HOLY TRINITY CHURCH, HYDE PARK PICTURE HOUSE AND THE COMMON PLACE
CELEBRATING 25 YEARS OF MAVERICK MUSIC IN LEEDS
WITH THE NIHILIST SPASM BAND (FIRST UK PERFORMANCE SINCE 1968!!)
CARLOS GIFFONI (US)
EDGAR (WILL GUTHRIE AND SEBASTIEN COSTE, AUSTRALIA AND FRANCE)
YXIMALLOO(JAPAN)
S&M COMBO(UK)
PAUL HESSION/ALAN WILKINSON DUO(UK)
FAMILY BATTLE SNAKE(GREECE)
THE TELESCOPES(UK)
BROKEN SLEEP (CANADA)
GHOST OF AN OCTOPUS(JOINCEY AND SMEAR CAMPAIGN)
+MORE ACTS TBC!
PLUS EXCLUSIVE FILM SCREENINGS AT HYDE PARK PICTURE HOUSE
WHAT ABOUT ME- THE RISE OF THE NIHILIST SPASM BAND
JEFF KEEN FILMS WITH SOUNDTRACK FROM dk720
£15 DAY TICKET, £30 WEEKEND TICKET
BUY ONLINE HERE NOW!! WWW.TERMITE.ORG.UK
"Confronted with the spectacle of academy and commerce in such deadly embrace - the sound of heard-before paraded as the peak of excellence, a whole generation being taught music as a department of accountancy - the Termite Club appears in contrast a seething font of fresh ideas, innovative techniques and musical focus. Long may it thrive!"Ben Watson
Nihilist Spasm Band
This will be the first UK performance since 1968 of the band often cited as germinating noise music in its contemporary form. Without the Nihilist Spasm Band, there would possibly not have been a Hijokaiden, an Incapactants, a Nurse With Wound or the Pruirients of this world, or if there were they would not be the same without NSB "In 1965, Greg Curnoe, an artist and experimental filmmaker living in London, Ontario, needed a musical score for his latest project, a film entitled No Movie. Curnoe gathered together a group of like-minded artists and close friends, and formed an ensemble called the Nihlist Spasm Band to perform the film’s soundtrack; none of the members were proficient on a musical instrument, and several had constructed their own noise-making apparatus rather than use conventional instruments. While the few that witnessed the group’s willfully dissonant initial performance condemned them as talentless noisemakers, the group stuck to their guns, performing once a week at the same Ontario art gallery, where late bassist Hugh McIntyre described their philosophy by asking, "When you eliminate the scale, the key, the repertoire, the category, the traditional rules, and even breaking the rules, what is left?" After years of laboring in obscurity, The Nihlist Spasm Band began to develop a modest cult following in the 1980s; in 2000 they had a loyal fan base in Japan and continued to perform regularly in their native London between periodic international tours, and have won the admiration of such pillars of the noise rock avant-garde musical community as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan."Mark Deming, New York Times
Carlos Giffoni
One of the linchpins of the US noise music scene, Giffoni organises the already legendary No Fun noise festival in New York and and plays in Noise rock group Montract. Carlos has been applying various types of synthesis, extreme modular manipulation, rewired instruments, and live re-sampling to the composition of electronic music pieces, as well as improvising live with local and international experimental musicians;orgnially from Venezuala he now lives in New York. This is his first solo UK tour.
Alan Wilkinson/ Paul Hession Duo
2 of the founders of the Termite Club and two of the most incendary of UK improv performers. Their trio with bassist Simon Fell has been described as ’take no prisoners’ and we can hope for more of this high energy power attitude in the duo.
Paul Hession
"His torrential polyrhythmic style and his ability to raise the stakes in formidable company establish him as a prime mover in the attempt to inject excitement and power back into total improvisation" - The Guinness Enc. of Popular Music.
