Hot with Excess
4 December
Things Fall Apart
180 Box at 180 Studios
BOOK TICKETS
First release: £15/£25/£65/£115
Second release: £18/£28/£80/£130
On the door: £22/£32
Doors: 7pm
Music starts: 7.30pm
Aaron Dilloway
Live
Cally Spooner
New work (2026)
(world premiere, LCMF commission)
Carola Bauckholt
Talking Minerals (2026)
(world premiere, LCMF commission)
Jessica Ekomane
Manifolds (2022)
(UK premiere)
Reona
Live
Dana Dawud
Palcorecore (2024)
Performers
The Flautadors recorders (Bauckholt)
Aaron Dilloway electronics
Jessica Ekomane live diffusion
Reona metal percussion
Excess is unstable and lossy. Therein lies its power and its beauty. It reaches for the heavens. The Icarian drive.
On our second night we explore artists, forms and instruments that revel in this ambitious instability.
Take the recorder: one of the most reviled members of the woodwind family yet one of the most enchanting, subtle – microtonal, fragile, the sound of breath itself.
One of Germany’s great mavericks, composer Carola Baukcholt, presents her new commission Talking Minerals, overloading the ensemble The Flautadors with over 20 recorders, of different shapes and sizes, in a wheezy, bendy anti-tour-de-force.
The genesis of Cally Spooner’s new Gesamtkunstwerk lies in her grandmother endlessly rearranging furniture; Mike Kelley unmaking a performance; a landslide. A relentless restlessness results, an un-optimisable choreographic intelligence that lets ideas move.
The miked-up environments that cult noise virtuoso Aaron Dilloway sets up are always startling – the tiny movements of a chair might become a monstrous mountain range of electrostatic sound. We welcome the Michigan legend for a rare new live performance.
No other form allows the artist to manipulate the possibilities of sonic collapse better than musique concrète. French composer Jessica Ekomane presents the UK premiere of a live version of Manifolds (2022), one of this century’s most outstanding acousmatic works.
The festival’s focus on contemporary Japanese improvisation begins with tap dancer and metal percussionist Reona. She will play an orchestra of detritus, lovingly acquired from junk shops: an American stainless steel bowl from Yokosuka, an old transport-company billboard from Iwamizawa, a Taiwanese oil pot, South Indian meal plates, basins, chains, nets, a toy drum, a loudspeaker, plus two signboards from Okinawa: ‘one handed to her by a man who told her, please step on it; the other used during unexploded bomb disposal. "It accelerated my metallization.”’
We also present Palcorecore (2024), a classic of internet cinema by Palestinian artist Dana Dawud, which seems to demand that things fall apart in order that a people might live. A portrait of that white-hot desire for freedom and the possibility to imagine and play to our heart’s content.
On our second night we explore artists, forms and instruments that revel in this ambitious instability.
Take the recorder: one of the most reviled members of the woodwind family yet one of the most enchanting, subtle – microtonal, fragile, the sound of breath itself.
One of Germany’s great mavericks, composer Carola Baukcholt, presents her new commission Talking Minerals, overloading the ensemble The Flautadors with over 20 recorders, of different shapes and sizes, in a wheezy, bendy anti-tour-de-force.
The genesis of Cally Spooner’s new Gesamtkunstwerk lies in her grandmother endlessly rearranging furniture; Mike Kelley unmaking a performance; a landslide. A relentless restlessness results, an un-optimisable choreographic intelligence that lets ideas move.
The miked-up environments that cult noise virtuoso Aaron Dilloway sets up are always startling – the tiny movements of a chair might become a monstrous mountain range of electrostatic sound. We welcome the Michigan legend for a rare new live performance.
No other form allows the artist to manipulate the possibilities of sonic collapse better than musique concrète. French composer Jessica Ekomane presents the UK premiere of a live version of Manifolds (2022), one of this century’s most outstanding acousmatic works.
The festival’s focus on contemporary Japanese improvisation begins with tap dancer and metal percussionist Reona. She will play an orchestra of detritus, lovingly acquired from junk shops: an American stainless steel bowl from Yokosuka, an old transport-company billboard from Iwamizawa, a Taiwanese oil pot, South Indian meal plates, basins, chains, nets, a toy drum, a loudspeaker, plus two signboards from Okinawa: ‘one handed to her by a man who told her, please step on it; the other used during unexploded bomb disposal. "It accelerated my metallization.”’
We also present Palcorecore (2024), a classic of internet cinema by Palestinian artist Dana Dawud, which seems to demand that things fall apart in order that a people might live. A portrait of that white-hot desire for freedom and the possibility to imagine and play to our heart’s content.