The Observer (on LCMF 2014)

Vice (on LCMF 2013)

'The capital's most adventurous and ambitious festival of new music' (The Guardian) returns for its third year. In association with COS, LCMF 2015 offers a week of multi-disciplinary events exploring the best new music and performance from around the world in the epic surroundings of Ambika P3.

One major thread weaving its way throughout LCMF 2015 is a celebration of the American West Coast. We welcome three legends of the Californian scene - Pauline Oliveros, Otis O'Solomon and Morton Subotnick - in a night dedicated to the experiments of this musically fertile state. Elsewhere, we encounter the work of Los Angeles and San Francisco-based artists and musicians, Ryan Trecartin, Ellen Fullman and James Ferraro.

From our opening focus on London's collectives to the first UK visit by Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou, from the UK premiere of Stockhausen's Pieta to our exploration of Post-Internet Music, from our excavation of a forgotten modernist opera by Ezra Pound to the live set from Cairo's electro-chaabi virtuoso Islam Chipsy, LCMF 2015 promises to be a bold and broad look at the musical state of play.



David Toop Many Private Concerts (2015)
Anne Bean / Richard Wilson NALEMAG (2015) (world premiere)
Poulomi Desai Vermillion Sands (2015) (world premiere)
Neil Luck Via Gut (2015) (world premiere) (LCMF commission)
Jamie Hamilton / Charlie Hope New work (2015) (world premiere)
Edward Henderson Tape Piece (2014)
Claudia Hunte The Elephant in the Room is Afraid of Dying (2014)
Shelley Parker Live set
John Wall Live set
Tom Mudd Live set
Visionist Live set (AV)

Squib Box:
Neil Luck (voice, misc.), Adam de la Cour (voice, guitar, misc.), Federico Reuben (live electronics), Tom Jackson (bass clarinet), Benedict Taylor (viola)
Topophobia (Charlie Hope, Jamie Hamilton)
Utterpsalm and Contingent Events (John Wall, Tom Mudd)
W0B (Richard Wilson, Anne Bean)
Poulomi Desai
Edward Henderson
Claudia Hunte
Shelley Parker
David Toop

London takes centre stage in our opening night, as we celebrate the exploratory fringes of the city's music scene and the collective imperative that has been a spur to some of the capital's greatest experiments. The trajectory culminates with a landmark new AV performance from south London's Visionist, whose singular language emerges from the fragmentation of dubstep and grime.

The proliferation of collectives among young musician-composers is reflected in new commissions from some of the most adventurous of these musical laboratories. The night will include premieres from Charlie Hope and Jamie Hamilton (Topophobia), Neil Luck (Squib Box) and John Wall & Tom Mudd (Utterpsalm and Contingent Events).

We hear recent work by composers Edward Henderson (Bastard Assignments), Shelley Parker and the artist duo Claudia Hunte. We welcome an iconic figure and chronicler of London's musical edgelands, David Toop, and offer a live improvisation from Poulomi Desai (Usurp), who started the Hounslow Arts Co-op at the age of 14.

We also offer a world premiere from artists Richard Wilson and Anne Bean. In the 1980s, Anne Bean, Paul Burwell and Richard Wilson formed the legendary Bow Gamelan Ensemble, enthralled by the aural poetry and parallel visions of the Thames.

Now, Wilson and Bean enter the territory as W0B. Theirs is a world that cracks and splinters and grinds into being as it races backwards and forwards through friendships of 40 years. NALEMAG becomes the totemic incarnation of their endless scrabbling around boat-yards, scrap-yards, gas depots, pyrotechnic munitions, voyages on many rivers in countless vessels and a frenzy of carrying, welding, investigating and making across the planet.