Yxiamlloo
Yximalloo is Naofumi Ishimaru alone, but he drafts a loose ensemble of players, including the core of Shigeo Ootake and Takashi Korgo , as collaborator-executors. Ishimaru works like a Japanese Jandek without the angst, like the Boredoms minus the bombast. Spiritual kin to early artpunk and especially the LAFMS, he revels in mock-ethnic music and nonsense. Lo-fi, sweet and primitive, he uses ancient drum machines, hand percussion, and electronic droplet noises, sometimes set to melodies gathered from some imaginary South Sea island where the traditional instrument is seemingly an old ’80s synth. Yximalloo has also been painted as a Japanese Half Japanese -- Jad Fair himself has collaborated with Ishimaru and draws the covers for some Yximalloo releases, all of which are released and self distributed by his label.
EDGAR
Sébastien Coste : soprano saxophone, balloons / Will Guthrie : drums, percussion
Interactive / hyperactive duo between an Australian and a French musician, EDGAR started in Nantes (west France) in 2006. Brutal punk rock free jazz, abstract improv, thematic long tones, humour, difficult to describe (as usual), anyway, it is not your average free-jazz blow-out, nor is it pretencious wimpy improv, nor is it balkan gypsie music !
The Telescopes
"The Telescopes have been mining a unique anti-myopian seam of drone/dream psych for 20 years. Expertly bolting gritty blocks of noise, rich with fossil and sediment, onto minimal songs and melodies which are miles apart and miles beyond the reams of drone/ambience out there." Trensmat
After going through many regenerations, in 2006 The Telescopes became a collaboration between Bridget Hayden (formerly of Vibracathedral Orchestra) and founder member Stephen Lawrie.
Ghost of an Octopus
GO is a new collaboration between the outsider genius that is Joincey (of Inca Eyeball, Stuckometer, Target Shoppers and most recently Puff) and Stewart Smear Campaign. This promises to be at times glancingly harsh sonabulistic collages whose underlying structure is opaquely mysterious.
S&M Combo
S&M Combo (erstwhile S&M) started in 2004 as a development from a previous collaboration as interestfreetelevision. Discarding the use of samplers, loops, processing and computing, S&M Combo focused on their core instruments: oscillators and cello. The duo combines many extraordinarily unlikely sounds that lie poised over the visceral Interface of harsh mechanical noise coupling with serene minimalist beauty. The initial simplicity and immediacy of their free improvisation gives rise to ever more complex and exotic, aleatory forms. By exploring both the delicacy and raw power of such simple systems they are musically part Jonathan Harvey and part Whitehouse, or like aphysics lecture gone astray.
WE DON’T PUT ON TRIBUTE BANDS, COVERS BANDS, BANDS WHO WANT TO GET SIGNED TO A MAJOR, SINGER SONGWRITERS, MUSHY SLUSHY BALLADEERS AND ESPECIALLY NOT SKA PUNK BANDS! SO IF YOU’RE ANY OF THESE DON’T EVEN BOTHER ASKING. ALSO NOT TOO KEEN ON BOOKING AGENTS TRYING TO FOIST THEIR ’DIY’ BANDS ON US. LESS OF THAT. WE PUT ON ABOUT 15 SHOWS A YEAR. THAT EQUATES TO MORE OR LESS 80 BANDS. WE GET ASKED BY ABOUT 1000. DO THE MATH. MOST OF WHAT WE PUT ON IS SELF CURATED, AND THIS YEAR ALL OF THE EVENTS WE PROGRAMME WILL BE SELF-CURATED. IF YOU’RE MAD ENOUGH TO REALLY REALLY WANT A GIG AT THE TERMITE, JUST DO WHAT YOU DO, HAVE A GOOD TIME, PUT SOME SOUNDS AROUND AND EVENTUALLY WE’LL HEAR ABOUT YOU. IF WE LIKE YOU, YOU’LL GET THE CALL. ONE LAST THING- DUE TO OUR FUNDING TIMETABLE, WE’D APPRECIATE IF YOU GAVE US AT LEAST 8 MONTHS NOTICE YOU’LL BE TOURING OR WANT TO PLAY A SHOW OR WHATEVER. THEN MAYBE WE CAN FIT YOU IN.
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