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4–6April 2014
Glasgow
Counterflows Festival 2014
4–6April 2014
Glasgow, various venues
www.counterflows.com
produced byAC Projects
Counterflows Festival 2014
3
Alasdair Campbell
With the third Counterflows we hope to
bring a new resonance to the idea that the
music that happens over the weekend is
vital, has an energy that can be enjoyed by
just being amongst it as it filters from the
artists and their endeavours to create that
one-off experience.
Thereismuchtoenjoy: Newcommissions
by CaraTolmie, Luke Fowler, MikaVainio
and Lee Patterson. Ela Orleans creates
something new from the flickering
frames of Maja Borg and Ela’s songs
that seep from her delicate heart. There
will be lots of new projects but really it
will all be new, well in the sense that all
live music is new… that moment won’t
happen again the same.We have gathered
more artists together this year than we
ever have, coming from all directions,
battling those sonic demons that forever
haunt the beauty of music. It is also great
to be working with Cry Parrot again who
continue to be an inspiration across the
Scottish scene.
2014 sees Counterflows introduce the
idea of a featured artist to the festival.This
is not a new idea but we feel that there is a
need to celebrate the work of some artists
who have dedicated and committed their
life’s work to the creative pursuit of an
artistic goal that they may or may not
have yet attained (is it ever attainable?).
Our choice will of course be arbitrary
and subjective but what else can it be, it
is music after all.
“In music, when you do something new,
something original, you’re an amateur.Your
imitators - these are the professionals.”
Morton Feldman
4
5
A Note on Joe McPhee – FeaturedArtist: PO Music Revisted
Joe Mcphee is a musician whose work reaches out across the last four decades of music
making and who brings an unquenchable desire to express this experience in every note
that he creates. He is totally apt to be Counterflows’ first featured artist, as is stated in
the insurmountable tome‘The Penguin GuideTo Jazz Recordings’ “McPhee is hard to
pin down critically because he belongs to no identifiable generic niche”. Counterflows
is equally about openness. I first encountered Joe’s music on his 1990‘Linear B’ album,
part of his PO Music explorations.What struck me as exciting about Joe’s music was
the breadth of influence expressed. The line-up alone was new and exciting to me.
Here was a US musician steeped in the civil rights movement back home working with
a collective of European free improv inventors. From his free funk explorations on
recently re-released NationTime to one of my most enduring memories of Joe live, in
duet with Peter Brotzmann at one of the Tentet’s residency’s at Café Oto, Joe’s spirit
beams out across the banality of sound that sometimes goes by the name music. Of
course Joe is now performing in a myriad of contexts and is as prolific as ever with
Decoy or in duet with Evan Parker or bursting the sonic valves with The Thing. It is
great to see the re-releasing of some of his back catalogue. A particular favourite of
mine is the CD of solo home recordings‘Sound on Sound’.Joe will be performing each
day at the festival in very different contexts.
6
Joe McPhee Counterflows
Interview by Stewart Smith
‘What time is it?’ yells Joe McPhee at the
beginning of his classic 1970 recording
‘Nation Time’.This rousing freedom cry
heralds a glorious set of fire music and
simmering free-funk that has lost none of
its ecstatic power over the years. Recently
reissued as a boxset featuring the full
sessions and live recordings, ‘Nation
Time’ is a free-jazz classic. As McPhee’s
friend and collaborator Mats Gustafsson
says, it’s “a perfect introduction to crazy
music, and it’s deep!” The depth and
invention of McPhee’s music is suggested
by the vast range of musicians he’s worked
with, from jazz and improv titans Peter
Brötzmann and Evan Parker, to avant-
garde composer Pauline Oliveros and
LA underground weirdos Smegma.
Now 74, McPhee is as adventurous as
ever, blowing his saxophone and pocket
trumpet in his groupsTrio X and Survival
Unit, and playing with radical younger
musicians like drummer Chris Corsano
and Scandinavian jazz-punks The Thing.
Given his energy and openness to new
experiences, Joe McPhee is the perfect
choice for Counterflows’ first featured
artist.
I wanted to start by asking about your
background and influences. Your family are
from the Bahamas: did you grow up with
Caribbean music?
Yes, Caribbean music was a big influence
growing up but my family exposed me
to all kinds of music. My dad taught me
to play trumpet. My mom played violin
and her sister played piano and organ. I
learned about jazz with friends in the late
‘50s.
You attended the funeral of John Coltrane:this
must have had a big impact on you?
Mr. Coltrane’s music had a tremendous
impact on me from the first time I heard
him. Miles Davis was my great hero and
when Kind Of Blue hit with Coltrane, I
was in heaven.The next big revelation for
me was ‘Chasin’The Trane’ [seminal free
jazz piece from Coltrane’s 1962 album
Live At The Village Vanguard]. That blew
the doors open. Of course hearing Albert
Ayler’s and Ornette Coleman’s bands at
the funeral were driving forces which
helped lead me to where I am today.
You’re a great multi-instrumentalist, playing
saxophone, pocket trumpet, valve trombone
and electronics. What attracts you to these
particular instruments?
The trumpet was my first instrument
which came from my dad as I mentioned.
I was familiar with Don Cherry’s music
through Ornette but when I saw him
playing with Sonny Rollins at Birdland
in 1963, I had to have a pocket trumpet.
The trombone I play came from my friend
CliffordThornton, it was his instrument.
The electronic experimentation and
other “peculiar” little things are because
I’m curious about possibility.
Could you explain your improvisation concept
of PO Music?
7
PO Music is in simplest terms about
possibility. It is derived from Dr. Edward
de Bono’s theory of lateral thinking which
allows one to discover new ideas while
in the process of exploring old ones. For
example in my version of [Sonny Rollins’]
‘Oleo’onhatHutrecords,weusethetune
as source material, it is out of the bebop
tradition. I’m not a bebop player, that is
another life. In our exploration, we travel
a different road,go in a different direction
but in the process make discoveries along
the way.
To what extent do other artforms inform your
music?
I don’t paint but I’m interested in painting
and I have great friends who are painters.
It is yet again for me, about possibility,
process, form and colours. Sculpture
would fit in there as well. All of these
disciplines deal with time and space in
what might be a metaphor for life.
Nation Time has recently been reissued in an
expanded edition. Perhaps you could tell us
about the genesis of the album and how you
feel about it now?
Nation Time was recorded in concert
in 1970 while I was teaching a course
at Vassar College called Revolution in
Sound.It was at the height of theAmerican
rights movement and was inspired by and
a tribute toAmiri Baraka.Today I think of
it more from a human rights perspective,
encompassing more than race. This is an
issue that I am constantly interested in
revisiting. It is a work in progress which
will never be finished.
You recently performed Nation Time with The
Thing in NewYork.What was it like revisiting
the material?
I love The Thing and it was an honour to
have the opportunity to revisit Nation
Time with them.
In the 1970s you developed strong links with
the European scene,which continue to this day.
Which relationships have been particularly
important to your music?
Every collaboration I’ve had is important
to me. I don’t have a ranking system.
Do you think there’s a difference between the
US and European scenes, or do you feel you
have a common language as creative musicians?
We’re all spinning around on the same
planet. Should we ever have the chance
to explore other worlds or dimensions,
perhaps we might discover different
scenes. Otherwise these kinds of narrow
differences only divide. We have a
common language.
You played in Glasgow in 2006 at the
Subcurrents festival.Was it interesting to play
alongside noise acts likeWolf Eyes?
Yes, I was there with Chris Corsano and I
very much enjoyed the experience. I had
a chance to actually sit in with the band
Smega,which was fantastic.I learned a lot
listening toWolf Eyes.
You’ve explored some beautiful, abstract
territory with Chris Corsano. Do you have a
concept or certain aims when you play together,
or is it more spontaneous?
Chris is very inspirational and a joy to
perform with.We simply do what we do
and listen rather than follow techniques.
As Cecil Taylor titled on of his solo
8
recordings, IT IS IN THE BREWING
LUMINOUS.
I want to ask a few questions related to your
Counterflows collaborators. You’ve worked
with several of them before, but in different
configurations.Are you looking forward to it?
This is the easiest question.YES!
Firstly, Mats Gustafsson.You’ve played together
many times.How did you first meet?
I met Mats in Chicago at the formation of
the Chicago Tentet in 1997. Immediately
he invited me to join up with The Thing
and it’s been ongoing since then.
I love the album of garage punk covers you did
with The Thing and Cato Salsa Experience.
Were you familiar with the material and did
you approach it differently to jazz standards,
say?
I was not at all familiar with the material,
I learned to fly like a bird falling out of a
nest. But I had a long history of playing
in a soul/rock/jazz band called Ira And
The Soul Project from the late ‘60s to
mid ‘70s. I personally don’t change my
approach to the material.
You play with the great British rhythm section
of Steve Noble and John Edwards, alongside
Alexander Hawkins on Hammond organ, in
Decoy.
I love playing with Decoy. I’ve long
been a fan of the Hammond B-3, we
had one with The Soul Project, so it
was like coming home for me. What a
wonderful, powerful instrument. I’m a
big fan of Jimmy Smith and LarryYoung
in particular and Alexander Hawkins is
carving his own way out of that lineage.
There’s a further connection there, in that
the cover art for the fantastic Decoy album,
Spontaneous Combustion, was by Oliver Pitt,
who plays with Glasgow-based mutant disco
band Golden Teacher. I’m looking forward to
seeing you play with them, but it might seem
like an unusual combination to some.
I will go where the wild goose goes!
Finally, do you have any messages for
the Counterflows audience?
“Even a man who is pure in heart and
says his prayers by night, may become a
wolf when the wolfbane blooms ... and
the autumn moon is bright.” By Maureen
Gilmer, a horticulturist.
