One Day Band 20 features a collaboration between guitarist and composer Marina Elderton, drummer and electronic musician Nicholas Meredith (AKA Kcin) and violinist, composer Alicia Jane Turner.
As you’d expect from this trio ODB 20 is a highly atmospheric, darkly ambient collection. Nicholas’s drumming varies with industrial din and metallic klang above a sure footed driving kick and free-wheeling kinetic energy. FX pedals augment Marina’s guitar and Alicia’s violin, enabling a textural approach that strays into soundscape and filmic suggestions. Foreboding drones fluctuate and distort amidst spectral effected voices, a pitch-shifted seance that haunts throughout the session. It’s the rewarding culmination of three musicians comfortable and attuned in a mutual exploration that complements a shared aesthetic of confident experimentation.
Marina Elderton is an award winning composer for film, tv, theatre and games, based in London. Her practice combines experimental textures with traditional instruments. As an independent musician she regularly collaborates with other artists, co-founding ethereal-psych duo KULL, electronic duo White Russia (BBC Introducing) and female sound artist collective Erinyes.
As Kcin, Australian producer/drummer Nicholas Meredith combines industrial electronic production with his background as an in-demand drummer to craft powerful, ever-shifting soundscapes that feel monumental in their magnitude. His sound-world, although wet through with electronic and digital elements, draws significantly from the natural world: monolithic structures, human biology, water, working with themes of uncertainty and environmental change.
Alicia Jane Turner is a composer, sound designer, violinist and performance artist whose work spans contemporary theatre, new classical music and live art. Her practice focuses on the visceral affectivity of sound and live music in interdisciplinary performance, using composition and immersive sound design to explore the relationship between the internal and external body, and ask questions about physicality, identity and intimacy. Her compositions fuse the textures of noise music and ambient minimalism with classical instrumentation and electronics, to create dissonant and intricately layered pieces. In her research she interrogates the gendered politics of listening, silence and noise, and how sound and light works to generate atmospheres in sensorial encounters with contemporary theatre.
released February 24, 2020
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