HIDDEN N0TES Vol.1 28—29.09.19

LOCATION: ST LAURENCE CHURCH STROUD _AB0UT HIDDEN N0TES

Founded by local independent arts magazine Good On Paper, Hidden Notes focuses on presenting the works of composers rarely seen together on the same stage, whilst also providing the artists with a platform to perform new music and collaborations.

The unique and eclectic line-up features musicians from some of the world’s most forward thinking record labels including the likes of Erased Tapes, One Little Indian, Bedroom Community, Mercury KX, 130701/Fat Cat Records, Touch and Prah Recordings all held in the epic surroundings of St Laurence Church in the heart of Stroud.

One high point will be the UK premier of a new composition by ‘continuous music’ pioneer Lubomyr Melnyk, titled the Dreamers. Melnyk’s music is rooted in the classical tradition as well as contemporary minimalism. In his playing he uses densely layered, cascading notes to build a mood of exhilarating, ecstatic abandon. Japanese singer, Hatis Noit creates transcendental song-worlds that at once deconstruct and recombine Western classical music with Japanese folk, Bulgarian and Gregorian chanting and avant-garde pop. Ground- breaking violinist Daniel Pioro heads to Stroud shortly after performing with ’s Jonny Greenwood at this year’s BBC Proms. This will be a rare UK concert with Icelandic record producer, mixer, composer, engineer, musician and Bedroom Community record label founder Valgeir Sigurdsson. The Austrian composer, ensemble leader and hang player Manu Delago has become established as an innovator through an impressive body of work across the last decade, which has included collaborations with Bjork, the Cinematic Orchestra, Anoushka Shankar and Olafur Arnalds, as well as four genre pushing recordings of his own compositions. Closer to home, many of you will have attended performances led by locally based composer Emily Hall who has written for the Sinfonietta, LSO, and the Brodsky Quartet, amongst others.

Rarely is this genre of music presented in this way and we look forward to Hidden Notes forging its own path amongst the multitude of annual festivals, continuing to promote the work of renowned and emerging national and international musicians and composers.

Follow us on social media and visit our website for announcements on vol.2 coming soon - until then we hope you have a great weekend of incredible music in Stroud and look forward to seeing you again next year!

Hidden Notes Est. 2019 _TIMETABLE

VENUE OPENS AT 14.45 SATURDAY AND SUNDAY

SATURDAY 28.09.19 SUNDAY 29.09.19

MANU DELAG0 ENSEMBLE 20.30 LUB0MYR MELNYK 20.30

DANIEL PI0RO AND VALGEIR 19.15 HATIS N0IT 19.15 SIGURDSS0N

EMILY HALL 18.00 SEBASTIAN PLAN0 18.00

EMILIE LEVIENAISE-FARR0UCH 16.45 CLAIRE M SINGER 16.45

GR0UP LISTENING 15.30 SPINDLE ENSEMBLE 15.30

SOUND RECORDS DJ SET DAVE HOWELL DJ SET INBETWEEN SETS INBETWEEN SETS

ALL WEEKEND

EXCUSE THE MESS P0DCAST - REC0RDED LIVE AT S0UND REC0RDS

F00D

SALT BAKEH0USE (PIZZA AND BREAD - VEGETARIAN / VEGAN OPTIONS AVAILABLE)

JAMAICA INN KITCHEN (VEGETARIAN / VEGAN OPTIONS AVAILABLE)

LHAMO’S MOMOS (VEGETERIAN /VEGAN OPTIONS AVAILABLE)

DRINKS

STR0UD BREWERY (LOCAL ALE / CIDER / WINE)

THE CAFETERIA VAN (COFFEE + PASTRIES) _MANU DELAG0 ENSEMBLE

SATURDAY 28.09.19 20.30

INTERVIEW BY CHRISTOPHER TAYLOR / AUDIOPHILES PRODUCTIONS

The highly accomplished Grammy nominated Austrian composer, ensemble leader and musician, Manu Delago has established himself as an innovator throughout his impressive body of work across the last decade. Collaborating with Bjork, the Cinematic Orchestra, Anushka Shankar and Olafur Arnalds, releasing four genre pushing studio records on Tru Thoughts and One Little Indian, Manu has become known worldwide as a figurehead of the ‘handpan’. His own various manifestations have seen him perform prestigious events across the globe and extensively through the UK, including last year’s solo performance at the , opening for Arnalds. Manu has appeared as a guest on BBC6 Music, Worldwide FM and recorded a live session at Maida Vale Studios for BBC Radio 2.

Following his stunning performance at the Good the alarm clock called Zeitgeber rings in the On Paper stage with his Handmade quartet at the morning. Stroud Fringe in 2017 he finally returns to You have a new band for this album and tour - Stroud, this time debuting a brand new album and the Circadian Ensemble - can you tell us how you band - the Circadian Ensemble… formed this group of musicians and what they now Your latest album Circadian is out on the 13th bring to your sound? Sept via One Little Indian Records, is there a I’ve put together nine of my favourite theme running through the album and has there musicians: three strings, three winds and three been a progression since the 2018’s Parasol Peak? percussionists. It feels like a dream to have Like Parasol Peak the album is fully acoustic my own little orchestra. I love writing music but this time, not recorded under extreme for orchestra but usually there’s no time for circumstances on a mountain, but in a cosy studio developing the sound, properly rehearsing the with my nine-piece-ensemble. Most pieces are music and going on tour. With the Circadian inspired by various nocturnal themes such as Ensemble we’ve made all these things happen and dreams, owls and sleep. To me, the album starts for me it’s the most exciting live project that in the evening and gradually slows down until I’ve ever put together. At the time of writing you are just about to embark on another tour with Bjork and you have also toured and worked with The Cinematic Orchestra and Ólafur Arnalds - do you find working with these artists gives you inspiration and ideas for your own compositions and work?

Yes, definitely. In general, I think all humans get affected by their immediate surroundings. If two people spend a lot of time together, they gradually become more similar to each other. I’m just trying to collect all those experiences and inspiration, but not draw too much from one direction. The artists that I work with are quite different and my own music is possibly somewhere in between, and hopefully unique.

For Parasol Peak you took the musicians on a mountaineering exhibition in the Alps to record some compositions in different locations and altitudes, are you planning anything equally as adventurous for the Circadian album?

Parasol Peak was a slightly insane project and I’m very glad everyone survived. The music then was specifically written to be performed and recorded at those extreme mountain locations. Now, Circadian is very much written to be performed on regular stages indoors, but with a large ensemble and lots of cool instruments that I collected on my travels around the world.

