Tim Hodgkinson, clarinet, lap steel guitar
Ramón Amezcua/Point Loma (a.k.a. Bostich), electronics
The musicians will each perform a solo set with a duo improvised set. This is the first time they have had the opportunity to work together. We will hear them branching out in fresh, unexpected directions and exploring new territory. Tim Hodgkinson is increasingly lauded as a composer, with works featured at international contemporary music festivals, and two sets of pieces for ensemble out on the Mode label, Hodgkinson has an equally powerful commitment to intense and highly energized performance practice. In over forty years' work he has placed himself in a series of definitive projects, whether as cofounder of the seminal Henry Cow group, as saxophonist with influential avant metal band God, or as bass clarinet soloist in the spectral compositions of Iancu Dumitrescu. His lap steel guitar playing remains completely uncategorizeable, bringing subdued and not so subdued echoes of rock musics and other ethnicities.
Ramón Amezcua aka Point Loma (and Bostich with Nortec Collective) will present BOOMBOX, a project where Amezcua manipulates live the Roland TR-808 and TR-606 drum machines, and the TB-303 synthesizer. When generating musical structures and fragments dynamically Amezcua manages to transit through different styles and eras of electronic music. This historical and stylistic weightlessness is possible because these machines have been used for over three decades, therefore, that its influence has been enormous in the history of music.
Tim Hodgkinson (b. 1949) studied social anthropology at Cambridge, where he met Fred Frith in 1968. Together they initiated what became the politically and musically radical group HENRY COW. This was the band in which he began to write music and explore sound. Following the demise of the Cow, he threw himself into various experimental rock projects, notably THE WORK. As an improviser his centre of gravity shifted from alto saxophone and keyboards towards clarinets and lap steel guitar. In the early 90's he found his own way to fuse distinct kinds of musical experience and began writing scored pieces that drew directly on acoustic experimentation and improvisation. The first of (what turned out to be) many trips to Siberia rekindled his interest in anthropology, and research into music and shamanism led him towards new ways of 'grounding music in being'.
As an improvising musician on reeds and lap steel guitar, he has performed all over the world with many of the most acclaimed artists in the field, and continues to be fully engaged in the celebrated KONK PACK trio with Roger Turner and Thomas Lehn. In 2009 he released Klarnt - a CD of solo clarinet improvisations. Other continuing projects include an international quartet with Denman Maroney, Paul Lytton and Dominic Lash, and the UK-based ZINK trio with Hannah Marshall and Paul May.
Mark Medwin wrote about his Klarnt CD: "Many of these eleven untitled vignettes are fairly brief, packing myriad gestures into each moment. Even on the longer pieces, such as the final track, each second seems ready to burst with ideas. Dynamics have little to do with impact, as many moments of the most concentrated energy hang barely above a whisper. Instead, there is a sense of heightened emotion as Hodgkinson plums every register and mood of which the clarinet is capable."
With Ken Hyder from Scotland, and Gendos Chamzyryn from Tuva, he works in the K-SPACE project, named after the Soviet cosmologist Nikolai Kozyrev. With numerous tours of Europe and Siberia, K-Space's CD releases include INFINITY, a set of recordings that breaks new ground by using customised software to re-compose the music with each listening, creating an experience intended to parallel that of shamanic flight. In 2009, K-Space developed a sound-installation for the exhibition Shamans of Siberia at the Museum of Ethnology in Stuttgart. In 2015, they will perform a new collaborative project with the Bergersen String Quartet at Huddersfield Contemporary Music Festival.
As both bass clarinetist and composer and conductor, Hodgkinson has participated in many concerts of spectral music with Iancu Dumitrescu's HYPERION ENSEMBLE. His own compositions have been interpreted in such international festivals as: Spectrum XXI (Brussels, Paris, Geneva, Berlin, London), Huddersfield Contemporary Music Festival (U.K.) where he was a featured composer in 2007, Craiova and Ploiesti Festivals (Romania), Guarda Festival (Portugal), Cantiere Internazionale d'Arte di Montepulciano (Italy), Konfrontationen Festival (Austria), Nordlyd Festival (Norway), Musique Action (France) and the European Symposium of Experimental Music at Barcelona.
His Piece for Harp and Cello was selected for the SPNM shortlist in 2005. His composition SHHH was accepted for the IMEB electroacoustic music archive at Bourges in 2006. His piece Fragor appeared in the Martin Scorsese film Shutter Island in 2010. He has worked with Hyperion Ensemble, Talea Ensemble, Ne(X)tworks, the Bergersen String Quartet, The London Sinfonietta, Insomnio Ensemble, Phoenix Ensemble, Basler Schlagzeug Trio, Nidaros Slagverkensemble, and the Bindou Ensemble. He is currently working on a commission for Ilan Volkov's Tectonics Festival to be performed in Israel.
As a writer, he has published articles on improvised music, musique concrète (he interviewed Pierre Schaeffer in 1986), spectralism, the boundary between shamanism and art in southern Siberia, and aesthetic responses to the impact of new technology on contemporary music - in, amongst others, Perspectives of New Music, Arcana, Contemporary Music Review, Musicworks, The Wire, Cambridge Anthropology, Variant, RER Quarterly, and Resonance Magazine.
He has given lectures, workshops and seminars at Cagliari and Lyon Conservatoires, at the Institute of Contemporary Art, at Goldsmiths College and the School of Oriental and African Studies in London, at Istanbul, Edinburgh and Cornell Universities, and art schools in several European countries, at COMA summer school, and at the Verband für Aktuelle Musik in Hamburg where he was artist in residence in 2010.
Ramón Amezcua, a.k.a. Point Loma/Bostich is an electronic music composer. Amezcua is an important figure in electronic music, especially in Mexico, Tijuana, and along the USA-Mexico border regions, but also in the United States and internationally. He has written songs for The Nortec Collective, as well as Nortec Collective presents: Bostich+Fussible. He has earned several Grammy Nominations, the most recent in 2011 for Bulevard 2000 by Nortec Collective Presents Bostich+Fussible under the category of Best Latin Rock/Alternative Album.
Amezcua is considered the Godfather of Nortec by producers and fans alike since Bostich's early Nortec music clearly established the characteristics of his style: an interest in the electronic exploration, fragmentation, and reconstitution of tarola (snare drum) rhythmic patterns and tuba sounds and timbres, and their combinatorial possibilities. His song "Polaris" marks the genesis of the Nortec style of music with its sequenced burpy tubas and machinegun drum sprays.
Amezcua began his career as a recording artist and performer in the early 1990s when electronic music began to gain prominence in Mexico. He has recorded consistently since 1992 using the aliases Bostich, Point Loma, Monnithor and Las Cajas del Ritmo. As Bostich, he has collaborated with visual artists (Fritz Torres, Jorge Verdin, Checo Brown, Ernesto Aello), film directors (Les Bernstein, Hans Fjellestad, Emilio Maillé, Alex Rivera), writers (José Manuel Valenzuela, Alejandro L. Madrid, Juan Carlos Reyna), and musicians and composers (Pauline Oliveros, Kronos Quartet, Alan Parsons, The Baja California Orchestra, and Pepe Mogt).
Since 2007, Amezcua has performed with Pepe Mogt, together known as "Bostich+Fussible," and presenting themselves in concert as Nortec Collective presents: Bostich+Fussible. In 2011, the duo were honored performers at the opening ceremony of the 2011 Pan-American Games in Guadalajara, Mexico.