Supernormal Festival this year runs from 5th to 7th August at Brazier’s Park in Oxfordshire. I’m performing in a new trio with Lina Lapalyte & Angharad Davies; giving a talk/performance with AAS; and playing in Sam Cook and Sam Underwood’s orchestra of homemade instruments. Supernormal is my favourite festival, I highly recommend it. Info and tickets here.
SUPERNORMAL is a three-day, experimental arts and music festival taking place at Braziers Park in Oxfordshire. It offers a platform for artists, performers and musicians to work collaboratively and creatively for a new kind of audience seeking experiences out of the mainstream. It is determinedly small and intimate with an audience of 1,500 and has been born from a place that values the currency of ideas and imagination rather than commercialism and profit.
Lina Lapalyte, Angarrad Davies & Graham Dunning
New collaborative performance between three very different musicians especially for Supernormal.
Artist, composer, musician and performer, Lina Lapelyte’s practice, can be placed ‘in-between’ classical and experimental, music and fine art, composing and improvising. Initially trained as a classical violinist in Lithuania Lina showed an interest in experimental music from early on. Her performance-based practice is rooted in music and flirts with pop culture, gender stereotypes, aging and nostalgia.
Angharad Davies is a violinist, one at ease in both improvising and composition, with a wide discography as part of varied range of ensembles and groups. She’s a specialist in the art of ‘preparing’ her violin, adding objects or materials to it to extend its sound making properties. Her sensitivity to the sonic possibilities of musical situations and attentiveness to their shape and direction make her one of contemporary music’s most fascinating figures.
With a background in experimental electronic music, Graham Dunning makes things with sound and found objects to explore time and commemoration through personal archives – photographs, audio journals, post-it notes – and what becomes of them over time. He uses experimentation, play and restriction in his making processes through noise and unwanted sounds such record crackles and tape hiss combined with the visual equivalents of dirt, dust, decay to reveal and not conceal imperfections.