I know you have worked on soundtracks in the past, most notably on Robocop, are there any plans to work on future film soundtracks and what did you enjoy about the process of putting music to moving image?

I’m usually focusing on music for the sake of music, meaning that I write music for either performing it or recording it for my albums. Sometimes my recorded music gets used in films, dance performances or other art forms but it’s not really my priority to compose for other purposes. So currently I don’t have any plans, but if a very special opportunity comes my way, I’ve got open ears… manudelago.com indian.co.uk _DANIEL PIORO AND VALGEIR SIGURDSSON

SATURDAY 28.09.19 19.15

INTERVIEW BY TOM BERRY / SOUND RECORDS

Inhabiting a sound world between the acoustic and the electronic, British violinist Daniel Pioro and Icelandic composer, producer and Bedroom Community founder Valgeir Sigurðsson come together for a set of music that draws inspiration from their shared love of textured, fractured sound, and the grey areas between noise and melody. Their performance at Hidden Notes vol. 1 features music from Daniel’s album, Dust, Sigurðsson’s album, Dissonance, as well as new sounds just for the festival.

How did your relationship with the violin start? D: So this question is interesting because I disagree with it, which is nice on occasion. I Daniel: By chance. An Australian couple whose names don’t think it has shifted at all. What we have now I don’t recall brought two tiny violins to me and is a greater appreciation of electronic sound...and my twin brother when we were four. It felt like a so it births its own collaborations and newnesses. non-event at the time but I know that I played on Classical music as a body of sound and as a it obsessively. My most amusing toy. collective of instrumentalists has very much stayed How would you describe your approach to your in the same place it was always in. I think. instrument and music? Do you prefer solo work or collaboration? D: Playfulness is key. That feeling of D: COLLABORATION... Although solo work is so much experimentation we normally have before more preferable than collaborative work with the professionalism takes over is the feeling that wrong people. Valgeir - for example - is very much I am keeping hold of. Playing the violin itself the right person. I become a greater me through has become a liberation for me since I decided working with artists like him. it was just a tool to make sound with, and not a historical object that comes with centuries of How did your relationship with Jonny Greenwood come inherited neuroses. about?

What do you think about the shifts in classical D: We met one fateful day, working on his music (in the last decade or so) towards a more soundtrack for The Master. And became friends. It’s electronic landscape? not such a common experience, but he inspired me with his openness and kindness, and I brought him V: Oh, that’s such an interesting question! I see whatever it is that he sees in me that makes him it as education for myself - for the entertainment seek me out whenever he wants the violin on one of others. of his projects. It was also a very slow gentle And what emotions do you most like to create in growing together. We met seven years ago now, and your work? it feels that we are really just at the beginning of doing something profound. V: That varies from time to time and from piece to piece, and I can’t always control it. If I And the Hidden Notes show? What can we expect? could then I would be the Marie Kondo of modern D: A real example of chamber music between music, and discard of anything that doesn’t electronics and the violin. Valgeir and I continue spark joy! But for example, as a record —and as to look for that sound that exists in the space a collection of works written over some time— I where our instruments meet. Not two elements in the feel that Dissonance is wildly optimistic. That’s same space, just one huge shared sound. the overriding emotional program of that record for me anyway. Everything is about contrast, which Valgeir, how would you describe the music on is one of reasons I was drawn to making my own Dissonance? interpretation of the first movement of Mozart’s Valgeir: It’s like the ocean, just exactly like the “Dissonance” string quartet. ocean. What has been particularly interesting or unique in It has been said that your music exists in a post- your collaboration with Daniel? chronological musical network - what do you think V: I feel that Dust (the title piece on his album) is meant by this? was a milestone for both of us. The reward is V: These are the words of Paul Morley who wrote huge when both collaborators feel as invested in wonderful liner notes for Dissonance. I recommend something as Daniel and I have been in that piece. to all interested that they read his notes danielpioro.com / valgeir.net (available on my website) because it needs to be bedroomcommunity.net read in context with his thoughts about the record, and my music. Then it might make perfect sense…

What is the balance between education and entertainment in your work? _EMILY HALL

SATURDAY 28.09.19 18.00

INTERVIEW BY SEAN ROE / SOUND RECORDS

I’ve been on a journey recently with performing again - having been the composer sitting in the audience biting my nails for many many years! I still do that of course, but it’s been interesting to perform again (violin and piano) with my duo Mandel. I’ve largely enjoyed it so long as I think of myself as a creative performer and don’t try and compare myself to the true professional instrumentalists. Back to being a composer, it’s quite a weird feeling when you hear a premiere from the audience and the people sitting next to you don’t know you wrote the piece until you get up and bow (quite awkward!).

Do you write specifically for other performers? Much of Emily Hall’s music is formed from close I very much write for specific performers. The more creative relationships with singers and writers I know someone the better I write for them. I’ve and finding her own ways of using technology and written a lot for cellist Oliver Coates and singers live performance. For Emily’s performance at Hidden Olivier Chaney, Mara Carlyle, Allan Clayton and Notes she will be joined by the Stroud Fringe Jodie Landau. Choir, vocalists Chloe Kempton and Jess Mitchell, pianists Claire Hammond and Cassie Yukawa-McBurney Is there any scope for improvisation in your work? plus the other half of Emily’s new duo Mandel - Misha Law. For the past 18 months I’ve been improvising regularly with Misha Law in our duo Mandel. We When did you start playing an instrument and record our improvisations and make pieces out of writing music? And at what point did you decide to the best bits. But as for my scores- plenty of room consider a career in music? for interpretation but not improvisation.