This famous poem from the 1941 classic
film The Wolfman speaks of plants that
signal a time of magical transformation.
Those unfortunates attacked by a
werewolf change under the light of the
full moon into the very beast that bit
them.
Stewart Smith is a freelance music and arts
writer forThe List andThe Quietus
9
PARTY LIGHTS
We will make music
In the forests
in the cool green light of evening
In a ritual
Long forgotten
on a Street called music row
Those of us who still remember
before sampling was the fashion
Know our music
Comes from people
Not just from tape machines
We know
Our songs are meant for singing
Dancing
Celebrating life
And when the studios are silent
Vacant relics of the past
WEWILL STILL BE HERE
By Joe McPhee
BETWEEN
Music is a love beast
A sky dragon
A snake
A humming bird
A crocodile
If you put
Your ear close
You can hear
Something
By Joe McPhee
10
Ela Orleans
AiAso
The Space Lady
Fri 4 April
Garnethill Multi-Cultural Centre
19:00 (Doors 18:45)
£10
This year’s festival kicks off with an amaz-
ing bill of brilliantly ethereal pop.AiAso’s
2007 release ‘Chamomile Pool’ is a mas-
terpiece of gentle psychedelic pleasure
and intensity. It is great to have her at
Counterflows and in Scotland for the first
time with her new material. Ela Orleans
is one of the most exciting musicians
and songwriters around at the moment
and for Counterflows she has teamed up
with the exquisite film maker Maja Borg
to bring a small taste of the beginnings
of their collaboration to the festival.The
Space Lady’s story is a remarkable tale of
commitment to doing your own thing.
We are really pleased that her haunt-
ing music has resurfaced and that she is
again performing. And to have her open
Counterflows is absolutely unmissable…
also check out Sunday in Queens Park.
Programme
by Ela Orleans
AiAso
Space Lady
11
Aki Onda & Akio Suzuki
Fri 4April
Fleming House Car Park
21:25 (Doors 21:00)
£6
Across the road from Garnethill, this
great space is a very special addition to
Counterflows and is an ideal location
to see these two masters of sound. Akio
Suzuki is a legendary figure of the Japanese
underground arts scene. His art explores
the most intricate relationships between
space, objects, listening and thought. His
self-made instruments are finely crafted
wells of beauty and bewilderment. Aki
Onda is the younger generations’ explor-
er in cassette sound and manipulation of
performance.This performance will be a
great chance to savour this music in an in-
triguing space.
Akio Suzuki
12
Luke Fowler
MikaVainio
Lee Patterson
Fri 4 April
CCA 5Theatre
22:40–23:30 (Doors 22:15)
£6
This is a really exciting addition to
Counterflows’ commissions. Luke, Mika
and Lee have spent two days working
together at CCA on this new piece es-
pecially put together for Counterflows.
After a conversation with Luke about
people he would like to work with to
explore his commitment to analogue
synth sounds and also the relationship be-
tween found sound and electrically gen-
erated noise he, without hesitation, sug-
gested Mika and Lee.
©JoséphineMichel
Lee Patterson
MikaVainio
13
COUNTErFLOWS’
LAte NigHt experieNCe
co-produced with Saramago Café Bar
Joe McPhee
Whilst
DJs General Ludd
Fri 4April
CCA: Saramago café
23:30–03:00 (Doors 23:00)
FREE
Counterflows’ late night events are be-
coming a bit notorious. Last year Ghana
Soundz blasted their rare beats across
Stereo’s bow.This year working together
with Saramago Café Bar this one will go
even further in pushing the barriers aside.
With festival featured artist Joe McPhee
opening the event with a short solo set,
new blood Whilst taking us way beyond
dance in their first Glasgow outing and
Djs General Ludd easing us through the
evening with music from the edge of dark-
ness... ensuring if need be that Glasgow
knows that Counterflows has started!
COUNTErFLOWS’FILM SCrEENING
Tropicalia
by Marcelo Machado
Sat 5April
CCA 4 Cinema
12.00–13.30 (Doors 11:45)
£3
Counterflows’ film screenings explore
the work of artists who cross boundaries
and connect and engage culturally across
communities using music as a force to de-
velop new thinking and enhance society.
This wonderful film may seem an odd
choice but actually it reveals, through
the evocation of an exhilarating period in
Brazil’s cultural development, how artists
can influence the political framework of
the society they find themselves a part of.
Gilberto Gil and CaetanoVeloso were and
are massive stars of Brazilian music but in
1968 were imprisoned for their views.
With complete artistic integrity they
grappled with pop music and dictatorship
and what the responsible response of the
artist can be.
14
Counterflows’ residenCy
Peter Dowling
Rob Kennedy
& Karena Nomi
recipe for feedback (not Krakatoa)
Mon 31 Mar–Sat 5 Apr
CCA Creative Lab
daily,we will re-construct the means to greatly
amplify the smallest of sounds.
Part of Counterflows’ ambition is to cre-
ate opportunities for artists from different
disciplines to work together giving them
space and time to explore their different
methods of creation. Co-produced with
Suzy Glass, the second Counterflows’
Residency brings together three Glasgow
based artists for a week of investigation
and creativity.
Check Counterflows’ website for updates
and information on their progress.
Joe McPhee Interview
by Brian Morton
Sat 5 April
CCA 4 Cinema
14.00–15.00 (Doors 13:45)
FREE
It is totally fitting that Joe McPhee is
Counterflows’ first featured artist, not
only is he a great artist, he also encom-
passes the very ethos of Counterflows,
exploring through his work a cultural
openness to progression and development
that allows for a great empathic humanity
to shine through in all that he is involved
with. In conversation with our very own
polymath Brian Morton the talk will look
at Joe’s early work and engagement with
the civil rights movement, through his
involvement with the European improv
scene up to the present day with Joe’s
work with Decoy, Brötzmann, Mats Gus-
tafsson andTheThing.
15
CaraTolmie & PaulAbbott
Sat 5April
CCA 5Theatre
18:00 (Doors 17:45)
£6
A departure note:Acting and the
architect. Dark and warm storms stealing
constructions from upwards whilst
digging, unseen and then guts inverted:
slippy/risks, limp/augmentation.
Lengths of plastics, wood, alloys, a
transducer, speakings… Setting ups and
runnings. Strike and the getting outs.
On hands and knees, raking around raw
feels against taxoclumps, compounds,
commodities.A blue draped puddle
turns green in torid corners.They stand
beside an artificial balancing of attentions
err artificial distractions apparently from
within and outside the building. Learning
(for a friend): yes to saying.
A theatre! driven to tear space, from
sounds, words, bodies, looks
16
John Butcher
& Mark Sanders:Tarab Cuts
GhedaliaTazartes
& Maya Dunietz
Will Guthrie
& David Maranha
Sat 5 April
CCA 5Theatre
19:30–22.25 (Doors 19:15)
£10
The CCA Saturday evening continues
with three very different duos. Counter-
flows explores the synergies and nuances
of the music landscape of today that is
being created by musicians across the
world who are looking at new models of
expression.These three performances en-
capsulate and celebrate the diversity and
similarities in today’s music.
Australian Guthrie and Portuguese
Maranha are both now working in France.
They bring a European sensibility to their
music making. Guthrie’s complete musi-
cality around the drum-kit is fearless and
accompanied by Maranha’s physical musi-
cal presence this should be a beautiful en-
counter at Counterflows.
It is great to be working again with leg-
endary musical autodidact Ghédalia
Tazartès alongside Israeli pianist, com-
poser and improviser Maya Dunietz, to
collaborate on a new performance that
includes two live voices, 12 tiny speakers
and electronic soundtrack. If you missed
AC Projects’ event with Ghedalia and his
soundtrack to the wondrous film ‘Haxan’
in 2011 then now is your chance to catch
him again.This performance will be mes-
merising.
©BryonyMcIntyre
John Butcher
Maya Dunietz
17
“In Arab culture, the merger between
music and emotional transformation is
epitomized by the concept of tarab, which
may not have an exact equivalent inWest-
ern languages”
John Butcher and Mark Sanders collabo-
rate on an extended version of John’s
Tarab Cuts project. John Butcher is one
of the most prolific and versatile per-
formers and creators in the scene today.
His commitment to the development of
the saxophone has genuinely extended
the instruments voicings and range. This
new project sees him exploring further
the methods of improvisation in relation
to ancient compositional and devotional
qualities found in Sufi music and Tarab.
Counterflows is excited to be working
with Out OfThe Machine who have now
commissioned Butcher to expand the
work into a full concert presentation.
Will Guthrie
David Maranah
18
CrY pArrot’s LAte NigHt
COUNTErFLOWS:exteNded pLAY
Heatsick - feat. special guest
collaborators
inc. Joe McPhee
& GoldenTeacher
Sat 5 April
Glasgow School ofArtVictoria Bar
22:30
£10
Berlin-based experimental dance act
Heatsick brings his multi-hour, multi-
discipline Extended Play... experience
to Glasgow for the first time. For this spe-
cial commission by Cry Parrot/Counter-
flows he will be joined on stage at various
points by a range of guest musicians, in-
cluding Counterflow’s artist in residence
Joe McPhee and Glasgow-based psyche-
delic afro dance punks Golden Teacher,
creating a one-off improvised perfor-
mance for the dancefloor.
“Extended Play is a long form event en-
compassing performance and installation
simultaneously. Experiments with tem-
perature settings, the olfactory and other
sensual stimuli unlock alongside visual
cues for the participant to interact and re-
cognize in real time meditation as cyber-
netic flow” - StevenWarwick (Heatsick)
Heatstick
19
Glad Café FamilyWorkshop
with Sarah Kenchington
Sun 6April
Glad Cafe
11:00
FREE
Counterflows’ Pimp my Kazoo Work-
shop.This family workshop will be based
on the voice.We will be exploring ways of
making low tech voice enhancing devises
from everyday materials. We will start
with a simple homemade kazoo and end
with the fanciest kazoo ever imagined.All
sound makers welcome with no prefer-
ence for tuneful voices.
