7:30pm - 9:30pm
Thursday 3 April 2025
INTRASPECT VII
An evening of experimental music featuring live electronics, acoustic and digital improvisation.
Free
PATS Building
University of Surrey
Guildford
Surrey
GU2 7XH
Intraspect is delighted to host ATTNTYK (And then the next thing you know) an exploratory puzzle piece for improvisers, performed by creator Cath Roberts with Tullis Rennie. The work centres around a giant, fragmented graphic score that provides both a departure point for and also interruption to a multi-layered improvised meshwork featuring saxophone, trombone, sounding objects and an array of electronics.
Bill Thompson (Moog guitar + electronics) will be performing in a trio with Tom Hall (violin + electronics) and Paul Khimasia Morgan on his unique no-neck/no-strings dreadnaught acoustic guitar fitted with contact mics fed into a signal path that included an electrical transducer, an EQ and other electronics.
The evening will open with a live electronics improvisation by this year’s DIG Ensemble - Creative Music Technology students Henry Earl, Louis Fox and Lyra Vernon.
April 3rd, 730pm, Free
PATS Studio One, University of Surrey, Guildford, GU1 2YW
Parking: Public parking can be found in the pay and display campus car park. Please be aware that this operates via the RingGo app only and the machines don't accept coins.
Bios and details
ATTNTYK (And then the next thing you know)
And then the next thing you know is an exploratory puzzle piece for improvisers,
performed by creator Cath Roberts with Tullis Rennie. Originally commissioned by
hcmf// (Huddersfield Contemporary Music Festival) in 2021, the work centres around a giant, fragmented graphic score inspired by Cornelia Parker’s installation artwork, Cold Dark Matter: An Exploded View (1991). Where Parker's work comprises the suspended fragments of an exploded garden shed and its contents, here Roberts' score debris provides both a departure point for and also interruption to a multi-layered improvised meshwork featuring saxophone, trombone, sounding objects and an array of electronics. Originally hung from the ceiling of the performance space, in this new encounter the score object will be constructed and re-reconstructed by the players, constantly becoming both provocation/text and more-than-human collaborator.
Tullis Rennie
Tullis Rennie is a composer, improvising trombonist, electronic musician, and field
recordist who 'foregrounds the act of listening as an active component in the creation of musical experience' (The Wire). His latest album Safe Operating Space (2024, Efpi Records) is a hybrid of club music and acoustic free improvisation, reflecting on themes such as global heating, AI-generated deepfakes, family life, and Kate Bush. His work encompasses sound installation, community-engaged participative projects, multi-channel concert works, video, mixed media and live/improvised performances – presented across 20 countries, with broadcasts on BBC Radio 3, NTS and ResonanceFM. He is co-founder of community arts action group Walls On Walls, and of Barcelona-based audio-visual collective Insectotròpics. Tullis' last studio release was Fixed Freedoms (2022) on Matthew Herbert’s Accidental Jnr label, described as 'a mutated set of electronic experiments that bends recognizable formulae (trance, dub techno, electro) into abstract landscapes' (Boomkat). His work is also released by Moving Furniture Records, Flaming Pines, Luminous, a new wave of jazz and ZeroWave.
Cath Roberts
Cath Roberts is an improviser, composer and artist whose work combines acoustic
and electronic improvised music, experimental composition, and DIY
publishing/printmaking. They perform live on baritone and alto saxophones, or live
electronics, and occasionally both together. Their band Sloth Racket has released five studio albums, touring widely and 'lurching between riff and abstraction' (The Wire) since forming in 2015. Other recent exploits include playing with Chris Corsano as part of his 2022 Cafe Oto residency, and being one of two UK artists (with Mandhira De Saram) commissioned by Australian Art Orchestra to co-create and perform Fresh Water – Salt Water in Melbourne and Huddersfield (a hcmf// and AAO co-commission, also in 2022). Cath was commissioned by hcmf// in 2021 to create And then the next thing you know, a cross-artform installation/performance piece involving a giant, hanging, fragmented graphic score for improvisers, which is now re-emerging as an exploratory puzzle piece in collaboration with Tullis Rennie. Cath co-runs the improvised/experimental music label Luminous, and recently established the DIY small press Ink-Paper-Sound, dedicated to scores and other materials for and about improvised music/sounding, in risograph-printed zine form.
Paul Khimasia Morgan
Paul Khimasia Morgan is an improvising musician, recording engineer and visual artist. As well as being a third of Bee Reiki Trio with Faradena Afifi and Steve Beresford, he has worked creatively with Blanca Regina, Richard Sanderson, Jason Kahn, Charlotte Keefe, Cristiàn Alvear, Klaus Janek, Ryu Hankil, Simon Whetham, and Gus Garside; is a participant in the groups TIDES (with Paul May, Peter Marsh and Daniel Spicer) and Mark Wastell's THE SEEN. He currently has a duo with Adam Bushell which “…continue their explorations in dialogue between vibraphone and acoustic guitar body and electronics…” Paul also plays electronics with ambient/dub-influenced Rubber Bus and Somnambulance, and is part of the team that run Brighton Ambients Open Sessions. He has releases on Discus, Hard Return, Minimal Resource Manipulation (MRM), Lonely Impulse, Linear Obsessional, Crónica, The Spirit of Gravity, Korm Plastics, Con-V, Absence of Wax, TSOKL and Confront Recordings.
Since 2010, Paul curates Brighton’s Aural Detritus Concert Series events including heading a team that organised three “micro-festivals” of improvised music, composition and sound art at Brighton Phoenix art gallery from 2012 to 2014. Aural Detritus today exists as an occasional – often site-specific – concert series with an associated digital imprint to release recordings made at events.
Paul hosts the podcast The Archive of Aural Detritus. He writes about new music for The Sound Projector magazine and Honest Music For Dishonest Times and contributed an essay on contemporary Chinese sound-artists to the art book Perfection Of Understanding which was published in 2022.
“…feedback-like tones rising carefully amid a cloud of metal thorns…more physicality than most you hear, which gives the performance some nice faux visual weight…” – Byron Coley in The Wire magazine.
https://paulkhimasiamorgan.blogspot.com/
Tom Hall
Tom Hall is a UK-based Australian composer, performer and writer on music with a particular interest in combing live and fixed electronics with instrumental ‘acoustic’ music. Much of his music involves notions of flow and slowness and collaborative and practice-based work often shares some form of digital notation with audiences. Hall’s work usually combines composed, algorithmic and improvisatory elements often using multichannel or individually experienced mobile sound. As a performer he has for years sat behind a laptop, but has been spotted in the past with electric and acoustic guitars, as well as a violin. Hall has been an occasional member of ensembles including Arf Arf, [rout], and with Sam Hayden, butterflyCut.
Bill Thompson
Bill Thompson is a sound artist and composer. He performs regularly as a soloist as well as in a number of groups including The Seen, zerøspace, and Airfield (with Ian Spink), and duos with Ian Stonehouse, Phil Durrant, and Yoni Silver. Past collaborations include performances with Keith Rowe, Faust, EXAUDI and others.
Although originally trained as a guitarist, Thompson has worked with live electronics for the better part of 15 years. In recent years he has returned to guitar using one built by Moog combining it with electronics with miscellaneous tabletop devices, found objects, flashing lights, and the occasional vibrator.
He has earned numerous awards and commissions including the PRS for New Music ATOM award, the GAVAA visual arts award, a PRS for New Music Three Festival commission, the 2010 Aberdeen Visual Arts Award, and was nominated for the Paul Hamlyn Award.