1 Bow Gamelan performance
2 Visionist
3 Topophobia performance



Henry Cowell The Banshee (1925)
John Cage First Construction (in Metal) (1939)
Morton Subotnick / Tony Martin PLAY! No. 3 (1965) (UK premiere)
Terry Riley Keyboard Study No. 2 (1965)
Maggi Payne Flights of Fancy (1985)
Carl Stone Wall Me Do (1987)
John Luther Adams Among Red Mountains (2001)
Catherine Lamb Frames (2009/13) (UK premiere)
Otis O'Solomon Selected poems
Pauline Oliveros Pauline's Solo (1992)
Morton Subotnick Solo Buchla set

PERC'M (Cage)
Anton Lukoszevieze cello (Lamb)
Lucia Mense bass recorder (Lamb)
Pauline Oliveros v-accordion
Otis O'Solomon
Gwen Rouger piano (Cowell, Adams)
Morton Subotnick electronics
Serge Vuille conductor (Cage)

The second night of LCMF 2015 is dedicated to the music of the American West Coast, an exploration of 100 years of musical nonconformism, from the piano insurrections of Henry Cowell to the deep listening of Pauline Oliveros.

Oliveros is joined by another founding legend of the pioneering San Francisco Tape Music Center, Morton Subotnick, who presents a solo Buchla set and the UK premiere of a 1960s Tape Center composition with a film by Tony Martin. Another composer associated with the Tape Center was Terry Riley, whose Keyboard Study No. 2 gets a rare outing.

Alongside this we zig-zag through the experimental landscape, calling on John Cage's concussive First Construction (in Metal), which premiered in Seattle in 1939, John Luther Adams's monumental Among Red Mountains and Catherine Lamb's subterranean Frames.

We excavate two gems from California's 1980s computer music scene, Maggi Payne's Flights of Fancy and Carl Stone's Wall Me Do. On the fiftieth anniversary of the Watts Uprising we present an extremely rare performance from Otis O’Solomon, whose collective The Watts Prophets emerged from the rubble of that uprising and helped lay the foundations for hip-hop.

3 Pauline Oliveros
2 Morton Subotnick
4 The Watts Prophets



Emahoy Tsegué-Maryam Guèbrou Selected piano works*
Bryn Harrison Repetitions in Extended Time (2008)
Tim Etchells / Aisha Orazbayeva Seeping Through (2015)
Ellen Fullman The Watch Reprise (2015) (world premiere)
Stephen O’Malley Live set

Plus Minus Ensemble:
Vicky Wright (clarinet), Anders Førisdal (guitar), Marcus Barcham-Stevens (violin), Alice Purtan (cello), Roderick Chadwick (piano), Gwen Rouger and Matthew Shlomowitz (organs)
Tim Etchells
Ellen Fullman
Emahoy Tsegué-Maryam Guèbrou piano
Mark Knoop conductor (Harrison)
Stephen O’Malley
Aisha Orazbayeva violin

Time is stretched, bent and finally dissolved in Five Ways To Kill Time. Sound artist Ellen Fullman opens the night with a UK premiere of The Watch Reprise, which will be performed on her 50-foot Long String instrument that one writer compared 'to standing inside a giant grand piano'.

Ethiopian composer, pianist and nun Emahoy Tsegué-Maryam Guèbrou makes her first visit to the UK to perform a selection of her intimate piano miniatures that seem to drift through space. Plus Minus Ensemble, meanwhile, offers up the intricate and disorientating world of Bryn Harrison's Repetitions in Extended Time.

Mixing spoken text and music, theatre maker Tim Etchells (Forced Entertainment) and violinist Aisha Orazbayeva offer a set of fragmentary improvisations in Seeping Through, a work fresh from a critically acclaimed run at the Edinburgh Fringe.

We end with a time-obliterating live set from doom pioneer Stephen O’Malley, whose work within and beyond his seminal group Sunn O))) exists in a kind of transcendent stasis.

* Presented with the kind permission of the Emahoy Tsegué-Maryam Guèbrou Foundation

1 Ellen Fullman
2 Emahoy Tsegué-Maryam Guèbrou
3 Stephen O’Malley



Chris Watson Okeanos (2015) (world premiere) (LCMF commission)

We present the world premiere of a monumental new work by sound artist and recordist Chris Watson. Drawing on extensive underwater recordings gathered by the artist from oceans around the world, Okeanos, a multi-channel sound installation that will play in complete darkness, celebrates the songs, rhythms and music of the oceanic depths.