20
The Space Lady in Queen’s Park
Sun 6April
Queen’s Park Bandstand Arena
13:30
FREE
Counterflows is taking The Space Lady
out into the park for a very special perfor-
mance of her electro space songs. Coun-
terflows is excited to haveThe Space Lady
back in the format she started perform-
ing: outside busking for the people. See
website for directions.
21
Sonic Bothy
Sun 6April
CCA 4 Cinema
15:00
FREE
Great to have Sonic Bothy at Counter-
flows.AC Projects worked with them last
at the amazing Otoasobi Project last Sep-
tember where they were integral to the
success of the event. Their commitment
to new music and creativity is a lesson
in integrity.They have created new work
especially for this performance.
Sonic Bothy
22
Joe McPheeTrio
with Steve Noble
& John Edwards
PO Music:
Joe McPhee, John Edwards,
Steve Noble,
Mats Gustafsson
& Peter Nicholson
Rodelius & Schneider
The Songs & Music of Emahoy
Maryam Guebrou
Sun 6 April
Glad Café
18:15 (Doors 18:00)
£12
We bring the third series of Counterflows
to a close with a barnstorm of a finish.
Three very different performances that
bring together the beauty,tension,exhila-
ration and sheer energy of modern music. The evening begins with a journey into
the ecstatically beautiful music of Emahoy
Maryam Gerbou performed by the bril-
liant Maya Dunietz. Joachim Roedelius
and Stefan Schneider follow with their
sublime piano/electro-acoustic playful
and deceptively complex duo. ‘Tiden’
their last release together was one of
Counterflows’ 2013 favourites.
Emahoy Maryam Guebrou
23
Mats Gustafsson
Rodelius & Schneider
©CatoLein
©PeterStumpf
We bring the festival to a close fittingly
with a celebration of our featured artist
Joe McPhee. And we have brought to-
gether a very special line-up to pay trib-
ute to Joe’s immense contribution to the
music. Joe is one of the masters, an in-
comparable instrumentalist, composer
and collaborator, he is also a teacher and
mentor of great integrity. Rhythm section
and much more, Steve Noble and John
Edwards form the backbone of the line-
up with Mats Gustaffson who is flying in
specially from the Ukraine to be a part of
the evening.This will be a night of sheer
bliss!
24
25
I forage beneath the weather-vane cupping drops of
water as they gather dripping from leaves and other
growing things.
When outstretched it was a terrible length and
could not perceivably be kept. It was supposed
to be a handy size.Then again, a life could not
be allowed to be laid out in its entirety and be
expected to be simply shoved in storage.
Birds squawked into the late evening. Hoarse
sounds and slightly unnatural as if attempting to
speak under the influence.They would not stop.
Until eventually a shot rang out.
The infernal knowledge of everything. Keeping
still. Noticing the crimson rose bloom.A hand
tenderly touches another and parts.
What is wrong with her eyes? She drinks and drinks
to stupefy her reeling mind.The merganser’s crest
excites in the breeze but she will not recognise
the sign. Her courtship is based on forgiving. She
cannot forgive the rose its fallen petals.
The contents of the house are all that are left.
Things hold on.Words fall gently into place but
they do not last and change their meaning.A
meaning belonging to words is ridiculous. I fail to
understand what has gone from my life as I will not
exist and to understand this is all that can be.
The siskins hang from the feeders, able acrobats.
And rain falls. Rain that enriches the lush garden.
byAlasdair Campbell
In memory of my father,Donald Campbell
26
AiAso
Tokyo’sAiAso (朝生愛,AsˉoAi) is a Japa-
nese psychedelic pop singer-songwriter
whose work has a whisper-thin acid folk
quality to it. Her solo work, infrequent
collaborations with White Heaven mem-
bersYou Ishihara and Michio Kurihara and
Boris bring a level of fragility and hypno-
tism to the stage recalling lost memories,
small flavours of COIL and serial playing
on the verge of evaporation.
Maja Borg
The work of Maja Borg exists at the in-
tersection of documentary, fiction and
experimental film fusing the languages of
these genres into a compelling, visually
rich and politically astute body of work.
Borg’s films are as likely to be seen in film
festivals or television as they are in the
visual arts context. The artist uniquely
succeeds in defying genre expectations
and her language seamlessly combines el-
ements of animation, experimental cam-
era and sound techniques with tools of
documentary filmmaking.
John Butcher
John Butcher is one of the most prolific
and versatile performers and creators in
the scene today. His commitment to the
development of the saxophone has genu-
inely extended the instruments voicings
and range.This new project sees him ex-
ploring further the methods of improvisa-
tion in relation to ancient compositional
and devotional qualities found in Sufi mu-
sic andTarab.
Maya Dunietz
Maya Dunietz, born in 1981, is a pianist,
composer, singer, choir conductor and
sound installation artist. Her work ranges
between solo performances, composing
for various ensembles around the world,
writing for theatre, creating sound instal-
lations, building electronic instruments
and singing in various styles such as heavy
metal,kleizmer and contemporary music.
Maya founded the experimental vocal en-
semble “Givol Choir” and she is a mem-
ber of the Israeli theatrical rock and polka
band “Habiluim”.
John Edwards
John Edwards has always been involved
with a wide diversity of musical styles and
situations. At home with composed and
improvised music he is one of the busiest
musicians on the scene. Involved in doz-
ens of projects and groups, 2013 saw him
performing at major festivals throughout
Europe as well as in Brazil, Mexico,Tur-
key, Canada and Russia. John Edwards is
the everyman of music and in everything
he does he brings a total commitment to
creativity and beauty.
Luke Fowler
Luke Fowler is an artist based in Glas-
gow working at the threshold of film and
sound. His films are informed by research
into radical figures such as psychiatrist
RD Laing, composer Cornelius Cardew
and historian E.P. Thompson. Fowler
collaborates with a wide range of musi-
cians including Richard Youngs, Toshiya
Counterflows’Artists
27
Tsunoda, Jean-Luc Guionnet, Alasdair
Roberts, DavidToop, Sylvia Hallet, Stevie
Jones and CaraTolmie. Since 2010 he has
been playing the SergeAnalogue Modular
Synthesiser which he combines with self-
made instruments.
GoldenTeacher
GoldenTeacher started life as a studio col-
laboration between Glasgow’s noise punk
trio, Ultimate Thrush and Glasgow’s all
analogue house duo, Silk Cut.The results
of their collaboration turned the ears of
all who heard them, not leastTwitch who
after one listen asked if he could release
the project on Optimo Music label. It’s a
little hard to describe Golden Teacher’s
sound (always a good thing in our book)
but imagine Arthur Russell’s Dinosaur L
jamming with Bobby O, K Alexi Shelby,
Liaisions Dangereuses, Imagination, some
voodoo drummers and Sly & Robbie. It
is in our opinion one of the most original
and wildest records to come out of any-
where in 2012.We like to call it hypno-
psych voodoo groove.
Will Guthrie
Will Guthrie is an Australian drummer /
percussionist living in France. He works
in many different settings of music: live
performance, improvisation and studio
composition using various combinations
of drums, percussion, objects, junk, am-
plification and electronics. He studied
jazz and improvised music(s) at the Vic-
torian College of the Arts in Melbourne,
Australia and alongside Ren Walters he
started the weekly concert series‘Impro-
vised Tuesdays’, now known as the Make
It Up Club and is Australia’s longest run-
ning performance space dedicated to ex-
perimental and improvised musics.
Mats Gustafsson
Born 1964 in Umeå, Northern Sweden,
Mats Gustafsson is a saxplayer, impro-
viser and composer. He is a well known
solo artist and collaborator working on
projects with Peter Brötzmann, Sonic
Youth, Merzbow, Jim O´Rourke, Barry
Guy, OtomoYoshihide,Yoshimi, KenVan-
dermark as well as working in groups –
The Thing, Sonore, FIRE!, Gush, Boots
Brown, Swedish Azz and Nash Kontroll.
Sarah Kenchington
Sarah Kenchington builds her own re-
markable mechanical instruments,includ-
ing a pedal-powered hurdy-gurdy, a giant
rotating kalimba and her own brass band,
powered by tractor inner-tubes. She is in-
deed an inventor of musical instruments.
She performs regularly with her mar-
vellous and bizarre creations around the
UK. She is also a member of ‘The Book
of Beasts’ alongside Shane Connolly, and
Daniel Padden of ‘Volcano the Bear’ and
‘The One Ensemble’.
Heatsick
Heatsick is the project of musician and
visual artist StevenWarwick. Using a soli-
tary Casio keyboard and a myriad of ef-
fects, Warwick’s music is created in real
time, based upon loops that are moulded,
stretched and reduced to interlink, nest-
ling and merging with one another in a
similar way to his visual artwork, where
objects and media combine and coalesce
in an environment inviting the viewer’s
participation.
28
David Maranha
David Maranha was born in Figueira
da Foz in 1969. His work encompasses
sculpture, music and architecture. In
1986 he started to develop his work as
a musician both as a solo artist and with
several bands and has since released more
than 30 albums. David formed “osso
exótico” in 1989 with his brother André
Maranha, António Forte and Bernardo
Devlin and has performed and recorded
regularly with the band both in Portugal
and abroad.
Joe McPhee
A rare musician who is equally comfort-
able on brass and woodwind instruments.
Benny Carter might be the only other
musician that has sounded so at ease on
both but Joe is a very different prospect
indeed. For over 4 decades Joe has been
pursuing a beauty in his music that bal-
ances the fierce attack of European free
improve with a lyrical poetry stemming
from Coltrane’s Love Supreme and hint-
ing at the dark roots of his country’s civil
rights protests.
