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Leila Bordreuil is a French-American cellist, composer and sound artist based in Brooklyn, NY. Her music accesses concepts from noise, free jazz, contemporary classical and other experimental traditions but adheres to no single genre. Mixing melancholic cello melodies with harsh noise walls, she creates “steadily scathing music, favoring long and corrosive atonalities.” (New York Times). Driven by a fierce interest in pure sound and inherent texture, Leila challenges conventional cello practice through extreme extended techniques and amplification methods, to the extent she sometimes seems to be playing the P.A rather than her cello. Hercomposed works frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations.
Her panoramic vision of form and genre is reflected in the diversity of her collaborative projects, which include artists such as Tamio Shiraishi (Fushitutsa), Lee Ranaldo (Sonic Youth), Kali Malone, Laurel Halo, Drew McDowall (Coil), Zach Rowden (Tongue Depressor), Julia Santoli and Luke Stewart (Irreversible Entanglements).
Her record on Hanson Records last year has also been on constant rotation here at Lubber, cant wait!
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ergod duo (award-winning Swiss saxophonist and experimental musician Tapiwa Svosve and British viola player and artist Richard Scott) play a unique improvised music: spectral harmony and liminal textures create a gently rarified soundworld through which shimmering mirages of melody and form appear. Since first playing together in 2014, they have toured in the UK, France, Germany, Switzerland and Slovenia, and collaborated with a wide variety of musicians including Angharad Davies, Hannah Marshall, William Parker, Hamid Drake, Eddie Prévost, Phil Durrant, Mark Sanders, Rachel Musson, Silvan Schmid, and Christian Weber.
2018 album https://richarddaviescott.bandcamp.com/album/macrotonality
Live in Ljubljana https://vimeo.com/337487359
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Daniel Foggin (Smote)
Daniel Foggin, most notably known for his work as Smote and as part of Bong II, offers a rare solo endeavour. Foggin takes a departure from his usual favoured medium of blown out none-master volume amplifiers and seeks the warm embrace of sub-heavy analogue synthesis. With all concepts of time and tempo well and truly thrown out of the window, this new work promises durational, immersive worlds through the use of microtonal oscillators, none linear composition and glacial distortion.
