2pm-5pm Access Space, 20-24 Fargate, Sheffield S1 2HE
2pm start times, relaxed performance, everyone welcome
Pay on the door £8 (£5 concessions, including low paid workers).
Bring your own drinks.
Live music plus arts + crafts workshop with Andrew Kerr & Louise O’Connor
Maggie Nicols / voice
Odie ji Ghast / voice
David Birchall / guitar
Sam Andreae / saxophone
For more info email Singing Knives Records firstname.lastname@example.org
Maggie Nicols joined London’s legendary Spontaneous Music Ensemble in 1968 as a free improvisation vocalist. She then became active running voice workshops with an involvement in local experimental theatre. She later joined the group Centipede, led by Keith Tippets and in 1977, with musician/composer Lindsay Cooper, formed the remarkable Feminist Improvising Group. She continues performing and recording challenging and beautiful work, in music and theatre, either in collaborations with a range of artists (Irene Schweitzer, Joelle Leandre, Ken Hyder, Caroline Kraabel) as well as solo.
Born in Leicester 1981. A musician living and working in Manchester in real time with sound and instruments. This performance practice as an improviser becomes a way to think more widely about how sound functions in space and the built environment. Improvising solo and with others using guitars, objects and non-fixed instrument structures. Performing with many Manchester based/related improvisors including Sam Andreae, Andrew Cheetham, Otto Willberg, Greta Buitkute, THF Drenching, Richard Scott, Philip Marks, Adam Fairhall, Luke Poot, London based Colin Webster and Amsterdam native Rogier Smal. One-offs and random stage/studio collaborations have involved working with figures such as Marshall Allen, Rhys Chatham, Mick Beck, Phil Minton and Mark Sanders.
Odie Ji Ghast
It started as my solo work that is more linked with production. I tend to stick to my way of recording voice on dictophone device (or, these days, more often on my phone). Then I mash that lo-fi recording with samples, put my voice like a cherry on top.
In recent years Odie Ji Ghast became my performer name also, and I don’t hesitate to use it for whatever. Essentially though, this artist lives digitally more than stays gropeable, real and clean in the present. It is a voice that goes through microphones, dictophones, sound machines and wires. That is when Odie Ji Ghast happened anyway – when she got fascinated and heavily consumed by sound that is crackling. And can I take one step away from the sound of acoustic? Visible, front-line – for a second can I sneakily escape?
I play around with instruments from time to time but I take nothing but voice onto the stage. Because only that (and me fiddling with software at home) is what truly represents what this artist is solo. Plus some things I write, and some songs I sing when alone. So this is me trying to present a singular musical body in its most natural format.
Sam Andreae has been active across Europe over the last decade as a saxophonist, composer and organiser. Through improvisation and composition he explores a music of colliding sound gestures and aural detritus, built up from an intentionally fractured instrumental language and playful spontaneity. His compositions place a focus on gestural processes which in their unraveling reveal a trail of sound artefacts to be picked through.
“what Sam Andreae does is liminal music, he shows you the clicks, the noises, the breaths, the rattle and hum” – John Doran, Quietus, 2017 on BBC 3 Late Junction
For more info email
Singing Knives Records email@example.com