state. But noise is more than only that which it is not. Noise is excessive; more than can be contained or accounted for. It’s poly because its messiness is also generative. Noise is a fugitive space from which other realities might emerge.
Noise and improv cultivate a field of infinite and unpoliced possibilities, creating and sharing ways of being-together-radically in the now.polythinking
We are all multiple. At any one time, a person is the sum of divergent forces, histories, narratives – we are many things to many people (especially ourselves). This means you are always already poly, you too contain multitudes. Contradiction, incoherence, uncomfortability, a refusal to read: what if the very things you thought were destabilising are actually a source of strength?
Polyphonic thinking doesn’t just mean the sound of many voices, all replete in their unique texture. It means, paradigmatically, listening differently – listening openly, embracing complexity, shifting codes and extending beyond collective comfort zones. Above all polythinking is about learning how to hold multiple truths at once, producing collaborative sound and listening – and applying that to thinking about how to move forward, together.
We are starting with the future because by figuring out where we want to be and working back from there we can start designing the today we need, instead of just accepting the today we have already.acknowledgement
We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.partners
Brötzmann/Leigh are generously supported by the Goethe-Institut, via the People’s Republic of Australasia.
Ducklingmonster visits Australia with the support of the Audio Foundation, Aotearoa - New Zealand.
And, the Tote. Cheers Rich.major supporters