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// BEN FROST //
presents A U R O R A
Born in 1980 in Melbourne, Australia, Ben Frost relocated to Reykjavík Iceland in 2005 and working together with close friends Valgeir Sigurđsson and Nico Muhly, formed the Bedroom Community record label/collective.
His albums, including Steel Wound (2003), Theory of Machines (2007) and BY THE THROAT (2009) and A U R O R A (2014) fuse intensely structured sound art with militant post-classical electronic music, shape-shifting physical power with immersive melody, concentrated minimalism with fierce, rupturing metal.
In 2010 he was chosen by Brian Eno as part of the Rolex Mentor and Protegé program for a year of collaboration, one of the outcomes of which was Sólaris; a re-scoring of the Tarkovsky classic for Poland’s Sinfonietta Cracovia. Eno and Frost continue to work together on a range of projects.
Frost regularly works with other musicians and artists; in the production of studio albums such as Tim Hecker’s Ravedeath1972 and Virgins, SWANS The Seer, Colin Stetson’s New History Warfare, and on various Bedroom Community releases. On the stage Frost has produced scores for Choreographers including Wayne McGregor/Random Dance, Akram Khan, and german Director Falk Richter. In film, he composed the score for the Palme d ́Or nominated Sleeping Beauty by Julia Leigh, and Djúpiđ by Icelandic Director Baltasar Kormákur (with Daníel Bjarnason, for which the pair won the Icelandic film award for best score in 2013). And in the visual arts, where, with artist Richard Mosse, Frost travelled deep beyond the frontlines of war-torn Eastern Congo to produce The Enclave; a multi-channel video and sound installation that premiered at the Venice Biennale in 2013.
2013 also marked the premičre of Frost’s first Opera, based on Iain Bank´s infamous 1984 novel The Wasp Factory. The project also marked his debut as a Director.
These various collaborations and alliances underline Frost’s continuing fascination with finding ways of juxtaposing music, rhythm, technology, the body, performance, text, art -beauty and violence- combining and coalescing the roles and procedures of various artistic disciplines in one place.
Listen to ‘Venter’ (Best New Track, Pitchfork) here:
Listen to ‘Nolan’ - https://soundcloud.com/benfrost/ben-frost-nolan
Listen to Ben Frost discussing A U R O R A here
Rolling Stone’s 45 Best Albums of 2014 So Far:
// TONY CONRAD //
Performance for solo violin works.
Tony Conrad is considered one of the first "minimal" composer / performers, associated in his early period with La Monte Young, John Cale, Henry Flynt and legendary New York underground filmmaker Jack Smith. Conrad is also acknowledged as a pioneer of structuralist filmmaking (his 1960s film The Flicker is one of the key early works of the "structural" film movement), and in recent years he has presented and performed at festivals and events worldwide.
Conrad has worked in music composition, video, film, and performance and has taught video production and analysis in the Department of Media Study of the State University of New York at Buffalo since 1976. During the last ten years, Conrad has focused on music and performing recent works in new music venues, museums and clubs in the US and internationally. He has composed more than a dozen works, primarily for solo amplified violin with amplified strings, using special tunings and scales.
// JOHN CHANTLER //
A special one-off live performance incorporating electronics with St John's magnificent Mander organ.
Originally from Australia but now resident in London after a stint in Japan. Chantler released his third solo LP for Lawrence English's ROOM40 label in 2014 - 'Even Clean Hands Damage the Work' recorded for the most part at the hallowed EMS studios in Stockholm follows 'The Luminous Ground' - released in 2011 and included in The WIRE magazine's top releases of that year. That was his first LP release focusing on the modular synthesizer system he first explored as part of the trio LP with Lawrence English and Tujiko Noriko - 2009's 'U'. Live, he patches a versatile system capable of self-generated, shifting patterns of sliding arpeggios and visceral noise, pointillist interjections and infinitely variable texture.