Re:Sound is an experimental music series exploring the relationship between forgotten spaces, the natural environment, and sound abstraction. The series takes place on the Mare Island Shoreline Heritage Preserve, a 215-acre park that formerly served as one of the first Naval Ammunition Depots. The performances take place in a decommissioned concrete munitions storage magazine measuring 55’ x 10. The architecture of the building traps sound resulting in a prolonged reverberation.
RE:SOUND presents Touch:
co-presented by 23five Incorporated
Simon Scott (Cambridge, UK)
Steve Roden (Pasadena)
Mark Van Hoen (Los Angeles / London)
Touch “Live Mix”
a screening of the Jon Wozencroft film Liquid Music, scored by Christian Fennesz
Saturday • September 19, 2015 • Doors at 3pm • Suggested donation $10.00 • advanced tickets
Magazine A-168 • Railroad Ave. & Mercado Ct. • Mare Island, Vallejo
Simon Scott is a sonic artist, multi-instrumentalist, sound ecologist, and songwriter from Cambridge, Great Britain. His solo works have been published through Touch, 12k, Tomkins Square, Miasmah, and Immune. His work explores the creative process of actively listening, the implications of recording the natural world using technology, and the manipulation of natural sounds used for musical composition. He is also a member of UK band Slowdive and has recently collaborated with James Blackshaw, Nils Frahm, Taylor Deupree, Isan, Machinefabriek, Populous, Pinkcourtseyphone, and more.
Steve Roden is a visual and sound artist from Los Angeles, living in Pasadena, California. His work includes painting, drawing, sculpture, film/ video, sound installation, text and performance. Roden began his musical education as the lead singer of the los angeles punk band, Seditionaries from 1979-82. In 1986, he received a BFA from the Otis Art Institute of Parsons School of Art in Los Angeles in 1986, and an MFA from the Art Center College of Design in Pasadena in 1989. Roden has been exhibiting his work since the mid 1980s, and has had numerous solo and group exhibitions internationally, including Mercosur Biennial (Porto Alegre, Brazil), Centre Georges Pompidou (Paris), San Diego Museum of Contemporary Art, UCLA Hammer Museum Los Angeles, Museum of Contemporary Art EMST (Athens, Greece), Singuhr-Horgalerie (Berlin), the Menil Collection (Houston), Berkeley Art Museum, The Kitchen (New York), La Casa Encendida (Madrid), and others.
Roden has also been performing live improvised sound works since the mid 1980s. In 2010, curator Howard Fox organized the exhibition Steve Roden / In Between: a 20 Year Survey, at the Armory Center for the Arts in Pasadena, traveling to the University of California San Diego, and was accompanied by a full color catalog. Roden’s first public recording was a cassette, titled the secret of happiness, released in 1990 on his own label. Since, he has released over 45 solo recording, on vinyl, CD, and cassette through a variety of international record labels. Published writings include i listen to the wind that obliterates my traces (Dust To Digital), Allan Kaprow Posters (Christophe Daviet-Thery and Walther König) and the catalog essay for Concrete Invention at the Museum National Centro de Arte Reina Sofia.
Mark Van Hoen was born in London, England and grew up in the industrial Midlands of England. He began to create electronic music in 1981, releasing his debut LP on Belgian label R&S in 1993. Since then, Van Hoen has had a succession of highly regarded releases and live performances, ranging from minimalist drone-based material (e.g. AurobindoInvolution issued by Ash/Touch in 1994) through the dark, foreboding and pulsating – sometimes abrasive – early Locust albums, to the more recent string of releases on Editions Mego. Most recently, a composition released via Touch Radio marks a return to the esteemed audio-visual label after a long absence since the release of several albums in the ’90s.
Mike Harding: Curator & Producer. Lecturer & Publisher. Author & Editor. Occasional exhibitions, installations and performances. He has been running the audio-visual label Touch for 30 years and in this period has acquired much experience and information on disseminating cultural sounds to a wider audience.
Liquid Music (2012)
a film by Jon Wozencroft
music by Christian Fennesz
“Liquid Music in conjunction with the music Christian Fennesz was developing during that fertile period when the future was still a good idea. The first version – this is it – was premiered during the Touch tour of 2001, the time of Fennesz’s Endless Summer and the steady movement towards Venice. The footage for Liquid Music originates from Prague, Paxos, Crete, Cephalonia, Messinia, London and one short clip from Monterey Bay. It was filmed on Hi–8 and mini–DV between 1995 and 2001. The main idea was to film everything through the lens, with no post production other than the compilation of many years work into a coherent whole. Fennesz’s music, and its ascendent quality, made that a pleasure. The optical quality is on the cusp between analogue and digital resolution. In many respects it’s an exchange of values as much as working methods. Liquid Music is in some respects a laptop response to the celluloid flicker film from the 1960s – Paul Sharits, Tony Conrad, Stan Brakage – Peter Kubelka’s Arnulf Rainer.” — Jon Wozencroft