IKLECTIK presents,
Tantrum Experimental Music Series: Alice Purton, Maggie Nicols + Alya Al-Sultani, Lola de la Mata + Eve Stainton
Tuesday 28 November 2023 | Doors: 7:30pm - Start: 8:00pm
Our Kiosk opens 1 hour before doors.
Tickets: £10 adv / £14 otd / £20 supporter / £7 unwaged/students (student ID mandatory)
A night of multi-layered live ecologies, superimposed memory spaces, imagined landscapes, depicting a concert series that is a home for raw and unfinished contemporary music making.
Lineup:
Alice Purton
Maggie Nicols + Alya Al-Sultani
Lola de la Mata + Eve Stainton
Artists:
Eve Stainton
Eve Stainton is an artist interested in the politics of uncodeable queer presence and its intersections with race and class. They create multi-disciplinary performance worlds that hold movement practices, digital collage, and welded steel, and other invisible forces like waves, imagination and drama. These forms work together to create live ecologies that are discordant, multi-layered and psychedelic. Stainton is interested in the production of conflicting states and textures to unravel essentialist thinking, with intent to create more expansive understandings of the lesbian identity, non-gender/variance, and perceptions of the ‘real’.
Lola de la Mata
Lola de la Mata (b. 1991) is a London born French/Spanish conceptual sound artist, curator and musician based between Liverpool and London. Her performances have a foot in improvisation incorporating objects and self made sculptural instruments which cross into collaborations with dancers and queer performance artists to convey a practice focused around othered voices, experiences of chronic illness and tinnitus. Lola has released on labels Nonclassical and SA Recordings, curated for the Feminist Library and NTS. She has received commissions from Riot Ensemble, Zubin Kanga, Spitalfields Music Festival, Selina Thompson Theatre Company and worked with experimental filmmakers Britta Thie and Carmen Dusmet Carrasco.
Alya Al-Sultani
Alya Al-Sultani is a vocalist and composer based in London, UK. Her first musical experiences were Iraqi folk songs sung by her great grandmother and radio broadcasts of Um Kolthum, Abdel-Halim and Fairouz which she listened to with her family while drinking sweet black tea infused with cardamom. After leaving Iraq during the Iran-Iraq war, her family settled in Tottenham, North London where she began to discover the incredible new sounds of the 80s and music from the Caribbean. Her musical education was entirely classically-focussed, on piano and voice. She learned the importance of technique, tradition, theory, respecting fellow musicians and respecting the music. But she did not learn freedom and it is this she has sought for the last decade. The pursuit of freedom in music is driven by her aesthetic, her immigrant experience and her Eastern feminism. Apart from working on her own projects, Alya enjoys debuting new music for contemporary composers and experimenting with opera, including the integration of improvisation techniques, microtonal ideas and Eastern influences.
Maggie Nicols
Maggie Nicols joined London's legendary Spontaneous Music Ensemble in 1968 as a free improvisation vocalist. She then became active running voice workshops with an involvement in local experimental theatre. She later joined the group Centipede, led by Keith Tippets and in 1977, with musician/composer Lindsay Cooper, formed the remarkable Feminist Improvising Group. She continues performing and recording challenging and beautiful work, in music and theatre, either in collaborations with a range of artists (Irene Schweitzer, Joelle Leandre, Ken Hyder, Caroline Kraabel) as well as solo.
Alice Purton
Alice is a cellist, vocalist, improviser and composer working in London. Equally at home with experimental contemporary, classical, folk and traditional music, Alice is much in demand for the flexibility and energy that she brings to all her music making. She performs regularly with her groups Distractfold, Plus Minus, Trio Atem and Ensemble Kopernikus. Alice's current solo project draws upon melodies from late medieval composers and Mediterranean folksong, superimposing imagined (and real) memory spaces on top of one another in an attempt to construct an imagined (and real) new landscape of cello, electronics and voice.
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