03 September | 20:00

Sound Anatomy VI: Richard Scott & Marta Zapparoli // Ame Zek #194

Doors: 19:30 / Start time: 20:30
Please come on time, as this evening we will start early

 

Richard Scott & Marta Zapparoli
Analogue synthesizer and electronics

Ame Zek (solo)
Feedback/microtonal/noise/harmonizing with acoustic instruments, objects and feedback speaker amplifiers

Ame Zek is a sound artist and composer based in Berlin. He is a producer of sound waves and an LFO modulator, using modulation chains to create a platform for building evolving sound structures. He has developed his own composing strategy by using different modes of modulation in a specified order, defined at it’s basic most character by the use of his own particular techniques. The result is an evolution of sound structures through modulation, where ever-changing patterns shift in time with common dependencies and autonomous movement. The result is an evolution of sound structures through modulation, where ever-changing patterns shift in time with common dependencies and autonomous movement. Ceaselessly focused on the intricacies of oscillating sound, Ame Zek employs an active combination of senses in touch, sight, and listening. Modularities and transformations have become what he describes as his “daily musical and spiritual experience.” Over many years, it is this particular act of creation which holds the greatest interest to Ame Zek. His compositions evolve organically for the listener. All hardware and techniques combined, Ame Zek has found himself standing before the ultimate system for performance, composition, and research.

Marta Zapparoli is an experimental sound artist, improviser, performer and researcher. She works and lives in Berlin from 2007. Her work mainly consists of strongly narrative sonic pieces that she builds using a wide variety of recording techniques, devices and selfmade microphones . She is interested on the boundaries and relations between real sound world, vibration sound, noise pollution and inaudible sound. She builds strongly narrative, imaginative sonic pieces live through improvisation with real-time tape manipulation. She has performed at festivals all over Europa, Turkey, Norway, Sweden and U.S.A. In 2006 she received the MOVIN-UP Award for her field recording project An Audio Portrait of Berlin.

Richard Scott is a prolific free improvising electroacoustic composer and living in Berlin working with electronics including modular synthesizers and controllers such as the Buchla Thunder and Lightning and his own self-designed WiGi infra red controller developed at STEIM. He has been composing and performing for over 25 years working with artists such as Evan Parker, Derek Bailey, John Stevens, Jon Rose, Richard Barrett, Axel Doerner, Kazuhisa Uchihashi, Shelley Hirsch, Ute Wasserman, Michael Vorfeld, Frank Gratkowski and his own Lightning Ensemble. He studied free improvisation in the 80s with John Stevens, saxophone with Elton Dean and Steve Lacy, Action Theatre improvisation with Sten Rudstrom and electroacoustic composition with David Berezan and Ricardo Climent. He has had multiple electroacoustic, performance and audio-visual works presented at conferences and festivals such as ICMC, IFIMPAC, BEAM and MANTIS and has been a referee for the NIME conference. In 2014 he initiated and co-curated the Sines&Squares festival of analogue and modular synthesis held at Manchester University. He runs his own label Sound Anatomy and is co-curator of three important improvised and electronic series in Berlin: AUXXX, Sound Anatomy and Basic Electricity. He has released many albums, for example Grutronic and Evan Parker on PSI records, The Magnificence of Stereo (sruti BOX) and has a solo double modular synthesizer LP, Several Circles, and an album with Sidsel Endreson on Cusp Editions in 2015. He has written a number of conference papers, including “The Molecular Imagination: John Stevens, the Spontaneous Music Ensemble and Free Group Improvisation” in Sound weaving: Writings on Improvisation, Edited by Franziska Schroeder and Mícheál ÓhAodha 2014 Cambridge Scholars Publishing.