Peter Nicholson
Peter is a cellist/improviser/composer/
teacher who has recorded and toured
extensively with various new music en-
sembles, improvising groups, professional
symphony orchestras and as a soloist. He
is particularly interested in composing
and devising collaboratively, exploring
the lines between composition and im-
provisation.
Steve Noble
From drumming with the last incarnation
of wayward pop mavericks Rip, Rig and
Panic, to head to heads on turntables with
Otomo Yoshihide, Steve Noble brings a
commitment to music making that brims
over with inspiration.His musical journey
from the early duos with Alex Maguire is
an ongoing quest for musical purity.
Aki Onda
Aki Onda is an electronic musician, com-
poser and visual artist. Aki was born in
Japan and currently resides in NewYork.
He is particularly known for his Cassette
Memories project – works compiled from
a “sound diary” of field-recordings col-
lected by himself over a span of two dec-
ades.Aki’s musical instrument of choice is
the cassetteWalkman.
Ela Orleans
Ela Orleans is a Polish born musician
and artist currently based in Glasgow. As
a solo artist she uses voice, guitar, key-
boards, violin and drum machines to cre-
ate cinematic songs that recall elements
of psychedelic music, experimental pop
and ambient music. Orleans began mak-
ing solo music in 2000 whilst working
at the Dramatyczny Theatre in Warsaw.
In 2009 she was selected for the NYFA
Mentoring Program for Immigrant Art-
ists. Her music is both mesmerising and
potent and surprisingly danceable when
least expected.
Lee Patterson
Working with amplification as both a
form of manipulation and a mode of en-
quiry, Lee Patterson has devised a range
of objects and processes that produce
complex sound in simple ways. Through
29
the manipulation and activation of these
amplified objects, devices and processes,
Patterson explores the sonic potential
of his unique instrumentation. From ef-
fervescent salts to amplified springs, dry
rock chalk to burning nuts, he opens up
and plays the usually inaudible, micro-
scopic sounds emitted by otherwise mute
devices and objects.
Hans-Joachim Roedelius
The electronic pioneer Hans-Joachim
Roedelius lives in Baden nearWien (Aus-
tria) and is a legendary figure in popular
music. He founded the seminal bands
Cluster and Harmonia, which also includ-
ed Dieter Moebius and Michael Rother.
He produced the albums ‘Zuckerzeit’
(1974) and ‘Deluxe’ (1975), which are
considered blueprints for today’s elec-
tronica and were recently successfully
reissued.
Mark Sanders
Always searching for new sounds to use
within the drumkit and playing in a va-
riety of music settings, the past year has
seen Mark working in composed and im-
provised settings with The ICE Ensem-
ble, Christian Marclay, OtomoYoshihide,
TrevorWatts, Bill Orcutt, Rhodri Davies,
JohnWall, John Butcher and also as a so-
loist.
Stefan Schneider
Dusseldorf based Stefan Schneider’s mu-
sic has a breadth of vision that creates a
deep sense of space and an aching longing
that is always hard to pin down. It comes
as no surprise that he initially studied
photography. Founding member of elec-
tronic trio “to rococo rot” and “Kreidler”,
he is a contant searcher for new settings
and collaborators the list is already ex-
tensive. He is also involved in a series of
fieldrecording projects in Kenya for Hon-
est Jon Records and has delivered a series
of seminars in the relationship between
Sound and Image.
Sonic Bothy
Glasgow-based inclusive ensemble Sonic
Bothy have an eclectic approach to col-
laborative composition. With interests
spanning free improvisation,aleatoricism,
minimalism, early music and electro-
acoustic composition, the ensemble seeks
new territory in composing for a diverse
line-up of instrumentalists that includes
strings, harpsichord, synth, percussion,
piano and voice.
Akio Suzuki
A legendary sound artist Akio Suzuki has
been performing, building instruments
and presenting sound installations for
40 years. His music is simple and pure,
exploring how natural atmospheres and
sounds can be harnessed and then set free.
GhedaliaTazartes
A French musician of Turkish parentage,
Ghédalia Tazartès is an uncompromising
artist who defies categorisation; switch-
ing from musique concrète to – existing
or invented – ethnic music, from poetry
to noise, or from loops and collages to sad
and extremely beautiful tunes in a second,
but constantly is in flux and coherent. His
public appearances remain exceptional
events as he rarely performs in concerts
or releases albums.
30
CaraTolmie & PaulAbbott
PaulAbbott and CaraTolmie have worked
both together and independently in the
past with moving image, drums, voice,
electronics, words, movement and ob-
jects. Recent activities include Antiknow at
Flat Time House; Pley, Spike Island, Bris-
tol and with Infection Transmission Event/
Cloudy November in Assembly, Tate Britain;
lll人 & Ne_Ko-max (with SeymourWright
and Daichi Yoshikawa) at Intersect, Cafe
Oto and Sound Disobedience, Ljubljana;
Otiumfold at Chisenhale Gallery, London;
Black Exhventalia / anTrgor rEiz at Cafe Oto
and Abject Bloc, London; Her Noise: Femi-
nisms and the Sonic at Tate Modern, Lon-
don and Nasjonal Museet, Oslo.
The Space Lady
Often seen performing in 1980’s Boston,
and then a decade later in San Francisco’s
Castro community, where she would
play and sing for hours on end for the
gay scene, and got her apt moniker, The
Space Lady’s winged helmet and setup of
a Casio battery-powered keyboard, vocal
mic, and echo & phaser controls. She be-
came a small but striking phenomenon.
‘Greatest Hits’ is a fascinating document
of her journey; the covers, originally re-
corded in 1990 at a friend’s San Fran stu-
dio, reflect both the longevity of her own
time performing and a certain lineage of
American radio and chart music itself.
MikaVainio
Mika Vainio, currently based in Berlin,
was one half of the minimal electronic
duo Pan Sonic from Finland, (the other
half was Ilpo Väisänen). Before starting
Pan Sonic in the beginning of the 90’s,
MikaVainio played electronics and drums
as part of the early Finnish industrial and
noise scene in the 80’s. His solo works,
under his own name and under aliases like
Ø, are known for their analogue warmth
and roughness.
Whilst
Formed originally as a jam-based project
in the ever-fertile analogue studio‘Green
Door’, Whilst jump seamlessly between
free jazz, dub electronics, post-punk,
North African and motorik stylings, un-
derpinning their sound with a strong punk
ethos.Their debut EP will be released on
esteemed Glasgow label‘Optimo Music’.
Cry Parrot
“This will be the third time I have worked
with the inspiring Counterflows team and
I think it’s the strongest festival line-up
yet.This year I have assisted the program-
ming of DIY busking sensationThe Space
Lady, ridiculously exciting new jazz jam-
mers Whilst, idiosyncratic songstress Ela
Orleans and a new dance based commis-
sion featuring Heatsick, Golden Teacher
and Joe McPhee.The latter commission is
possibly one of the wildest ideas I’ve ever
had for a music event, but in keeping with
the festival’s ethos it is an attempt to take
risks, explore new avenues and have fun
in the process.Adventurous underground
music from Scotland and around the
world has never felt so lively,so I think we
should all be delighted there is a festival
in Glasgow with such an open-minded,
forward thinking approach to live music”.
Fielding Hope
Suzy Glass:
Suzy Glass is a producer. She works with
artists and other producers to develop
powerful, nourishing ideas. She is inter-
ested in cross-artform processes. In 2011
she co-founded Trigger, co-directing the
company until March 2013. InApril 2013
Suzy left Trigger to explore new pro-
ducing models and establish collabora-
tive working methodologies that enable
ambitious, meaningful work to emerge.
Suzy is one of the co-producers of Sync,
Scotland’s digital innovation programme.
She also produces PublicArt Scotland and
works on the Digital R&D learning team.
Suzy is currently working with a number
of artists and organisations to develop
exciting, large-scale, complex projects.
These include Hanna Tuulikki’s Air falbh
leis na h-eòin for Culture 2014 andYann
Seznec’s Currents, commissioned by Ed-
inburgh Art Festival and part of the New
Music Biennial.
31
Some words from and about our collaborators
Counterflows is a festival about collaborating. It is impossible to pull something togeth-
er like this, something that investigates and celebrates our cultural ambitions, without
the support,commitment and a sort of never mentioned belief in the still potent power
of musical discovery, from a whole host of great people.With this in mind I would like
to thank all those that tread firmly on the path of discovery with me: Clare Hoare,
Alison Murray, Gavin Robertson, Fielding Hope, Tim Matthew, Ian Smith, John
McCann, Christine Jones, Ilan Volkov, Brian Irvine, Brian Carson, Jackie Wylie,
Graham McKenzie, Keith Bruce, Stephen & Dep & Russell at Monorail (still the
best record shop in the world), Mats Gustaffson, Suzy Glass, Nicola Meighan, Ham-
ish Dunbar & John Chantler of Café Oto, The Lau Boys, Francis and Ainslie at the
CCA & their team, Paul Smith at Saramago, Stewart Smith, Kate Molleson, Joe Smil-
lie atThe Glad Cafe Steve Noble, Beth Murray Robertson, BillWells, Sukaina Kubba,
Marlies Pfeifer & Barbara & Konrad at Goethe Institut Glasgow.
