Featured Projects

Beth Gibbons & the Polish National Radio Symphony – II. Lento e largo—Tranquillissimo

We are pleased to announce regional UK screenings of the full length concert film of Beth Gibbons performing Henryk Górecki’s Symphony No. 3 (Symphony of Sorrowful Songs) with the Polish National Radio Symphony Orchestra featuring conducting from Krzysztof Penderecki.
Locations & tickets: http://smarturl.it/BGScreenings

Get The Blessing – Not With Standing

Blending their mutant Jazz sensibilities with spacey electronics and post rock atmospheres, “Bristopia” ventures into new, unexplored territories. The band is comprised of bassist Jim Barr and Drummer Clive Deamer of Portishead, Jake McMurchie on sax and electronics and Pete Judge on trumpet and electronics. Here they share the visuals for their latest single ‘Not With Standing’. While a simple concept, the video gives off an eerie otherness that matches the band’s sound and visual signature of keeping their faces masked.

The band has decided to pay homage to their hometown of Bristol stating, “sometimes you have to go away to see where you’re from”. With this in mind, they headed to record a lot of the album in the picturesque setting of Vale Studio, Worcestershire. After getting most of the material finished, the Bristol Jazz and Blues Festival invited Get The Blessing and their long-running visual collaborator John Minton to scour the Bristol Archive and create “Bristopolis”, an abstract, poetic film homage to Bristol. “We realised that some of the new music is the soundtrack for a real film after all, even stranger than the one in our heads. We got to play these new tunes live at a one-off happening for the festival, with John’s visual creation filling an enormous screen behind us. All begins to make (non)sense.”

Beak – Allé Sauvage

BEAK> return with brand new instrumental track “Allé Sauvage”. The music comes as a live performance collaboration with video artist John Minton (Portishead, Savages).

Charlotte Hatherley – Night Vision

Lotus Esprit – Oscilloscope – Cymatics – & some lyrics

Three Cane Whale – An Acre of Watery Light

Visuals for Three Cane Whale as part of Filmic commision from the Watershed and St Georges, Bristol.

John Parish & Adrian Utley – The Trinity Anthem

Trinity Centre – The Trinity Anthem (Adrian Utley & John Parish) supports
Trinity Community Arts

Justin Adams – Ribbons

British guitarist Adams is a man of many parts. Alongside his job in Robert Plant’s Band of Joy have come collaborations with assorted North African and Middle Eastern luminaries – desert rockers Tinariwen and Terakaft, Moroccan Gnawa musician Hamid el Kasri and more. Here, he teams up with Norwegian singer Anneli Drecker (of Röyksopp) for an ambient outing that draws inspiration from modernist painters such as Rauschenberg and Pollock. Adams’s grooves and loops often carry Saharan flavours, while Drecker’s wordless, ethereal vocals evoke the emptiness of the Arctic north, with a touch of Tuvan throat-singing on Lightshaft. A seamless fusion that casts a low-key but binding spell.

Justin Adams – Ribbons Promo

British guitarist Adams is a man of many parts. Alongside his job in Robert Plant’s Band of Joy have come collaborations with assorted North African and Middle Eastern luminaries – desert rockers Tinariwen and Terakaft, Moroccan Gnawa musician Hamid el Kasri and more. Here, he teams up with Norwegian singer Anneli Drecker (of Röyksopp) for an ambient outing that draws inspiration from modernist painters such as Rauschenberg and Pollock. Adams’s grooves and loops often carry Saharan flavours, while Drecker’s wordless, ethereal vocals evoke the emptiness of the Arctic north, with a touch of Tuvan throat-singing on Lightshaft. A seamless fusion that casts a low-key but binding spell.

Kath Bloom – Just Can’t Make It Without You

Collaboration with Esther May Campbell

Mario Batkovic – Semper

Batkovic presents a holism in his music that draws on the full capabilities of the instrument. This is reflected in quite a staggering range of pitch, volume and timbre that the instrument is able to produce, something that Batkovic exposes gloriously for the first time ever.

However there are also subtleties in the production of the album that also make it a technical and aesthetic triumph. Batkovic wanted to translate the true sound of the accordion for the audience, in terms of representing exactly the way it sounds to him while he’s performing.

It took over a year to solve the problems regarding the audio engineering of the album, but this now means that the stereo image opens up a whole new sonic spatiality, immersing the listener in a vivid and intricate sound-space.

“I wanted all of the instruments breathing, air noises and the sounds of flapping of claps to be audible. So the handicaps of the accordion can be transformed into benefits, creating a new sound”