I think I started violin around age seven. What technology do you uses to put a composition I remember so clearly the day I discovered together - do you improvise with ideas collected Pachelbel’s Cannon and figuring out how all the and work with them in a studio before presenting to parts worked and wanting to play it with my mum others to perform? and dad. I think that was an important moment when music really bit me and didn’t let go! I use my trusty Dictaphone, recording ideas as I have them (sometimes halfway up the Heavens in Which of your works was the most challenging to Stroud!). Ableton is great for quickly taking ideas produce or write and why? further and it’s my program of choice when I am producing any tracks. For music processing I have That’s a great question. Folie a Deux was used Sibelius since I was 13 - and I swear by it. challenging because I was writing a concept album and a stage piece at the same time, which I first became aware of your work through the ultimately, of course, are very different beasts. Stroud Fringe Choir, how the project come about? However, I think the limitations had positive creative power on both. In hindsight, I think When I first moved to Stroud I went to the Iceland the album probably came off slightly better but Airwaves Festival and my piece Mantra was performed it’s a close call (for me). Very occasionally, a by Kórus Collective Choir. I felt such an affinity collaboration with a writer doesn’t work out as with them and their way of doing things that you’d like it and that can be challenging on lots I decided to start a choir modelled on them in of levels but I have been lucky to have mostly very Stroud. We are in our third year now and have a creative and happy collaborations. whole new program of music written by choir members

Your work also crosses over into installation art. What do you have planned for your performance at Is sound design an important factor in creating Hidden Notes? And do you have any other projects on your work? Does this present a challenge in some the horizon? venues/listening environments? For Hidden Notes it’s a program which will Yes - very much. My partner, David Sheppard, is a hopefully include a lot from my most played pieces sound designer and we have collaborated on a big - Eternity and Mantra - to some lesser known songs chunk of my output. I love working with him because for example from the secular requiem I wrote in he can make anything possible - I do the dreaming 2012 Rest which will be performed by the Stroud and he makes it happen. I love writing using Fringe Choir. Misha and I will also perform one vocoders - Mantra layers two voices, each with Mandel piece with the choir. I do have few projects vocoders - I have recently written three new songs on the horizon, writing for the fantastic violinist for Jodie Landau which use vocoder in different Rakhi Singh (something with electronics) and a ways. recording project with Jodie Landau...

Composer vs Performer - do you like performing in emilyhall.co.uk public? As a composer how rewarding is it to “hear” bedroomcommunity.net your work performed by others? _EMILIE LEVIENAISE-FARR0UCH

SATURDAY 28.09.19 16.45

INTERVIEW BY TOM BERRY / SOUND RECORDS

There’s something captivation in the mix between familiarity and newness obtained by manipulating acoustic sounds.

You’ve made London your home, is this for personal or artistic reasons?

I moved here to study both my BA and Mmus as the approach to music in higher education was a lot more progressive than in France. Now, after 13 years, most of my friends and close collaborators are in the UK which makes it home.

Your 2018 album Epoques was influenced by the Suffolk coast. Is a sense of place central to your work?

Yes but not always in an obvious or literal way. Often it’s the sensation of being somewhere at a specific moment. For Époques it was the end of winter in Aldeburgh’s open coastal landscape. The trees were still leafless, the colours muted but starting to turn. The sounds of waves, of pebbles, it finds its way into tracks such as The Only Water, or in the decision to have the string duet of A Trace of Salt playing unadorned, suspended in space, with silences, reflecting the aloneness I felt when watching birds chasing each other, gliding in the sky over a lake of reeds.

You’ve collaborated with Resina amongst others - do you prefer to collaborate or lead in your music Emilie Levienaise-Farrouch is an award-winning making? French pianist/ composer currently living in London. Spanning film score, bespoke composition It’s a balance...I’ve never been in a band, and and sound design, her work is connected both by its my music is often extremely personal, but I love high quality and its evocative, meticulous craft collaborating with other musicians when there’s – a common sensibility of elegant, instinctual both differences and overlap in our sounds, like composition. a musical Venn diagram. Collaborating with visual artists and filmmakers is fascinating. It’s a Tell me about the Only You EP from the film of the chance to peak into the creative process of people same name which was recently released. What were who use a different art form to express themselves, you seeking to achieve with it? I always learn a lot from that.

The EP is a selection of four cues from my score What equipment do you use for the live show? for the film which I felt could be enjoyed as musical compositions away from the film. Acoustic piano, laptop to run live effects, audio interface. Did you take much direction from Harry Wootliff, the Director? How would you describe your music to someone who hasn’t heard it? It wasn’t taking direction as much as taking advantage of her knowledge, discussing how the I still haven’t worked out my elevator pitch I’m music could add a new layer to the story. Harry afraid...I tend to go for “Piano, instrumental, wrote and directed the film, had been developing experimental”. it for years, which meant that her understanding And what is the next project?! of the characters, of the meaning of the story was absolute. She was very much interested in I’ve recently finished the score for Sarah Gavron’s my response to the scenes and gave me a lot of feature Rocks and started writing new music of my stylistic freedom. own, maybe towards a new album.

What is the balance you seek to create between emilielf.com natural and electronic sound? 130701.com

I prefer to use sounds that come from an acoustic or analogue source, from something tangible. _GR0UP LISTENING

SATURDAY 28.09.19 15.30

INTERVIEW BY TOM BERRY / SOUND RECORDS

Group Listening is a new project by Stephen Black and Paul Jones. Their debut album Clarinet & Piano: Selected Works Vol.1 is a collection of ambient works - from the likes of Brian Eno, Arthur Russell, and Robert Wyatt - arranged for clarinet and piano. Somehow, ‘architecture’, approaching it all in quite a shot through their electro- forensic way - at least initially - can be very useful in the long run, you know, even if it acoustic lens, these pieces becomes a radically different thing. In order to completely re-configure something, I find it’s very evolve into something supremely useful to pull it apart and examine how it fitted calming, poignant and new. together in the first place. S: I think both Paul and I naturally gravitate towards melody so although there are elements of lots of different areas of music you’ll always be How did the Group Listening project specifically able to find melody in there. come about? Listening to the music, Joe Meek is an obvious Paul: It started off as a conversation between the reference point for me, as are the Ghost Box two of us. We had discussed the idea of playing recordings, what else is in there? some classical music, just for the fun of it. Steve had wanted to get back into his Clarinet playing P: I think some of those Cluster/Eno records from after a while of not playing it much - perhaps the late 1970s and more generally, ambient/new- doing some classical duets. I suggested we’d maybe age recordings from the late 70s and early 80s take some ambient/electronic pieces, and re-work were things we discussed at the time we made the them to be performed acoustically. It then grew record, (I know Mort Garson’s Music For Plants from there… was something we had both been listening to at the time) along with an idea that we wanted to work in Stephen: Paul and I have known each other for an analogue fashion - all the while embracing the a long time and as our conversations about the early home-brewed electronics aesthetic associated project grew we started gathering pieces to play with people such as Joe Meek and Raymond Scott. and recordings and before we knew it we had an album. I’m glad to say, it’s now taken on a life of S: It was definitely ambient and new-age music its own. for me that sparked off my imagination when we started the project. It was then an exciting What are the most important principles of the challenge to try and find different pieces of music project? that complimented and contrasted to make for an interesting listen to the album. Co-incidentally, P: When recording we try to strike a balance with I’ve just bought the re-issue of Mort Garson’s how much of it can be done live, how much of it Music For Plants on record. I’m waiting for it to can be finalised at the point of performance - come through the post… so aiming to do it without much overdubbing, or leaving lots of sound-design work to do in post- What is particularly enjoyable about this project production. We like to manipulate effects and make for each of you? production decisions in performance where possible. P: I enjoyed the hybridisation of what we did, and Is the music classical, , pop music or as both me and Steve are often working in different something else? areas, but with lots of common musical interests also, I think it comes across that we’ve made P: I think it has a sensibility that traces over something that neither one of us perhaps would do those areas in different ways. For my part, I enjoy individually. bringing in some of the processes from jazz and classical music - specifically transcribing and S: I agree with Paul, it’s certainly something that notating in some detail. I find that in order to is definitely the both of us. Personally, Paul get really into the building blocks of the music, pushes me to be a better musician and live, I find things like phrasing, structure and the musical the performance really rewarding and it challenges me to be a better clarinet player.