TICKETS
FULL FESTIVAL PASS £40 or Friday & Saturday Day Passes available
www.counterflows.com/tickets or visit Monorail, Glad Cafe or CCA
VENUES
CCA
350 Sauchiehall Street, Glasgow, G2 3JD. 0141 352 4900
Garnethill Multi-cultural Centre
21 Rose Street, Garnethill, Glasgow, G3 6RE. 0141 332 9765
Fleming House Underground Carpark
134 Renfrew Street, Glasgow G3 6ST
TheVic Bar,The Art School
168 Renfrew Street, Glasgow, G3 6RQ
The Glad Cafe
1006A Pollockshaws Road, Shawlands, Glasgow, G41 2HG. 0141 636 6119
© Counterflows 2014
Produced by AC Projects
Cover illustration by: Lucy Duncombe and KennethWilson
Design by: christine-jones.com
Printed by: Barr Printers Ltd
Printed on: CyclusOffset, 100% recycled
www.counterflows.com
Friday 4th April
GARNETHILL MULTI-CULTURAL CENTRE / £10
The Space Lady 7pm
Ela Orleans & Maja Borg 7.40pm
AiAso 8.30pm
FLEMING HOUSE/UNDERGROUND CARPARK / £6
Akio Suzuki & Aki Onda 9.25pm
CCA5THEATRE / £6
Counterflows Commission - Luke Fowler/MikaVainio/Lee Patterson 10.40pm
CCA / SARAMAGO CAFE BAR / FREE
Late Night Counterflows: Joe McPhee,Whilst & DJs General Ludd 11.30pm–3am
saturday 5th April
CCA CINEMA / £3
Counterflows Film Screening –Tropicalia by Marcelo Machado 12pm
Counterflows Featured ArtistTalk – with Joe McPhee & Brian Morton / FREE 2pm
CCA CREATIVE LAB / FREE
Counterflows Residency Presentation – Peter Dowling & Rob Kennedy 3.30pm
CCA5THEATRE / £6
Counterflows Commission – CaraTolmie & PaulAbbott 6pm
CCA5THEATRE / £10
Will Guthrie & David Maranha 7.30pm
GhedaliaTazartes & Maya Dunietz 8.25pm
John Butcher & Mark Sanders –Tarab Cuts 9.30pm
GLASGOW SCHOOL OFARTVICTORIA BAR / £10
Cry parrot’s Late Night Counterflows 11pm–3am
Extended Play
Heatsick with special guests GoldenTeacher & Joe McPhee
sunday 6th April
THE GLAD CAFé SUNDAY / FREE
Counterflows’ FamilyWorkshop with Sarah Kenchington 11am
The Space Lady in Queens Park 1.30pm
Sonic Bothy 3pm
GLAD CAFé EVENING / £12
The Songs & Music of Emahoy Maryam Guebrou
Talk & performance with Maya Dunietz 6.15pm
Roedelius & Schneider 7.30pm
Joe McPhee’s PO Music
Joe McPheeTrio with Steve Noble & John Edwards 9pm
Joe McPhee & Mats Gustafsson duo 10pm
Joe McPhee, Mats Gustafsson, John Edwards, Steve Noble & Peter Nicholson 10.15pm
FULL FESTIVAL PASS £40 or Friday & Saturday Day Passes available
ForTICKETS and more information: www.counterflows.com/tickets or visit Monorail, Glad Cafe or CCA

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Counterflows Festival 2014

  • 3. 4–6April 2014 Glasgow, various venues www.counterflows.com produced byAC Projects
  • 5. 3 Alasdair Campbell With the third Counterflows we hope to bring a new resonance to the idea that the music that happens over the weekend is vital, has an energy that can be enjoyed by just being amongst it as it filters from the artists and their endeavours to create that one-off experience. Thereismuchtoenjoy: Newcommissions by CaraTolmie, Luke Fowler, MikaVainio and Lee Patterson. Ela Orleans creates something new from the flickering frames of Maja Borg and Ela’s songs that seep from her delicate heart. There will be lots of new projects but really it will all be new, well in the sense that all live music is new… that moment won’t happen again the same.We have gathered more artists together this year than we ever have, coming from all directions, battling those sonic demons that forever haunt the beauty of music. It is also great to be working with Cry Parrot again who continue to be an inspiration across the Scottish scene. 2014 sees Counterflows introduce the idea of a featured artist to the festival.This is not a new idea but we feel that there is a need to celebrate the work of some artists who have dedicated and committed their life’s work to the creative pursuit of an artistic goal that they may or may not have yet attained (is it ever attainable?). Our choice will of course be arbitrary and subjective but what else can it be, it is music after all. “In music, when you do something new, something original, you’re an amateur.Your imitators - these are the professionals.” Morton Feldman
  • 6. 4
  • 7. 5 A Note on Joe McPhee – FeaturedArtist: PO Music Revisted Joe Mcphee is a musician whose work reaches out across the last four decades of music making and who brings an unquenchable desire to express this experience in every note that he creates. He is totally apt to be Counterflows’ first featured artist, as is stated in the insurmountable tome‘The Penguin GuideTo Jazz Recordings’ “McPhee is hard to pin down critically because he belongs to no identifiable generic niche”. Counterflows is equally about openness. I first encountered Joe’s music on his 1990‘Linear B’ album, part of his PO Music explorations.What struck me as exciting about Joe’s music was the breadth of influence expressed. The line-up alone was new and exciting to me. Here was a US musician steeped in the civil rights movement back home working with a collective of European free improv inventors. From his free funk explorations on recently re-released NationTime to one of my most enduring memories of Joe live, in duet with Peter Brotzmann at one of the Tentet’s residency’s at Café Oto, Joe’s spirit beams out across the banality of sound that sometimes goes by the name music. Of course Joe is now performing in a myriad of contexts and is as prolific as ever with Decoy or in duet with Evan Parker or bursting the sonic valves with The Thing. It is great to see the re-releasing of some of his back catalogue. A particular favourite of mine is the CD of solo home recordings‘Sound on Sound’.Joe will be performing each day at the festival in very different contexts.
  • 8. 6 Joe McPhee Counterflows Interview by Stewart Smith ‘What time is it?’ yells Joe McPhee at the beginning of his classic 1970 recording ‘Nation Time’.This rousing freedom cry heralds a glorious set of fire music and simmering free-funk that has lost none of its ecstatic power over the years. Recently reissued as a boxset featuring the full sessions and live recordings, ‘Nation Time’ is a free-jazz classic. As McPhee’s friend and collaborator Mats Gustafsson says, it’s “a perfect introduction to crazy music, and it’s deep!” The depth and invention of McPhee’s music is suggested by the vast range of musicians he’s worked with, from jazz and improv titans Peter Brötzmann and Evan Parker, to avant- garde composer Pauline Oliveros and LA underground weirdos Smegma. Now 74, McPhee is as adventurous as ever, blowing his saxophone and pocket trumpet in his groupsTrio X and Survival Unit, and playing with radical younger musicians like drummer Chris Corsano and Scandinavian jazz-punks The Thing. Given his energy and openness to new experiences, Joe McPhee is the perfect choice for Counterflows’ first featured artist. I wanted to start by asking about your background and influences. Your family are from the Bahamas: did you grow up with Caribbean music? Yes, Caribbean music was a big influence growing up but my family exposed me to all kinds of music. My dad taught me to play trumpet. My mom played violin and her sister played piano and organ. I learned about jazz with friends in the late ‘50s. You attended the funeral of John Coltrane:this must have had a big impact on you? Mr. Coltrane’s music had a tremendous impact on me from the first time I heard him. Miles Davis was my great hero and when Kind Of Blue hit with Coltrane, I was in heaven.The next big revelation for me was ‘Chasin’The Trane’ [seminal free jazz piece from Coltrane’s 1962 album Live At The Village Vanguard]. That blew the doors open. Of course hearing Albert Ayler’s and Ornette Coleman’s bands at the funeral were driving forces which helped lead me to where I am today. You’re a great multi-instrumentalist, playing saxophone, pocket trumpet, valve trombone and electronics. What attracts you to these particular instruments? The trumpet was my first instrument which came from my dad as I mentioned. I was familiar with Don Cherry’s music through Ornette but when I saw him playing with Sonny Rollins at Birdland in 1963, I had to have a pocket trumpet. The trombone I play came from my friend CliffordThornton, it was his instrument. The electronic experimentation and other “peculiar” little things are because I’m curious about possibility. Could you explain your improvisation concept of PO Music?
