Phil Julian, Ute Kanngiesser, Phil Maguire & James L. Malone @ I K L E C T I K, London [27 September]

Phil Julian, Ute Kanngiesser, Phil Maguire & James L. Malone


83
27
September
20:00 - 22:30

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I K L E C T I K
'Old Paradise Yard' 20 Carlisle Lane, SE1 7LG London, United Kingdom
Wed 27 Sep 8PM | £8/6
Phil Julian, Ute Kanngiesser, Phil Maguire & James L. Malone

Guitarist James L. Malone and micro-electronicist Phil Maguire perform as a duo for the first time. Joining them with solo performances are Ute Kangiesser (cello) and Phil Julian (electronics).

// James L Malone is an improvising guitarist. He has performed around the UK with musicians such as Eddie Prevost, Ute Kanngeisser, Steve Beresford, and Adam Bohman. Regular projects include: Onin (with Joe Wright).

// Phil Maguire is a fiercely experimental electronic musician, improvisor and sound artist. Malfunction permeates his music, utilising sine tone oscillators, noise, found sound, and obsolete audio technology to create intimate, engrossing sonic environments.

Embracing low-cost ethics, Phil’s primary instruments range from microcomputers and battered cassette recorders, to open-source software and plundered online audio.
Phil records and performs in groups with musicians including Phil Durrant, James L. Malone, Eleanor Cully and Richard Sanderson. He also performs electronics in Galvanize Ensemble, and electroacoustic trio RaaMM.

// Phil Julian is a UK based composer and improviser active since the late 1990’s principally working with modular electronic devices and computers.

Audio works by Julian (and under the Cheapmachines alias) have been published on labels including Entr’acte, Banned Production, The Tapeworm, Harbinger Sound, Confront Recordings, Conditional, Staalplaat (Open Circuit imprint), con-v, Beartown Records as well as numerous compilation appearances.

He also runs the Authorised Version label.

// Ute Kanngiesser is a German, London-based cellist: “For over 10 years, I have only played unscripted/improvised music. I have experimented with the sound of the cello, limiting myself to the alive material at hand: vast and complicated layers within the instrument and myself; and to let this music evolve continuously in relationship with others. It relates to the process of uncovering an endless multiplicity of coexisting sense perspectives. And it deals with the energy that this gives rise to. For me, it is the most exciting place to play music from.”
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