The Substation/ Lawrence English, Decibel, Cat Hope/ Éliane Radigue/
Online: $25 / $15 + BF | Door: $35/$25
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French composer Éliane Radigue holds a unique place in electronic music history. Her works, created for Arp 2500 synthesiser, are renowned for their hypnotic pulsing, reductive beauty and deep timbral palettes. Over the course of nearly five decades, Radigue set a benchmark for minimalist electronic music and struck the tone for generations to come. More recently she has turned her ears to acoustic sources, working closely with a select group of musicians to create works that share the intense focus and beauty of her earlier pieces.
To celebrate her work, Lionel Marchetti (Fr), Cat Hope, Decibel, and Lawrence English come together to present an evening of electronic music diffusions and delicate acoustics.
Éliane Radigue, b. 1932, is arguably France’s most important female electronic music composer. Historically, one of only a few female composers working in the 20th century, and a dedicated Tibetan Buddhist, over the last decade Radigue has begun creating works for specific performers called Occam after the theory of philosopher William of Ockham - That the simplest option is always the best. Where Radigue will only verbally instruct the artist. OCCAM XXIV was commissioned for Cat Hope by Carriageworks/Room 40 in 2017. It is the first of the OCCAM series to be written for flute, and the first for an Australian artist.
Cat Hope is a musician, composer and collaborator whose flute playing most often features as part of her new music ensemble Decibel and in the performance of new Australian works. Her flute performances have featured across Germany, France, Italy and Japan and feature on albums by Hugo Race, Decibel and Lindsay Vickery on labels such as Hat Hut, Tonelist and Glitterhaus. In 2016, Decibel commissioned the first Australian work from Radigue, in collaboration with French clarinettist Carol Robinson.
Feature image: Éliane Radigue, Photo: Yves Arman Foundation
Related/
Music
A Universe of Noise
For the past four decades, Japan’s noise sound artist Merzbow has reigned supreme as the undisputed king of noise. Merzbow, the brainchild of avant-garde musician and writer Masami Akita, is influenced by early 20th-century art movements Dada and Surrealism and in particular Swiss Dada artist and poet Kurt Schwitters. A prolific creator – he has released hundreds of recordings in a range of musical styles – he has collaborated with musicians from around the globe in a rich and varied career characterised by inventiveness.
Live, Merzbow’s sonic works are all-consuming; he creates a uniquely physical sound world within which the bodies of his audience are entirely consumed. To describe it as a wall of noise is to understate the experience, Merzbow’s performances generate a universe of noise, infinitely deep, infinitely complex and one that produces profound overstimulation across all spectra of experience, resulting in a euphoria unlike anything else you might hope to experience.
At The Substation he is joined by the formidable composer and low frequency cultivator Cat Hope, a Melbourne-based noise, installation and performance artist and founding member of noise duo Lux Mammoth.
Presented by The Substation and Room40.