  • 9. 7 PO Music is in simplest terms about possibility. It is derived from Dr. Edward de Bono’s theory of lateral thinking which allows one to discover new ideas while in the process of exploring old ones. For example in my version of [Sonny Rollins’] ‘Oleo’onhatHutrecords,weusethetune as source material, it is out of the bebop tradition. I’m not a bebop player, that is another life. In our exploration, we travel a different road,go in a different direction but in the process make discoveries along the way. To what extent do other artforms inform your music? I don’t paint but I’m interested in painting and I have great friends who are painters. It is yet again for me, about possibility, process, form and colours. Sculpture would fit in there as well. All of these disciplines deal with time and space in what might be a metaphor for life. Nation Time has recently been reissued in an expanded edition. Perhaps you could tell us about the genesis of the album and how you feel about it now? Nation Time was recorded in concert in 1970 while I was teaching a course at Vassar College called Revolution in Sound.It was at the height of theAmerican rights movement and was inspired by and a tribute toAmiri Baraka.Today I think of it more from a human rights perspective, encompassing more than race. This is an issue that I am constantly interested in revisiting. It is a work in progress which will never be finished. You recently performed Nation Time with The Thing in NewYork.What was it like revisiting the material? I love The Thing and it was an honour to have the opportunity to revisit Nation Time with them. In the 1970s you developed strong links with the European scene,which continue to this day. Which relationships have been particularly important to your music? Every collaboration I’ve had is important to me. I don’t have a ranking system. Do you think there’s a difference between the US and European scenes, or do you feel you have a common language as creative musicians? We’re all spinning around on the same planet. Should we ever have the chance to explore other worlds or dimensions, perhaps we might discover different scenes. Otherwise these kinds of narrow differences only divide. We have a common language. You played in Glasgow in 2006 at the Subcurrents festival.Was it interesting to play alongside noise acts likeWolf Eyes? Yes, I was there with Chris Corsano and I very much enjoyed the experience. I had a chance to actually sit in with the band Smega,which was fantastic.I learned a lot listening toWolf Eyes. You’ve explored some beautiful, abstract territory with Chris Corsano. Do you have a concept or certain aims when you play together, or is it more spontaneous? Chris is very inspirational and a joy to perform with.We simply do what we do and listen rather than follow techniques. As Cecil Taylor titled on of his solo
  • 10. 8 recordings, IT IS IN THE BREWING LUMINOUS. I want to ask a few questions related to your Counterflows collaborators. You’ve worked with several of them before, but in different configurations.Are you looking forward to it? This is the easiest question.YES! Firstly, Mats Gustafsson.You’ve played together many times.How did you first meet? I met Mats in Chicago at the formation of the Chicago Tentet in 1997. Immediately he invited me to join up with The Thing and it’s been ongoing since then. I love the album of garage punk covers you did with The Thing and Cato Salsa Experience. Were you familiar with the material and did you approach it differently to jazz standards, say? I was not at all familiar with the material, I learned to fly like a bird falling out of a nest. But I had a long history of playing in a soul/rock/jazz band called Ira And The Soul Project from the late ‘60s to mid ‘70s. I personally don’t change my approach to the material. You play with the great British rhythm section of Steve Noble and John Edwards, alongside Alexander Hawkins on Hammond organ, in Decoy. I love playing with Decoy. I’ve long been a fan of the Hammond B-3, we had one with The Soul Project, so it was like coming home for me. What a wonderful, powerful instrument. I’m a big fan of Jimmy Smith and LarryYoung in particular and Alexander Hawkins is carving his own way out of that lineage. There’s a further connection there, in that the cover art for the fantastic Decoy album, Spontaneous Combustion, was by Oliver Pitt, who plays with Glasgow-based mutant disco band Golden Teacher. I’m looking forward to seeing you play with them, but it might seem like an unusual combination to some. I will go where the wild goose goes! Finally, do you have any messages for the Counterflows audience? “Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms ... and the autumn moon is bright.” By Maureen Gilmer, a horticulturist. This famous poem from the 1941 classic film The Wolfman speaks of plants that signal a time of magical transformation. Those unfortunates attacked by a werewolf change under the light of the full moon into the very beast that bit them. Stewart Smith is a freelance music and arts writer forThe List andThe Quietus
  • 11. 9 PARTY LIGHTS We will make music In the forests in the cool green light of evening In a ritual Long forgotten on a Street called music row Those of us who still remember before sampling was the fashion Know our music Comes from people Not just from tape machines We know Our songs are meant for singing Dancing Celebrating life And when the studios are silent Vacant relics of the past WEWILL STILL BE HERE By Joe McPhee BETWEEN Music is a love beast A sky dragon A snake A humming bird A crocodile If you put Your ear close You can hear Something By Joe McPhee
  • 12. 10 Ela Orleans AiAso The Space Lady Fri 4 April Garnethill Multi-Cultural Centre 19:00 (Doors 18:45) £10 This year’s festival kicks off with an amaz- ing bill of brilliantly ethereal pop.AiAso’s 2007 release ‘Chamomile Pool’ is a mas- terpiece of gentle psychedelic pleasure and intensity. It is great to have her at Counterflows and in Scotland for the first time with her new material. Ela Orleans is one of the most exciting musicians and songwriters around at the moment and for Counterflows she has teamed up with the exquisite film maker Maja Borg to bring a small taste of the beginnings of their collaboration to the festival.The Space Lady’s story is a remarkable tale of commitment to doing your own thing. We are really pleased that her haunt- ing music has resurfaced and that she is again performing. And to have her open Counterflows is absolutely unmissable… also check out Sunday in Queens Park. Programme by Ela Orleans AiAso Space Lady
  • 13. 11 Aki Onda & Akio Suzuki Fri 4April Fleming House Car Park 21:25 (Doors 21:00) £6 Across the road from Garnethill, this great space is a very special addition to Counterflows and is an ideal location to see these two masters of sound. Akio Suzuki is a legendary figure of the Japanese underground arts scene. His art explores the most intricate relationships between space, objects, listening and thought. His self-made instruments are finely crafted wells of beauty and bewilderment. Aki Onda is the younger generations’ explor- er in cassette sound and manipulation of performance.This performance will be a great chance to savour this music in an in- triguing space. Akio Suzuki
  • 14. 12 Luke Fowler MikaVainio Lee Patterson Fri 4 April CCA 5Theatre 22:40–23:30 (Doors 22:15) £6 This is a really exciting addition to Counterflows’ commissions. Luke, Mika and Lee have spent two days working together at CCA on this new piece es- pecially put together for Counterflows. After a conversation with Luke about people he would like to work with to explore his commitment to analogue synth sounds and also the relationship be- tween found sound and electrically gen- erated noise he, without hesitation, sug- gested Mika and Lee. ©JoséphineMichel Lee Patterson MikaVainio
  • 15. 13 COUNTErFLOWS’ LAte NigHt experieNCe co-produced with Saramago Café Bar Joe McPhee Whilst DJs General Ludd Fri 4April CCA: Saramago café 23:30–03:00 (Doors 23:00) FREE Counterflows’ late night events are be- coming a bit notorious. Last year Ghana Soundz blasted their rare beats across Stereo’s bow.This year working together with Saramago Café Bar this one will go even further in pushing the barriers aside. With festival featured artist Joe McPhee opening the event with a short solo set, new blood Whilst taking us way beyond dance in their first Glasgow outing and Djs General Ludd easing us through the evening with music from the edge of dark- ness... ensuring if need be that Glasgow knows that Counterflows has started! COUNTErFLOWS’FILM SCrEENING Tropicalia by Marcelo Machado Sat 5April CCA 4 Cinema 12.00–13.30 (Doors 11:45) £3 Counterflows’ film screenings explore the work of artists who cross boundaries and connect and engage culturally across communities using music as a force to de- velop new thinking and enhance society. This wonderful film may seem an odd choice but actually it reveals, through the evocation of an exhilarating period in Brazil’s cultural development, how artists can influence the political framework of the society they find themselves a part of. Gilberto Gil and CaetanoVeloso were and are massive stars of Brazilian music but in 1968 were imprisoned for their views. With complete artistic integrity they grappled with pop music and dictatorship and what the responsible response of the artist can be.
  • 16. 14 Counterflows’ residenCy Peter Dowling Rob Kennedy & Karena Nomi recipe for feedback (not Krakatoa) Mon 31 Mar–Sat 5 Apr CCA Creative Lab daily,we will re-construct the means to greatly amplify the smallest of sounds. Part of Counterflows’ ambition is to cre- ate opportunities for artists from different disciplines to work together giving them space and time to explore their different methods of creation. Co-produced with Suzy Glass, the second Counterflows’ Residency brings together three Glasgow based artists for a week of investigation and creativity. Check Counterflows’ website for updates and information on their progress. Joe McPhee Interview by Brian Morton Sat 5 April CCA 4 Cinema 14.00–15.00 (Doors 13:45) FREE It is totally fitting that Joe McPhee is Counterflows’ first featured artist, not only is he a great artist, he also encom- passes the very ethos of Counterflows, exploring through his work a cultural openness to progression and development that allows for a great empathic humanity to shine through in all that he is involved with. In conversation with our very own polymath Brian Morton the talk will look at Joe’s early work and engagement with the civil rights movement, through his involvement with the European improv scene up to the present day with Joe’s work with Decoy, Brötzmann, Mats Gus- tafsson andTheThing.
  • 17. 15 CaraTolmie & PaulAbbott Sat 5April CCA 5Theatre 18:00 (Doors 17:45) £6 A departure note:Acting and the architect. Dark and warm storms stealing constructions from upwards whilst digging, unseen and then guts inverted: slippy/risks, limp/augmentation. Lengths of plastics, wood, alloys, a transducer, speakings… Setting ups and runnings. Strike and the getting outs. On hands and knees, raking around raw feels against taxoclumps, compounds, commodities.A blue draped puddle turns green in torid corners.They stand beside an artificial balancing of attentions err artificial distractions apparently from within and outside the building. Learning (for a friend): yes to saying. A theatre! driven to tear space, from sounds, words, bodies, looks
  • 18. 16 John Butcher & Mark Sanders:Tarab Cuts GhedaliaTazartes & Maya Dunietz Will Guthrie & David Maranha Sat 5 April CCA 5Theatre 19:30–22.25 (Doors 19:15) £10 The CCA Saturday evening continues with three very different duos. Counter- flows explores the synergies and nuances of the music landscape of today that is being created by musicians across the world who are looking at new models of expression.These three performances en- capsulate and celebrate the diversity and similarities in today’s music. Australian Guthrie and Portuguese Maranha are both now working in France. They bring a European sensibility to their music making. Guthrie’s complete musi- cality around the drum-kit is fearless and accompanied by Maranha’s physical musi- cal presence this should be a beautiful en- counter at Counterflows. It is great to be working again with leg- endary musical autodidact Ghédalia Tazartès alongside Israeli pianist, com- poser and improviser Maya Dunietz, to collaborate on a new performance that includes two live voices, 12 tiny speakers and electronic soundtrack. If you missed AC Projects’ event with Ghedalia and his soundtrack to the wondrous film ‘Haxan’ in 2011 then now is your chance to catch him again.This performance will be mes- merising. ©BryonyMcIntyre John Butcher Maya Dunietz
  • 19. 17 “In Arab culture, the merger between music and emotional transformation is epitomized by the concept of tarab, which may not have an exact equivalent inWest- ern languages” John Butcher and Mark Sanders collabo- rate on an extended version of John’s Tarab Cuts project. John Butcher is one of the most prolific and versatile per- formers and creators in the scene today. His commitment to the development of the saxophone has genuinely extended the instruments voicings and range. This new project sees him exploring further the methods of improvisation in relation to ancient compositional and devotional qualities found in Sufi music and Tarab. Counterflows is excited to be working with Out OfThe Machine who have now commissioned Butcher to expand the work into a full concert presentation. Will Guthrie David Maranah
  • 20. 18 CrY pArrot’s LAte NigHt COUNTErFLOWS:exteNded pLAY Heatsick - feat. special guest collaborators inc. Joe McPhee & GoldenTeacher Sat 5 April Glasgow School ofArtVictoria Bar 22:30 £10 Berlin-based experimental dance act Heatsick brings his multi-hour, multi- discipline Extended Play... experience to Glasgow for the first time. For this spe- cial commission by Cry Parrot/Counter- flows he will be joined on stage at various points by a range of guest musicians, in- cluding Counterflow’s artist in residence Joe McPhee and Glasgow-based psyche- delic afro dance punks Golden Teacher, creating a one-off improvised perfor- mance for the dancefloor. “Extended Play is a long form event en- compassing performance and installation simultaneously. Experiments with tem- perature settings, the olfactory and other sensual stimuli unlock alongside visual cues for the participant to interact and re- cognize in real time meditation as cyber- netic flow” - StevenWarwick (Heatsick) Heatstick
  • 21. 19 Glad Café FamilyWorkshop with Sarah Kenchington Sun 6April Glad Cafe 11:00 FREE Counterflows’ Pimp my Kazoo Work- shop.This family workshop will be based on the voice.We will be exploring ways of making low tech voice enhancing devises from everyday materials. We will start with a simple homemade kazoo and end with the fanciest kazoo ever imagined.All sound makers welcome with no prefer- ence for tuneful voices.