How does the live aspect work versus the recorded work you’ve done?

P: After the record came out last year, we spent a fair amount of time touring and performing as Group Listening, and we really got to explore how to present it live in different ways. We improvise a lot more live, contracting and expanding the pieces, and sometimes we move away from the recorded versions we did quite spectacularly! We’ve added in visual elements on and off - depending on the occasion, it’s a fairly fluid entity live. I _EXCUSE THE MESS P0DCAST think we both really enjoy playing live in general, so it’s been fun to see where the music goes after playing it extensively. Excuse the Mess is an award winning music podcast hosted by composer Ben Corrigan Stephen, you’ve played Stroud before, any memories recently awarded a British Podcast Award in the of previous visits? Best Arts & Culture category. ETM is all about S: I must have played in Stroud a good half a dozen getting to know some of today’s most exciting times. I think Paul played with me the last couple music makers - talking about them and their of times too. Most often it’s at the Prince Albert. music, hearing excerpts throughout the episode It’s a great venue and the welcome we’ve had there followed by a music challenge; to co-compose has always been amazing. I’m excited to come back a new piece of music in a day using only one again. instrument in a matter of hours. Listeners hear And you’ve worked with our in-famous Morris dance the journey of the new track, starting with the troupe Boss Morris? ‘blank page’ and finishing, hopefully, with a new piece of music. S: Yes, I was lucky enough to have them perform in one of the Sweet Baboo videos a couple of years Series one features the likes of Mira Calix, ago. They are amazing. Hannah Peel, Matt Calvert, Robert Ames, Mark Paul, you are a well-respected jazz pianist, Lockheart, Douglas Dare, Laura Jurd and Hidden working with Keith Tippett amongst others. What Notes vol.1 artists Manu Delago, Emily Hall and do you make of the recent resurgence of jazz as a Emilie Levienaise-Farrouch. popular form? Excuse the Mess will be interviewing some of P: Well it depends what jazz your talking about, the artists during the weekend setting up shop but jazz’s popularity always comes around in at Sound Records which will be aired as a cycles, like most genres perhaps, but noticeably special series. there was a big resurgence in British Jazz in the 1980’s where it became an important part of etmpodcast.com the musical landscape centred around the anti- Thatcherite, leftist movement. I’m not saying it’s play.acast.com/s/excusethemess exactly the same thing now, but I think jazz is at its best when it’s reflecting the times culturally, and when it explores its own relationship to other music and to pop culture also, and I think that is happening at the moment in the work of artists such as Nadine Shah, and in different ways over the last few years with bands such as BadBadNotGood and Dawn Of Midi.

I’m of the opinion that Jazz (in some form) becomes more persuasive and popular when the political landscape is more turbulent - which of course it is right now - and when it’s got one eye firmly fixed on what is going on in other areas of contemporary music making. _S0UND REC0RDS Is this a one-off project or a more lasting partnership? Founded by Stroud DJ’s Tom Monobrow and Sean P: We’ve got plans for more… Roe, Sound Records is a new independent record S: We’ve got plans for more. shop selling the best vinyl of all genres including rock, jazz, funk, experimental, Finally, what can we expect from your Hidden Notes house, soundtracks, breaks n beats, latin, set? African, hip hop and modern classical. P: There’ll be a make-shift /make-do-and-mend/Heath Robinson dimension to our stage set-up, along with As well as hosting the Excuse the Mess podcast light humoured introductions between songs. they will also be installing a pop-up record shop at St Laurence Church over the weekend and S: And a good time will be had by all. a DJ set between performances on Saturday. facebook.com/grouplistening prah.co.uk facebook.com/soundrecordsstroud _LUB0MYR MELNYK

SUNDAY 29.09.19 20.30

INTERVIEW BY CHRISTOPHER TAYLOR / AUDIOPHILES PRODUCTIONS

Lubomyr Melnyk is one of the most extraordinary pianists and composers of our day.