Ezra Pound Le Testament de Villon (1926 version) (excerpts) (UK premiere)
Karlheinz Stockhausen 'Pieta' from Dienstag aus Licht (1990/91) (UK premiere)
Ryan Trecartin CENTER JENNY (2013)
Tim Parkinson Opus 1, 2, 3 and 4 from Time With People (2014)
Sue Tompkins Like Sake (2015) (world premiere) (LCMF commission)

edges ensemble (Parkinson)
Marco Blaauw flugelhorn (Stockhausen)
Lore Lixenberg voice (Pound, Stockhausen)
Aisha Orazbayeva violin (Pound)
Ian Sankey trombone (Pound)
Sue Tompkins
Serge Vuille percussion (Pound)

In an attempt to shift our perception of what opera can do and be, we present a second instalment of To A New Definition of Opera, in which performance, video art and neglected modernist opera rub shoulders.

Alongside a new commission from British performance artist Sue Tompkins, the night will include composer Tim Parkinson’s apocalyptic anti-opera Time With People performed by edges ensemble and Los Angeles-based artist Ryan Trecartin's dystopian film CENTER JENNY.

The centrepiece of the evening will be the UK premiere of Karlheinz Stockhausen’s celebrated Pieta from Dienstag aus Licht, with the voice of Lore Lixenberg and flugelhorn of Marco Blaauw.

Interlaced throughout the evening will be an extremely rare performance of excerpts from Ezra Pound's troubadour opera about medieval ne'er-do-wells, Le Testament de Villon, which critic Richard Taruskin called 'a modernist triumph'.

1 Still from Ryan Trecartin's CENTER JENNY (2013)
2 Sue Tompkins
3 Ezra Pound and George Antheil. Both performed in the premiere of Le Testament de Villon



Tino Sehgal Instead of allowing some thing to rise up to your face dancing bruce and dan and other things (2000)
Selected poems by Vladimir Mayakovsky and Sergei Yesenin
Helmut Lachenmann Toccatina (1986)
Christian Kesten Zunge Lösen ('Releasing the Tongue') (1990/99)
Andrew Hamilton music for people who like art (2009)
Dieter Schnebel Maulwerke (1968-74) (2015 solo version)
Hanna Hartman Mezcal No. 8 (2014) (UK premiere)
Oyvind Torvund Untitled School/Mud Jam/Campfire Tunes (2014) (European premiere)
Islam Chipsy & EEK Live set

Plus Minus Ensemble (Torvund):
Mark Knoop (piano), Roderick Chadwick (piano), Serge Vuille (percussion), Elsa Bradley (percussion)
A genuine coming together (Hamilton):
Becca Carson (piccolo), Ausiàs Garrigos Mórant (bass clarinet), Ian Sankey (trombone), Sam Wilson (percussion), Jack Ross (electric guitar), Siwan Rhys (piano), Joanne Evans (voice), Eloisa Fleur-Thom (violin), Valerie Albrecht (viola), Oliver Coates (cello), Martin Ludenbach (bass guitar)
Islam Chipsy keyboards (E.E.K.)
Hanna Hartman
Louise Höjer (Sehgal)
Christian Kesten (Schnebel, Kesten)
Khaled Mando drums (E.E.K.)
Aisha Orazbayeva violin, voice (Lachenmann, Mayakovsky, Yesenin)
Islam Tata drums (E.E.K.)
James Weeks conductor (Hamilton)

A Martian Sends a Postcard Home takes its name from a poem by Craig Raine that sought to re-see the world through bold acts of defamiliarisation. This night celebrates the Martianist turn in music, with an exploration of composers who have made the familiar fresh.

