Controllar @ Gagarin Vergius photo
'BLACK CAT' film still Michelle Hannah 2013



Only Strangers are Normal

Controllar is an art rock trio based in Amsterdam. Lead by Anat Spiegel’s unconventional vocals, Controllar’s music evokes shards of electro- noise swallowed by punk beats. The result is an intense, vehement, all-consuming performative experience.

Our performance Only Strangers Are Normal comes forth from our recent release under the same name (Oct 2015). It is a tenebrous, sinister and powerful reflection on our experiences of being lonely strangers in a new town contrasted with the heightened euphoria and distorted connectedness of being on tour.

Gregorio “Fonten” Fontaine

Sand breathing

This piece is a “songscape” for the interaction of sand, waves and song. It combines hydro and field recording, songwriting and a max/msp patch through which the elements establish a realtime dialogue. The boundaries between song and these external sounds are reshaped, confused, intertwined. The songscape is a living organism that wanders between the self-expression of song and the experience of its outside.

Through an audiovisual performance, this in situ interaction is recreated in concert

Michelle Hannah


(Spotlight, Blind Contacts, Black Dress, Black Paint, Black Nails, 9mins)

A filmed performance of an appropriated and fragmented version of Bowie’s Cat People with use of a vocal processor  and a Dronology soundtrack of radiowaves converted from a point offset the planet Saturn. The starting point of BLACKCAT is from an image by Trisha Donnelly of the Sphinx. I use its esoteric femininity as a visual presentation of vocal and cosmic noise as form, presented as a dispersed engagement between myself as ‘blind ‘ performer and you as a viewer. Filmed solely by myself, I wear white blind contacts to erase my sight. Blinded and struck for a moment, this ‘illuminated singer’ no longer discerns the limits of the room.

Crying In The Dark Image


Claire Hind and Gary Winters

Crying In The Dark

From sunset to sunrise Gary Winters and Claire Hind will present a space to encounter the chart-topping, much-sung, universally-covered, Roy Orbison rock-bolero ballad ‘Crying’.
Listen, perform, cry, repeat.
There he was in the dark; fragile, sensitive and with limited longevity.
Just when you thought you had it all planned out, oh, the wreckage and the ruin. Dark.
There he was, over and over again, all night long Crying.
There they were, over and over, all through the night Crying.

A.R.C. Soundtracks

‘Dereliction/Mirror’ AV performance

A.R.C. Soundtracks spent summer 2014 in residency at Salford art complex Islington Mill creating a new sound and film piece using the semi-derelict attic spaces as both inspiration and source material. Focusing on the notion of ruins and their potential for reappropriation, the final piece combines a dense, multi-layered soundworld with disorientating, ritualistic visuals to create an immersive, hypnotic work.

Echoes & Dust: “A deep, resonant atmosphere, reminiscent of Demdike Stare, Svarte Greiner and Swans.”

Portia Winters


Portia, from London, is an experimental vocalist performing with pedals and electronics. Her material is a brace of opposing and connecting songs: a diary of sensory expression and heart journeys. Her project began in a basement in North London, found home on Exotic Pylon’s resonance FM show, and has re-threaded itself slowly over time, forming snapshots of disintegrating emotional geometries, lullabies for the dead, dislocation and reformation. Her debut album, Epicotyl, is released on Exotic Pylon Records.

Where is Jason Molina - LeedsBeckett

Tom Bowers , Martin Briggs, Carl Flattery, Paul Ratcliff, Leeds Beckett University

Where is Jason Molina? An Elegy

Live performance inspired by the life and work of singer songwriter Jason Molina (1973-2013). A continuous, mostly through-composed, performance, comprised of vocals, guitars and pianos, juxtaposed against a live mix of symbolic field recordings. The melodic and lyric driven sections build upon the ideas Molina espoused in interviews and in his lyrics and the sonic inclusions are emblematic of the personal torment of Molina struggling with addiction and also the midwestern landscape upon which much of his work is based.


Dominic Allen and Julian Gaskell

The Anthropic Organ Vs Cannibal Corpse

Limited conceptual expression and equally limited musical equipment; can two wrongs make a right?

The music of death metal outfit, Cannibal Corpse, is emotionally on a par with the b-movie, urban legend and monster myth, dressed in all the typical obscenity, violence, occult esoterica and pornography that one could expect. The experience, however thrilling, is largely irrelevant to the human experience, offering little catharsis.

The Anthropic Organ, on the other hand, is physically limited in it’s ability to generate music. Built by artist and engineer, Dom Allen, and musician Julian Gaskell, commissioned by Glastonbury Festival, The Camden Roundhouse and FEAST in Cornwall, now the Organ will be fed Cannibal Corpse. Can this collaboration create genuine resonance? Or will the Organ shake itself to pieces? Compère, Thomas G.J. Sharpe, will present the findings live

Something anorak

Something anorak are Bristol based duo, Chris and James Barrett. The Release of their debut album late last year (Howling Owl Records), enables the listener a brief glimpse of the wonderfully warped world in which they inhabit. ” A space where lo-fi aesthetics meet high-brow originality to create a world full of dizzying nuances. Shadows are cast, solemnity reigns, but buried deep inside is a weird and wonderful heart which fills the night with life”. (GoldFlakePaint)

Black Square_Aaron James

No Such Word as Cʌn’t

No Such Word as Cʌn’t create mesmerising and unnerving wet-dreamscapes for your pleasure.

No Such Word As Cʌn’t are sorcerers, generating a portal into delirium through the most heterogeneous materials available – public domain fan videos of the male strippers, autotuner presets, R n’ B covers, Balkan violin and care home promotional materials.

No Such Word Cʌn’t are death disco, a relentless journey into the unheimlich conjured out of terse readings, electroacoustic skronk, cyborg chanteuses, reese bass and unapologetic four to the floor.

No Such Word As Cʌn’t are trumpets, violins, videos, voices, guitars and sequencers all happening at the right time.

Aaron James 
Goldsmiths, University of London
‘Future History’

An experiential dj/live set that explores the idea of the dance floor as site for dystopian identities.

From the deepest depths of unknown dimensions: distorted signals broadcast on alien frequencies.The end of the world is here. The city streets are not safe, the banks have spent all your money and the government watches you’re every move. But fear not you libertines, you bohemians, you freaks. Fear not the dissection of your lives, the dismantling of your rights, the destruction of your identity. We live in other worlds. We exist in places they don’t understand and can’t ever reach. We believe in the dance floor and every single night we’ve wasted on it …