He has been called The Prophet Of The Piano due to created a wonderful, and new energy in my hands his life-long devotion to the instrument, and for and arms. My mind was dancing in the fingers, his work in pushing the boundaries of what can be and I could feel it physically…it was wonderful! done with it. In the mid-1970s, while living in And I never stopped from there on. The music Paris, he created Continuous Music - a totally new gradually developed - as did my technical ability language for the piano, one that requires amazing with this new way of playing -, until the energy technical abilities that use the full natural voice eventually transformed my flesh into something of the piano. else. Into air, into water, into stone, these Using his extraordinary piano abilities to generate are the three Manifestations of the Continuous over 19.5 notes per second in each hand, he is the Technique. From there grew the abilities to spread fastest pianist ever recorded. Since the early the chords over the piano, and even, much later on, 1970s he has produced an astonishing oeuvre of more insert melodic notes into the stream (very, very than 120 works, most for solo or double piano, and difficult and it took me twenty years before has blazed wholly new paths in contemporary music… I could do that or even imagine it being possible!). Continuous Music expands the sound of You are famous for developing the ground breaking the piano into many dimensions. There could be much ‘continuous music’ technique, can you explain what more said…but for another time... that actually means, and how the technique works for you? When watching you perform you seem to go into a trance like state and the audience normally join Oh boy, this is tough…Really tough…There are SO you, can you explain that state that you go into? MANY new things in this technique and its music, that one could write a small book on this question This is misleading in how it looks. I am extremely alone. But OK. Here goes with a SHORT answer aware of the piano and of where I am and where my attempt: The technique of Continuous Music grew hands are and where the audience is…ALL the time. out of the desire to create a continuous stream of What perhaps gives this “trance-like” appearance sound, using only ten fingers rather than a large is that I have to play with my eyes closed. If one group of players (as was the case then with Steve has their eyes open, one cannot react fast enough Reich and co, basically re-creating the nature of to what the piano and its sound is doing, and I “minimalism”) and using the same number of notes in have to react together with the extreme activity of each hand’s patterns created a rather “boring” (for the body and fingers, we are talking a thousandth me) effect. I eventually tried out doing different of a second, the closing of the eyes is actually note-groupings or note-patterns in each hand, and a necessity to play in the higher levels of the this created something that was alive and actually technique. As well, this trance-like appearance carried me on its waves of Meta-Rhythmic sound. comes from my need to use my entire body, all the That became and remains the base camp of this muscles, everywhere, from my feet on the ground up music, and using different patterns in each hand to my head, as I draw pressure and power from the center of the body, from the stomach. Consequently, pipeline or any new projects you are working on? there is little “action” going on and this creates I am planning to release my greatest work, the impression that I am “transported” but I am Windmills; with pure ANALOG recording techniques, not...I am there fully… even if sometimes, my no more digital stupidity...I cannot stand digital mind drifts off into seeing images of things and falsifications and approximations and translations, thoughts about the world, and things in my life. the entire digital world is a world of falseness It would be nice touch though, to have some way of and ENDLESS translations where you never ever can putting my “mind’s eye” up on a screen as I play, I get the ORIGINAL sound that was recorded...Like wish so much that other people could experience the reading a book in a new language every time you PHYSICAL joy of playing this music! open it! Yes, that is exactly what the digital Can you tell us how you actually compose and world is: a cloudy realm of approximations. So I construct your music for release when you work in plan to do only REAL analog HI FI recordings and this fluid continuous music format? albums. Problem is, this is much more expensive - a real problem until people finally learn all over This varies a lot from piece to piece, but most of again that to get something worth hearing in your my pieces are written down and firmly structured, ears there’s costs for studio hire, piano tuning, while a few will be created on the spot at the microphones and the piano itself. Add to that moment. The time it takes for creating a finished travel money, mastering, shipping and lacquering, work varies too, it took me four years to achieve and then making quality albums on quality plastic the final version of Windmills. I would say it without bubbles and bumps. That is my plan to takes an average of two years to reach the final do all of that just so that people can hear the point in a twenty minute piece. I usually work on piano music in a much better way. If only people about five pieces in the same period. Not the same could finally hear music on a REAL audio system. day, but in the same week perhaps. The hippies had no money, but everyone had a Stroud is the start of your UK tour and I hear will superb audio system; huge wooden speakers and also act as the debut of a new performance? cheap turntables, in fact, the whole thing used to cost around thirty pounds in second hand shops Yes, I will be presenting the Dreamers which most in today’s money, but now, you would need 15,000 audiences will have not heard before. This is a pounds for the same thing. If I had one wish for really large set of pieces that take us on a random the world, I would wish that everyone who wanted journey of life and sound. It is just pure music one could have a 1970’s simple sound system! “What and should offer a lot of “....all around the a wonderful world it would be....” (another great World, the same old thing” (from the film Nothing old song)… But Trouble - if anyone has ever seen it!) erasedtapes.com/artist/lubomyr-melnyk Your last release with Erased Tapes was 2018’s Fallen Trees - can you tell us what you have in the _HATIS N0IT

SUNDAY 29.09.19 19.15

INTERVIEW BY SEAN ROE / SOUND RECORDS

Japanese vocal performer hailing from distant Shiretoko in Hokkaido who now resides in London. Hatis Noit’s accomplished range is astonishingly self- taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists.

You grew up in Hokkaido, in the far north of Japan was so raw, strong, free and primal. Since then, my - I was curious if the musical singing tradition of idea of singing and voice music has been expanded the Ainu - Rekuhkara (singing tones into another and changed totally. person’s mouth ) was familiar to you or perhaps a Is there any way you like to define your music? You kind of inspiration to you? What are you memories seem to cross over into so many genres which makes of Hokkaido? Do you ever go back there? it all the more fascinating....Do you see yourself I’ve never tried Rekuhkara but I’ve heard about moving into a different direction in the future? that. When I lived in Shiretoko, Hokkaido, I had If there is some way to define my music, it would Ainu friends as well and could see their culture be music that I just want to listen to. My music is everywhere, such as their language, their old all about voice, the oldest and most primal human shrine in the village, their culture of hunting, instrument. I mix many vocal traditions from all the cuisine and how to use animal skin and bone over the world. I believe I can never be bored of after cooking etc. There is a lot of respect for this theme. their tradition. I love going back to Hokkaido. It always reminds me why it is important to live and It’s really interesting how hard it is to pinpoint make music. a specific language you’re using - do you speak a number of languages? Do you use invented words? What piece of music or musician most inspired you Is you concern more with the idea of language as to take up singing when you were younger? How were “sound” less intricately linked to “meaning”? (I you introduced to the music that influenced you really like your song titles - like mini tone poems most? in their own right) The biggest influence on my singing is of course Actually, my least favourite thing about making Meredith Monk. The first time I heard her music I music is using words and naming songs. Because I was a teenager and I thought; ‘Is this music?’ It always try to catch some feeling that hasn’t been translated into words yet. Like the temperature know, it’s crazy. They are always so sweet and and humidity of our mother’s skin and the feeling humorous and have great sarcasm. I love them. we felt in her arms when we were a baby. We can You appeared on Lybomyr Melnyk’s last album - did never find the right word to define that feeling, you enjoy it? I think. So sometimes I use a title which is completely different from what I imagined the song I enjoyed that so much. His way of facing music is about as I want to let the listener have space inspires me very much as a solo artist and an to imagine its meaning. That’s also the reason why improviser. He always purely commits himself to the I don’t have any lyrics. I use invented words, but moment on the stage. interestingly, sometimes people can hear or catch some meaning from it. I love those moments. It’s The acoustics in St Laurence Church are interesting like telepathy or sharing a collective unconscious. - do you tailor your performances to fit a space? What do you have planned for your concert in Your new EP also has a remix of Illogical Lullaby Stroud? by electronic duo Matmos, - how did they make contact and what was it like to work with them? My performance is half composed and half improvised Were you surprised by the result? to fit the space and accommodate an audience. I love communicating with them by energy and creating I was looking for someone to remix my song when something new. I am open for you and look forward I made that EP and sent an email to them as of to see your energy. Let’s create something special course, I am big fan of Matmos. When I received a together… reply from them, I even screamed! I was more than happy just for them to have heard my song! The hatisnoit.com vocal was mine but the sound was totally Matmos’ erasedtapes.com signature. After that we’ve met in US and Japan, they even helped me on my US tour as a driver. I _SEBASTIAN PLAN0

SUNDAY 29.09.19 18.00

INTERVIEW BY TOM BERRY / SOUND RECORDS

Sebastian Plano is an internationally acclaimed Argentinian composer, producer and musician, currently based in Berlin. This year saw the release of Plano’s most ambitious record of his career so far – Verve – released via Mercury KX, a new label set up by Universal’s Group…

What was it about the cello that particularly evening that led me to move to the city about seven drew you? months later.