The night will include the European premiere of Norwegian composer Oyvind Torvund's lawless chamber work Untitled School/Mud Jam/Campfire Tunes, performed by the Plus Minus Ensemble, and Andrew Hamilton’s electrifying music for people who like art. In Mezcal No. 8 Swedish composer Hanna Hartman transforms a copse of steel rods and washers into a sounding presence.

We honour two standard bearers of 'making strange' in composition: Helmut Lachenmann and Dieter Schnebel. Aisha Orazbayeva performs Lachenmann's Toccatina alongside a recital of Russian poems by Mayakovsky and Yesenin that live and breathe the idea of estrangement or ostranenie.

Meanwhile, composer and musician Christian Kesten presents Schnebel's celebrated Maulwerke where vocal technique is pulled apart into its constituent parts, alongside his own Zunge Lösen that seeks to stage the tongues of three performers.

Artist Tino Sehgal takes on the body, intellectual property and materiality itself. Instead of allowing some thing to rise up to your face dancing bruce and dan and other things is his earliest ‘livework’. It sees performer Louise Höjer transformed into, in the words of Frieze Magazine, a 'hydraulic android'.

The night ends with a visit from Cairo's E.E.K. Under the fingers of Islam Chipsy, a digital keyboard is wrenched into explosive new sonic territory, articulating the sound of post-Tahrir electro-chaabi.

1 Still from Oyvind Torvund's Untitled School/Mud Jam/Campfire Tunes (2014)
2 Still from Christian Kesten Zunge Lösen ('Releasing the Tongue') (1990/99)
3 Islam Chipsy



Milton Babbitt Reflections (1975)
Jacob TV Grab It! (1999)
Brigitta Muntendorf Public Privacy #2 (2013) (UK premiere)
Neele Hülcker Copy! (2014) (UK premiere)
Jennifer Walshe Total Mountain (2014) (UK premiere)
Felicita Live set
James Ferraro New work

Mark Knoop piano (Babbitt, Muntendorf)
James Ferraro
Nick Goodwin electric guitar (TV)
Neele Hülcker
Jennifer Walshe

Some call it Post-Internet Art. Others the New Aesthetic. Whatever the name, there's no doubt that the internet has scrambled the way we think, see and listen. Yet if art has placed this new paradigm at its heart, we are only now beginning to distil what it means for musical composition.

One pioneer of musical attempts to understand how things are changing in the digital shadow is Jennifer Walshe. The final night of LCMF will see the UK premiere of her latest, major one-woman work Total Mountain.

Two further UK premieres arrive from Germany. Berlin-based Neele Hülcker investigates the online phenomenon of 'autonomous sensory meridian response' or ASMR in her work Copy!, while Brigitta Muntendorf explores the YouTubed bedroom in Public Privacy No 2.

The flight from reality captured by this Post-Internet Music is not new. Serialist trailblazers like Milton Babbitt got there first with works such as Reflections for piano and synthesized tape. The hyperactive, networked aesthetic of Walshe and others, meanwhile, was foreshadowed by Jacob TV in Grab It!

As an occasional collaborator with London-based collective PC Music, Felicita's music is one in which the tropes of pop's most commercial statements are accelerated, amplified and brought riotously together into a language that, if satirical, is also wildly inventive in its own right.

We conclude and project into the future with the long-awaited UK return of James Ferraro, whose 2011 album Far Side Virtual is an essential post-internet text. For his forthcoming release Skid Row, Ferraro turns his attention to contemporary Los Angeles, a kind of 'hyper-America' where violent realities are obsessively mediated and reproduced.

1 Still from Jennifer Walshe's Total Mountain (2014)
2 Still from Brigitta Muntendorf Public Privacy No. 2 (2013)
3 Felicita
4 James Ferraro

Alongside the festival performances, we present a series of conversations with some of this year's artists. Hosts will be announced in the coming days.

The talks are free to attend and open to all.

Saturday 12 December

12.30pm: Morton Subotnick

2pm: Pauline Oliveros in conversation with Frances Morgan

3.30pm: Ellen Fullman

Sunday 13 December

2pm: Stephen O'Malley

3.30pm: Chris Watson



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