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THE SEEN: Mark Wastell
7 November 2018
Wednesday 7 November, 8pm
THE SEEN is the loose and constantly evolving network of musicians that Mark Wastell has been regularly convening since 2002; drawn from the community of improvisers he has been working with over the decades, together with nomadic visitors, newer acquaintances and musicians who have never played together, some of whom he may have never even previously met. Each realisation offers an opportunity for ongoing expansion and transformation of a social/artistic network. No group formation has ever been repeated, THE SEEN never stays static.
Chris Kiefer : cello
Alice Eldridge : cello
Luigi Marino : bowed cymbals
Paul Khimasia Morgan : guitar body
George Trebar : double bass
Bill Thompson : guitar / electronics
Phil Durrant : modular synth
Mark Wastell : tam tam, gongs, cymbal
Tickets £7 (+booking fee) available in advance here.
“THE SEEN moves in mercurial striations, with constantly shifting threads and beacons of focus that feed into each other while congruently being fed back in to the mix. Throughout, the beguiling semaphore of ideas subsumes any thought of individual voices, creating a web which subtly metamorphoses over time in non-linear intertwined systems. Burred electronics, shimmering reverberations, percussive cracks, skirling whistles, fluttering tones, and dive-bomb oscillations eschew arcs and trajectories, instead, relishing in the instability of the mesh of interlaced collective interaction. THE SEEN operates in an analogous fashion, with each of the members maximising the dynamic synergies and tensions of timbres, densities, dynamics, and resonances of sound serving as both reciprocated input and output.” (Michael Rosenstein)
“With THE SEEN, everything is up for grabs. Even the act of listening – so sacrosanct in the world of improvisation – becomes problematised, for in such a tapestry of sound and silence how can one process what’s happening at any one moment? Yet this impossibility of total response provides opportunities to form clusters within the whole, that break apart and reform in different configurations as things develop. For listeners, too, there are possibilities for moments of both detailed focus and wider-scale immersion.” (Paul Margree)
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