My grandfather had a small cello that he kept In more recent years, you’ve had a much more for me inside a closet up until I was seven years holistic approach to music making and production old. I remember I was very curious about it, got -is this more satisfying for you than playing a my hands on it and started playing. That was the solo instrument? beginning of a musical journey. I could say so, recording different cello and piano You became a soloist very early in your life in lines and adding them together making an ensemble Argentina. Do you still feel as passionately about is a very gratifying approach. It’s basically like your music as you did then? doing chamber music with yourself, there is no tempo or quantization and no session players you Yes I do, it was such an amazing experience to play that you can’t afford! as a soloist with a symphonic orchestra behind, I remember, and I have the videos on VHS somewhere! You now get to travel the world making your music After I finished my studies it became clear to - are there particular places that have inspired me that I wanted to fully focus on writing music your work? rather than performing other composer’s works. I need to make music, and unquestionably many of I understand was an early inspiration? the places where I have been did inspire me in What did you take from his music? one way or another. I consider that music as any other form of art is intrinsically linked to the Vangelis opened up a new scope of sounds for me, subconscious. I like to not think or remember but it really drew my attention to rather just get lost in my intuition while creating at an early age. I stumbled upon his music as my new music... father would watch Cosmos by Carl Sagan in the living room. I was about six years old then and What do you think are the respective strengths and even thought I didn’t understand a single thing weaknesses of modern classical music? from the series, the experience of watching it was I feel it’s a very organic movement, coming fascinating. primarily from the need for expression, however, You have based yourself in Berlin, what inspiration at the same time is exactly that reason which do you take from this very creative city? perhaps makes it oversaturated in a way, referring specifically to having so many solo piano albums in A lot of inspiration actually. Berlin inspired me the genre. from the very first time I arrived in the city. I came to Berlin for the first time in December of For those who aren’t aware of your work, what can 2012, I flew from San Francisco to Berlin to do they expect from your performance at Hidden Notes? a sit-in mastering session of Impetus with Nils Sincerity. Frahm. Once the album was mastered I gave it a first listen while walking around a completely sebastianplano.com snowed and white Tiergarten at 2am (the biggest park in Berlin). It was a beautiful and inspiring mercurykx.com _CLAIRE M SINGER

SUNDAY 29.09.19 16.45

INTERVIEW BY SEAN ROE / SOUND RECORDS

Claire M Singer is a composer, Do you come from a musical family? When did you start playing music and what was your first producer and performer of instrument? acoustic and electronic music, My Great Grandma played the melodeon and piano film and installations. In recent and my Grandma took organ lessons. Through some recent family tree investigation I found out that years her work has focused on my Great Great Grandma was an organist at a small composing and performing a mix church in Aberdeenshire. I’m hoping I can record on that organ at some point, which would be really of organ, cello and electronics special. I started with the cello at the age of and her debut album Solas was seven and then continued on to piano at eleven. released on Touch in June 2016 I started playing organ when I joined the Union Chapel in 2012. I have been composing for organ followed by her second release since 2006 but the early pieces were written for Fairge in October 2017. another organist to play. Since I had keys to one of the most beautiful organs in the world (Father Henry Willis, 1877), I used to sit for hours on end For her performance at and experiment. Hidden Notes she will be joined You are a music director at the Union Chapel in London from where you organize the experimental by cellist Sandy Bartai from the organ festival; Organ Reframed. How did the BBC National Orchestra of Wales festival came about and what’s been your highlights there? and the instrumental rock group The idea of the festival has been a long time the Pirate Ship Quintet. coming since I wrote my first organ piece back in 2006 and wanted to share the secret of how amazing

Cont. the organ is - but it didn’t come into fruition the electric stops. The organ in St Laurence is until October 2016. The first three years of electric stop action so I need a lot of preparation my time as music director of the organ at Union time to make sure these sounds blend perfectly with Chapel was transitioning the organ from its full the instrument. restoration into developing a program of concerts You have released two albums, Solas and Fairge - and educational workshops around it. This three- can you tell us about these recordings? Are you year program was called the Organ Project, which working on anything new at the moment? was funded by the Heritage Lottery Fund along with the full restoration of the organ. The Project gave My first album Solas (2016) was an accumulation of me a chance to test the waters with different ideas 15 years of work. The organ material was all new, and develop a regular organ concert presence at the but one of the tracks is actually the first piece chapel of all different genres. After completion I wrote in the studio at Goldsmiths. The second in 2016, I felt ready to finally consolidate these release Fairge (2017) was a commission from Oude ideas into a festival and organ reframed was born. Kerk, a church and gallery space in Amsterdam. What was particularly interesting about this The organ has one of the largest repertoires and commission was that the performance would take has a strong Classical concert organ scene and that place at the same time as Dutch artist Marinus is equally important. In my opinion, we should Boezem’s exhibition of new site-specific works. embrace its historic repertoire but also help it The exhibition included a multi-speaker sound to grow. There aren’t many contemporary composers installation, which featured field recordings writing for the organ as access can be tricky; most of Boezem’s 1987 work De Groene Kathedraal (The organs are in churches so you need to know someone Green Cathedral) and as part of the brief I was with a key! In order to really explore and write asked to incorporate his installation into my live innovative music you need time with the instrument. performance. After the concert, I decided I wanted The main aim of organ reframed is to commission to release it as a standalone piece without the artists and composers to write new works; to installation. It’s exciting when you’re working to allow them time on the organ to develop ideas and a spec as you’re forced into thinking differently. ultimately help develop the organ repertoire and show that this is an instrument that is very much I’m currently working on my new album which I’m capable of being at the forefront of new music hoping to release later next year but in October today. To have the opportunity to build on the my vinyl Trian comes out on Touch which features organ’s rich history and bring it to the attention all the tracks from Solas apart from The Molendinar of a new generation of artists feels hugely (It’s too long for vinyl) and Fairge. important. clairemsinger.com Each organ reframed has been hugely special and unique it’s hard to select specific pieces. Two touch33.net commissions I thought I would only ever be able to dream of was Éliane Radigue who wrote her very first organ work for organ reframed in 2018 and commissioning Low in 2017, both were super spine tingling epic!