  • 22. 20 The Space Lady in Queen’s Park Sun 6April Queen’s Park Bandstand Arena 13:30 FREE Counterflows is taking The Space Lady out into the park for a very special perfor- mance of her electro space songs. Coun- terflows is excited to haveThe Space Lady back in the format she started perform- ing: outside busking for the people. See website for directions.
  • 23. 21 Sonic Bothy Sun 6April CCA 4 Cinema 15:00 FREE Great to have Sonic Bothy at Counter- flows.AC Projects worked with them last at the amazing Otoasobi Project last Sep- tember where they were integral to the success of the event. Their commitment to new music and creativity is a lesson in integrity.They have created new work especially for this performance. Sonic Bothy
  • 24. 22 Joe McPheeTrio with Steve Noble & John Edwards PO Music: Joe McPhee, John Edwards, Steve Noble, Mats Gustafsson & Peter Nicholson Rodelius & Schneider The Songs & Music of Emahoy Maryam Guebrou Sun 6 April Glad Café 18:15 (Doors 18:00) £12 We bring the third series of Counterflows to a close with a barnstorm of a finish. Three very different performances that bring together the beauty,tension,exhila- ration and sheer energy of modern music. The evening begins with a journey into the ecstatically beautiful music of Emahoy Maryam Gerbou performed by the bril- liant Maya Dunietz. Joachim Roedelius and Stefan Schneider follow with their sublime piano/electro-acoustic playful and deceptively complex duo. ‘Tiden’ their last release together was one of Counterflows’ 2013 favourites. Emahoy Maryam Guebrou
  • 25. 23 Mats Gustafsson Rodelius & Schneider ©CatoLein ©PeterStumpf We bring the festival to a close fittingly with a celebration of our featured artist Joe McPhee. And we have brought to- gether a very special line-up to pay trib- ute to Joe’s immense contribution to the music. Joe is one of the masters, an in- comparable instrumentalist, composer and collaborator, he is also a teacher and mentor of great integrity. Rhythm section and much more, Steve Noble and John Edwards form the backbone of the line- up with Mats Gustaffson who is flying in specially from the Ukraine to be a part of the evening.This will be a night of sheer bliss!
  • 26. 24
  • 27. 25 I forage beneath the weather-vane cupping drops of water as they gather dripping from leaves and other growing things. When outstretched it was a terrible length and could not perceivably be kept. It was supposed to be a handy size.Then again, a life could not be allowed to be laid out in its entirety and be expected to be simply shoved in storage. Birds squawked into the late evening. Hoarse sounds and slightly unnatural as if attempting to speak under the influence.They would not stop. Until eventually a shot rang out. The infernal knowledge of everything. Keeping still. Noticing the crimson rose bloom.A hand tenderly touches another and parts. What is wrong with her eyes? She drinks and drinks to stupefy her reeling mind.The merganser’s crest excites in the breeze but she will not recognise the sign. Her courtship is based on forgiving. She cannot forgive the rose its fallen petals. The contents of the house are all that are left. Things hold on.Words fall gently into place but they do not last and change their meaning.A meaning belonging to words is ridiculous. I fail to understand what has gone from my life as I will not exist and to understand this is all that can be. The siskins hang from the feeders, able acrobats. And rain falls. Rain that enriches the lush garden. byAlasdair Campbell In memory of my father,Donald Campbell
  • 28. 26 AiAso Tokyo’sAiAso (朝生愛,AsˉoAi) is a Japa- nese psychedelic pop singer-songwriter whose work has a whisper-thin acid folk quality to it. Her solo work, infrequent collaborations with White Heaven mem- bersYou Ishihara and Michio Kurihara and Boris bring a level of fragility and hypno- tism to the stage recalling lost memories, small flavours of COIL and serial playing on the verge of evaporation. Maja Borg The work of Maja Borg exists at the in- tersection of documentary, fiction and experimental film fusing the languages of these genres into a compelling, visually rich and politically astute body of work. Borg’s films are as likely to be seen in film festivals or television as they are in the visual arts context. The artist uniquely succeeds in defying genre expectations and her language seamlessly combines el- ements of animation, experimental cam- era and sound techniques with tools of documentary filmmaking. John Butcher John Butcher is one of the most prolific and versatile performers and creators in the scene today. His commitment to the development of the saxophone has genu- inely extended the instruments voicings and range.This new project sees him ex- ploring further the methods of improvisa- tion in relation to ancient compositional and devotional qualities found in Sufi mu- sic andTarab. Maya Dunietz Maya Dunietz, born in 1981, is a pianist, composer, singer, choir conductor and sound installation artist. Her work ranges between solo performances, composing for various ensembles around the world, writing for theatre, creating sound instal- lations, building electronic instruments and singing in various styles such as heavy metal,kleizmer and contemporary music. Maya founded the experimental vocal en- semble “Givol Choir” and she is a mem- ber of the Israeli theatrical rock and polka band “Habiluim”. John Edwards John Edwards has always been involved with a wide diversity of musical styles and situations. At home with composed and improvised music he is one of the busiest musicians on the scene. Involved in doz- ens of projects and groups, 2013 saw him performing at major festivals throughout Europe as well as in Brazil, Mexico,Tur- key, Canada and Russia. John Edwards is the everyman of music and in everything he does he brings a total commitment to creativity and beauty. Luke Fowler Luke Fowler is an artist based in Glas- gow working at the threshold of film and sound. His films are informed by research into radical figures such as psychiatrist RD Laing, composer Cornelius Cardew and historian E.P. Thompson. Fowler collaborates with a wide range of musi- cians including Richard Youngs, Toshiya Counterflows’Artists
  • 29. 27 Tsunoda, Jean-Luc Guionnet, Alasdair Roberts, DavidToop, Sylvia Hallet, Stevie Jones and CaraTolmie. Since 2010 he has been playing the SergeAnalogue Modular Synthesiser which he combines with self- made instruments. GoldenTeacher GoldenTeacher started life as a studio col- laboration between Glasgow’s noise punk trio, Ultimate Thrush and Glasgow’s all analogue house duo, Silk Cut.The results of their collaboration turned the ears of all who heard them, not leastTwitch who after one listen asked if he could release the project on Optimo Music label. It’s a little hard to describe Golden Teacher’s sound (always a good thing in our book) but imagine Arthur Russell’s Dinosaur L jamming with Bobby O, K Alexi Shelby, Liaisions Dangereuses, Imagination, some voodoo drummers and Sly & Robbie. It is in our opinion one of the most original and wildest records to come out of any- where in 2012.We like to call it hypno- psych voodoo groove. Will Guthrie Will Guthrie is an Australian drummer / percussionist living in France. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, junk, am- plification and electronics. He studied jazz and improvised music(s) at the Vic- torian College of the Arts in Melbourne, Australia and alongside Ren Walters he started the weekly concert series‘Impro- vised Tuesdays’, now known as the Make It Up Club and is Australia’s longest run- ning performance space dedicated to ex- perimental and improvised musics. Mats Gustafsson Born 1964 in Umeå, Northern Sweden, Mats Gustafsson is a saxplayer, impro- viser and composer. He is a well known solo artist and collaborator working on projects with Peter Brötzmann, Sonic Youth, Merzbow, Jim O´Rourke, Barry Guy, OtomoYoshihide,Yoshimi, KenVan- dermark as well as working in groups – The Thing, Sonore, FIRE!, Gush, Boots Brown, Swedish Azz and Nash Kontroll. Sarah Kenchington Sarah Kenchington builds her own re- markable mechanical instruments,includ- ing a pedal-powered hurdy-gurdy, a giant rotating kalimba and her own brass band, powered by tractor inner-tubes. She is in- deed an inventor of musical instruments. She performs regularly with her mar- vellous and bizarre creations around the UK. She is also a member of ‘The Book of Beasts’ alongside Shane Connolly, and Daniel Padden of ‘Volcano the Bear’ and ‘The One Ensemble’. Heatsick Heatsick is the project of musician and visual artist StevenWarwick. Using a soli- tary Casio keyboard and a myriad of ef- fects, Warwick’s music is created in real time, based upon loops that are moulded, stretched and reduced to interlink, nest- ling and merging with one another in a similar way to his visual artwork, where objects and media combine and coalesce in an environment inviting the viewer’s participation.