For your performance in Stroud I understand you’ll be using the organ in St Laurence - Do you know much about the organ? Will you get a chance to test it before the show?

I haven’t had a chance to visit yet but I will be making several trips to practice prior to the concert. Each organ is different with their own set of stops producing different palettes of sound, they vary in size and the space is very much a part of the instrument - you are effectively also playing the room. This is really exciting as you can experiment with the acoustics and of course each time you play on a different organ you have to learn that instrument and space, making each performance very site specific. I experiment a lot with the mechanical stop action, which lets you precisely control how much wind enters each pipe. This requires a lot of practice and exploration to learn each incremental sound the organ can make. As every organ is unique, the piece will differ on other organs but that’s what makes writing and working with the organ so fascinating.

However it gets really tricky because there are two types of organ: electric stop organ (where you can’t play with the wind) and mechanical, and I need mechanical to produce everything live. When the organ is electric stop action I have to approach my set in a different way by using pre-recorded wind sounds combining them with _SPINDLE ENSEMBLE

SUNDAY 29.09.19 15.30

INTERVIEW BY SEAN ROE / SOUND RECORDS

Spindle Ensemble are a contemporary chamber quartet from Bristol’s music collective Bloom. They perform original compositions by Daniel Inzani that hover cinematically somewhere between jazz, folk and classical idioms, taking inspiration from artists such as Moondog, Maurice Ravel and Mulatu Astatke.

Daniel, how did you come together and what do the Not really, if anything being labelled various members of the band bring to the project? ‘contemporary classical’ can be misleading as the majority of that genre is either more electronic Harriet Riley (marimba/vibraphone) and I were or experimenting more with ‘sound composition’. We already playing together in Tezeta which is an have started using the term ‘Neo-Impressionist’ as eight piece band I lead playing music inspired we’re inspired by composers such as Ravel, Debussy by Ethiopian Jazz. I wanted to be writing chamber and Satie from the avant-garde Impressionist era music and needed a new set of musicians and in Paris. But we’re also inspired by all our other instruments to work with. I saw Caelia Lunniss musical adventures along the way which incorporate playing violin with Edward Penfold in 2016. We countless things which aren’t classical at all. soon started rehearsing and initially performing as a trio before being recommended cellist Jo You’ve recently released your first album Bea Silverston later that year who completed the - could you say something about the recording quartet. I feel very lucky to be working with them, process? Are your live performances of your songs they are all such tasteful musicians, accomplished very different from the recorded versions? on their instruments and we all get on very well. Our recordings simply capture a live performance of We have formed a special working relationship as the music we play acoustically, there is basically an ensemble where we trust and respect each other no difference! We sound best when we are in an musically and as close friends. So we all simply appropriate space for chamber music, so we’re bring ourselves to the project, which is exactly really looking forward to playing St Laurence what is needed to keep things fresh and balanced. Church. We recorded Bea at a converted chapel named Do you write songs collectively? How much ‘Grand Chapel studios’ after just two concerts improvisation is there? as a quartet and we’re now recording ourselves in churches with my mobile studio setup. Normally pieces are based around solo piano things I have been working on, some sections are scored How do you see your work evolving in the future? and nearly finished whilst other parts are ideas Any interesting projects/collaborations/recordings for us to work on together. This works well as it coming up? allows everyone to be creative and we can arrange There are some music videos on the way including an the whole piece collectively in an organic way. amazing film studio video of our next single Chase Some sections are improvised or have come out of made by director Fred Reed, a live collaboration improvising together, especially the material from with Toddler and an animation by Marie Lechevallier our debut album ‘Bea’. As we have no set rhythm for an orchestral recording we made with guests section we often share that responsibility and have from the Bloom Collective. Marie is also going to to be inventive. We often get a bit mathematical start doing live shows with us as a visual artist, and come up with weird interweaving polyrhythmic her animations are such a wonderful match for our parts or washes with unusual harmony sets. It also music so that’s very exciting. We’re currently allows us to stretch and pull phrases around so working on material for our second album, sometimes the music has room to breathe. Consequently we also recording and performing with an extended line share the melodic, textural and accompanying roles up. So I’m hoping next year we’ll have an extended which means we can explore the different sounds we ensemble for album recordings and concerts as well are able to get out of each instrument. as recording one off collaborations with other Is there any particular way that you’ve heard musicians and songwriters. your work defined that you thought was a true or spindleensemble.com accurate reflection of your sound? facebook.com/bloommusiccollective _SP0TIFY PLAYLIST

SEARCH FOR “HIDDEN NOTES” ON YOUR SP0TIFY __

1. LUB0MYR MELNYK: Son of Parasol (Fallen Trees, Erased Tapes)

2. MANU DELAG0: The Silent Flight of the Owl _DAVE H0WELL­ — DJ SET (Circadian, One Little Indian)

3. DANIEL PI0R0 FT. VALGEIR SUNDAY 29.09.19 ---- SIGURDSS0N: Dust i. Cosmos Working as A&R at influential UK independent (Dust, Bedroom Community) FatCat Records since the very start of the label back in 1997, Dave Howell has been responsible 4. HATIS N0IT: for signing and developing a large number of Illogical Lullaby artists including the likes of , (Illogical Dance, Erased Tapes) Vashti Bunyan, Nina Nastasia, and U.S. Girls, as well as founding and running 3 imprint labels - 130701, Splinter Series and the legendary, long- 5. EMILY HALL: running Split Series. Mantra In recent years, Howell has concentrated his (Folie a Deux, Bedroom Community) efforts almost exclusively on the 130701 imprint. Set up in 2001, the trailblazing imprint was 6. SEBASTIAN PLAN0: releasing the work of adventurous contemporary Verve pianists / composers at a time before there was (Verve, Mercury KX) any apparent scene or market for such music, and was described by The Vinyl Factory as having “played a peerless role in redefining the modern 7. EMILIE LEVIENAISE- classical scene.” 130701 has been a home to FARR0UCH: artists such as , Johann Johannsson, Scale of Volatility Hauschka, Dustin O’Halloran and Set Fire to (Like Water Through The Sand, Flames. A new crop of artists, including Emilie 130701) Levienaise-Farrouch, Ian William Craig, Resina, Shida Shahabi and Maarja Nuut & Ruum have injected fresh blood and further expanded the 8. CLAIRE M SINGER: scope of the label. Wrangham Howell is currently based in Portishead and has (Solas, Touch) recently released work as a sound artist for the Heritage Lottery-funded project, A Forgotten 9. GR0UP LISTENING: Landscape - publishing a series of soundscapes Snow Canon based around his own field recordings and oral (Clarinet & Piano: Selected Works history recordings captured in the Lower Severn Vol.1, Prah) Vale area.

130701.com 10. SPINDLE ENSEMBLE: fat-cat.co.uk Bea (Bea, Adderwell Music) INTR0DUCTI0N TO STR0UD

BY AMY FLEMING / THE GUARDIAN

and public monuments to Charles Dickens, George Orwell and Britain’s female wartime steel workers have been rendered in bronze. Most people fall in love with Stroud before At the station you will pass the Brunel Goods Shed, which has been lovingly re-purposed by SVA (Stroud they even pull into the Valleys Artspace) as one of the most charming arts venues. Everyone from The Comet Is Coming to This station. The train from is the Kit have performed at this sister venue to the East snakes through SVA’s gallery and kitchen also in town. The Prince Albert is another Stroud musical hub, recently name the Golden Valley, with checked in the Guardian as one of the UK’s best local music venues. The town’s beautiful churches stone cottages perched (Rodborough and St Laurence’s) double as music halls, too, as does the new canal-side Stroud up on the vivid green Brewery building. Art gets into every nook and hillsides above. cranny here. The tracks follow the Stroud sits where five valleys meet, spreading out like a star between the lush rolling hills, magical mossy furrows traditionally known as wolds. You could say Stroud puts the “wolds” into “Cotswolds” but its of the old canal and the industrial heritage and creative community save river Frome which run it from tweeness and existing merely as a tourist attraction. Eavesdrop at a local cafe and you’ll alongside each other. hear one table enthusing about an upcoming poetry event, another plotting the line-ups for the You might spot an otter various stages at August’s Fringe Festival, and a gaggle of Extinction Rebellion founders (the or a kingfisher or a deer movement was born in Stroud) regrouping after a as well as the less shy successful spate of peaceful protests. sheep, cows and horses. The breath-taking Slad Valley is often referred to as “Laurie Lee country”, because it was the You will see stone mill writer’s home, and the setting for his famous coming-of-age memoir Cider with Rosie. Lee’s buildings that long ago portrait proudly hangs in the cosy, untouched wove red woollen military Woolpack pub in Slad, where after dinner service, spontaneous rowdy sing-alongs often erupt around jackets. And you will the piano. The poets Michael and Frances Horovitz moved to the Valley in the early 1970s, bringing pass Pangolin Editions celebrated beat poets including the likes of Allen Ginsberg to perform in town. Their son, the poet and Gallery - Europe’s Adam Horovitz, still resides in Slad and remembers biggest sculpture foundry his parents and Laurie Lee drinking together when he was little. The truth is, with STROUD’S where works by Eduardo disproportionate amount of resident artists, musicians, writers and creative thinkers, you never Paulozzi, Sarah Lucas, know who you’ll spot at a gig or the farmers market Damien Hirst (who also or INDEED in the pub. has his own production facility across town) and Lynn Chadwick, _FOOD AND DRINKS

FOOD SERVED FROM 17.00 ON SATURDAY & FROM 15.45 ON SUNDAY

_STROUD BREWERY _CAFETERIA VAN

SAT & SUN 14.45 - closed during performances! SAT 17.00 SUN 15.45

Stroud Brewery began in 2006, renting a small unit in Great coffee, organic tea with unbleached Thrupp, on the edge of Stroud with a vision to brew bags, eco friendly, fully compostable delicious beer with integrity - a thriving enterprise cups and lids, free-range milk from happy that would support the community, the environment and cows and a selection of tasty treats other local businesses. They now produce a broad range of all lovingly handmade . . . Naturally organic beers in cask, keg, bottles and cans, sold across delicious all served out of a 1966 Citroen the UK and with growing interest from overseas. HY Van. Their beers are brewed to organic standards and are thecafeteria-van.co.uk certified by the Soil Association. These standards support their ambition to produce the highest quality beers with care for people and planet. They’ll be coming over from their canal-side brewery to install a pop-up bar where you will be able to purchase their award winning beers (as well as wine, soft drinks and a few surprises!) stroudbrewery.co.uk

_JAMAICA INN KITCHEN _SALT BAKEHOUSE _LHAMO’S MOMOS

SAT 17.00 SUN 15.45 SAT 17.00 SUN 15.45 SAT 17.00 SUN 15.45

Stroud based pop up food stall Winner of numerous awards SALT A brand new Stroud based food by chef Derrick McLean bringing Bakehouse is an artisan bakery pop-up serving authentic Tibetan the taste of the Caribbean providing quality baked stuff, dumplings (Momos!) – vegan, to the Cotswolds. Patties, locally sourced /foraged for veggie and meat... plantain, dumplings, goat curry… local people. At HN they’ll jamaica-inn-kitchen.co.uk be serving an abundance of delicious wood fired pizzas… saltbakehouse.co.uk _THANKS

YOU ALL KNOW WHO YOUR ARE. WE LOVE YOU.

Huge thanks to: Tom Berry and Sean Roe (Sound Records), Ben Corrigan (Excuse the Mess), Penny de Lotz (Lansdown Hall), Amy Fleming, Paul Freedman (Darbyshire), Jennifer Greenshields (Stroud Festival), Harley Grellier, Emily Hall, Paul Harper, Jo Hatt (QU Junktions), Dave Howell (130701), Rev. Simon Howell and Mike Lambert (St Laurence Church), Liz Izzard, Greg Pilley and George Withington (Stroud Brewery), Tom Jacob, Jon Kelly (The Piano Shop Bath), Craig Lewis (Moving Light), Derrick McLean (Jamaica Inn Kitchen), Jack Page and Stephen Hogg (d&b Audiotechnik), Tom Percival, Angie Rance (United Talent Agency), Robert Raths (Erased Tapes), Dan Rawlings, Dom Salter (Salt Bakehouse), James Styler, Christopher Taylor (Audiophiles Productions), Sam Tucker (Yuppies Music), Mat Wandless (DPA Microphones), Emily Wood and all the performers at Hidden Notes vol.1…

_SP0NS0RED BY

darbyshire.uk.com dbaudio.com stroudfestival.org

dpamicrophones.com thepianoshopbath.co.uk HIDDEN N0TES Vol.1 28—29.09.19

END