  • 30. 28 David Maranha David Maranha was born in Figueira da Foz in 1969. His work encompasses sculpture, music and architecture. In 1986 he started to develop his work as a musician both as a solo artist and with several bands and has since released more than 30 albums. David formed “osso exótico” in 1989 with his brother André Maranha, António Forte and Bernardo Devlin and has performed and recorded regularly with the band both in Portugal and abroad. Joe McPhee A rare musician who is equally comfort- able on brass and woodwind instruments. Benny Carter might be the only other musician that has sounded so at ease on both but Joe is a very different prospect indeed. For over 4 decades Joe has been pursuing a beauty in his music that bal- ances the fierce attack of European free improve with a lyrical poetry stemming from Coltrane’s Love Supreme and hint- ing at the dark roots of his country’s civil rights protests. Peter Nicholson Peter is a cellist/improviser/composer/ teacher who has recorded and toured extensively with various new music en- sembles, improvising groups, professional symphony orchestras and as a soloist. He is particularly interested in composing and devising collaboratively, exploring the lines between composition and im- provisation. Steve Noble From drumming with the last incarnation of wayward pop mavericks Rip, Rig and Panic, to head to heads on turntables with Otomo Yoshihide, Steve Noble brings a commitment to music making that brims over with inspiration.His musical journey from the early duos with Alex Maguire is an ongoing quest for musical purity. Aki Onda Aki Onda is an electronic musician, com- poser and visual artist. Aki was born in Japan and currently resides in NewYork. He is particularly known for his Cassette Memories project – works compiled from a “sound diary” of field-recordings col- lected by himself over a span of two dec- ades.Aki’s musical instrument of choice is the cassetteWalkman. Ela Orleans Ela Orleans is a Polish born musician and artist currently based in Glasgow. As a solo artist she uses voice, guitar, key- boards, violin and drum machines to cre- ate cinematic songs that recall elements of psychedelic music, experimental pop and ambient music. Orleans began mak- ing solo music in 2000 whilst working at the Dramatyczny Theatre in Warsaw. In 2009 she was selected for the NYFA Mentoring Program for Immigrant Art- ists. Her music is both mesmerising and potent and surprisingly danceable when least expected. Lee Patterson Working with amplification as both a form of manipulation and a mode of en- quiry, Lee Patterson has devised a range of objects and processes that produce complex sound in simple ways. Through
  • 31. 29 the manipulation and activation of these amplified objects, devices and processes, Patterson explores the sonic potential of his unique instrumentation. From ef- fervescent salts to amplified springs, dry rock chalk to burning nuts, he opens up and plays the usually inaudible, micro- scopic sounds emitted by otherwise mute devices and objects. Hans-Joachim Roedelius The electronic pioneer Hans-Joachim Roedelius lives in Baden nearWien (Aus- tria) and is a legendary figure in popular music. He founded the seminal bands Cluster and Harmonia, which also includ- ed Dieter Moebius and Michael Rother. He produced the albums ‘Zuckerzeit’ (1974) and ‘Deluxe’ (1975), which are considered blueprints for today’s elec- tronica and were recently successfully reissued. Mark Sanders Always searching for new sounds to use within the drumkit and playing in a va- riety of music settings, the past year has seen Mark working in composed and im- provised settings with The ICE Ensem- ble, Christian Marclay, OtomoYoshihide, TrevorWatts, Bill Orcutt, Rhodri Davies, JohnWall, John Butcher and also as a so- loist. Stefan Schneider Dusseldorf based Stefan Schneider’s mu- sic has a breadth of vision that creates a deep sense of space and an aching longing that is always hard to pin down. It comes as no surprise that he initially studied photography. Founding member of elec- tronic trio “to rococo rot” and “Kreidler”, he is a contant searcher for new settings and collaborators the list is already ex- tensive. He is also involved in a series of fieldrecording projects in Kenya for Hon- est Jon Records and has delivered a series of seminars in the relationship between Sound and Image. Sonic Bothy Glasgow-based inclusive ensemble Sonic Bothy have an eclectic approach to col- laborative composition. With interests spanning free improvisation,aleatoricism, minimalism, early music and electro- acoustic composition, the ensemble seeks new territory in composing for a diverse line-up of instrumentalists that includes strings, harpsichord, synth, percussion, piano and voice. Akio Suzuki A legendary sound artist Akio Suzuki has been performing, building instruments and presenting sound installations for 40 years. His music is simple and pure, exploring how natural atmospheres and sounds can be harnessed and then set free. GhedaliaTazartes A French musician of Turkish parentage, Ghédalia Tazartès is an uncompromising artist who defies categorisation; switch- ing from musique concrète to – existing or invented – ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but constantly is in flux and coherent. His public appearances remain exceptional events as he rarely performs in concerts or releases albums.
  • 32. 30 CaraTolmie & PaulAbbott PaulAbbott and CaraTolmie have worked both together and independently in the past with moving image, drums, voice, electronics, words, movement and ob- jects. Recent activities include Antiknow at Flat Time House; Pley, Spike Island, Bris- tol and with Infection Transmission Event/ Cloudy November in Assembly, Tate Britain; lll人 & Ne_Ko-max (with SeymourWright and Daichi Yoshikawa) at Intersect, Cafe Oto and Sound Disobedience, Ljubljana; Otiumfold at Chisenhale Gallery, London; Black Exhventalia / anTrgor rEiz at Cafe Oto and Abject Bloc, London; Her Noise: Femi- nisms and the Sonic at Tate Modern, Lon- don and Nasjonal Museet, Oslo. The Space Lady Often seen performing in 1980’s Boston, and then a decade later in San Francisco’s Castro community, where she would play and sing for hours on end for the gay scene, and got her apt moniker, The Space Lady’s winged helmet and setup of a Casio battery-powered keyboard, vocal mic, and echo & phaser controls. She be- came a small but striking phenomenon. ‘Greatest Hits’ is a fascinating document of her journey; the covers, originally re- corded in 1990 at a friend’s San Fran stu- dio, reflect both the longevity of her own time performing and a certain lineage of American radio and chart music itself. MikaVainio Mika Vainio, currently based in Berlin, was one half of the minimal electronic duo Pan Sonic from Finland, (the other half was Ilpo Väisänen). Before starting Pan Sonic in the beginning of the 90’s, MikaVainio played electronics and drums as part of the early Finnish industrial and noise scene in the 80’s. His solo works, under his own name and under aliases like Ø, are known for their analogue warmth and roughness. Whilst Formed originally as a jam-based project in the ever-fertile analogue studio‘Green Door’, Whilst jump seamlessly between free jazz, dub electronics, post-punk, North African and motorik stylings, un- derpinning their sound with a strong punk ethos.Their debut EP will be released on esteemed Glasgow label‘Optimo Music’.
  • 33. Cry Parrot “This will be the third time I have worked with the inspiring Counterflows team and I think it’s the strongest festival line-up yet.This year I have assisted the program- ming of DIY busking sensationThe Space Lady, ridiculously exciting new jazz jam- mers Whilst, idiosyncratic songstress Ela Orleans and a new dance based commis- sion featuring Heatsick, Golden Teacher and Joe McPhee.The latter commission is possibly one of the wildest ideas I’ve ever had for a music event, but in keeping with the festival’s ethos it is an attempt to take risks, explore new avenues and have fun in the process.Adventurous underground music from Scotland and around the world has never felt so lively,so I think we should all be delighted there is a festival in Glasgow with such an open-minded, forward thinking approach to live music”. Fielding Hope Suzy Glass: Suzy Glass is a producer. She works with artists and other producers to develop powerful, nourishing ideas. She is inter- ested in cross-artform processes. In 2011 she co-founded Trigger, co-directing the company until March 2013. InApril 2013 Suzy left Trigger to explore new pro- ducing models and establish collabora- tive working methodologies that enable ambitious, meaningful work to emerge. Suzy is one of the co-producers of Sync, Scotland’s digital innovation programme. She also produces PublicArt Scotland and works on the Digital R&D learning team. Suzy is currently working with a number of artists and organisations to develop exciting, large-scale, complex projects. These include Hanna Tuulikki’s Air falbh leis na h-eòin for Culture 2014 andYann Seznec’s Currents, commissioned by Ed- inburgh Art Festival and part of the New Music Biennial. 31 Some words from and about our collaborators
  • 34. Counterflows is a festival about collaborating. It is impossible to pull something togeth- er like this, something that investigates and celebrates our cultural ambitions, without the support,commitment and a sort of never mentioned belief in the still potent power of musical discovery, from a whole host of great people.With this in mind I would like to thank all those that tread firmly on the path of discovery with me: Clare Hoare, Alison Murray, Gavin Robertson, Fielding Hope, Tim Matthew, Ian Smith, John McCann, Christine Jones, Ilan Volkov, Brian Irvine, Brian Carson, Jackie Wylie, Graham McKenzie, Keith Bruce, Stephen & Dep & Russell at Monorail (still the best record shop in the world), Mats Gustaffson, Suzy Glass, Nicola Meighan, Ham- ish Dunbar & John Chantler of Café Oto, The Lau Boys, Francis and Ainslie at the CCA & their team, Paul Smith at Saramago, Stewart Smith, Kate Molleson, Joe Smil- lie atThe Glad Cafe Steve Noble, Beth Murray Robertson, BillWells, Sukaina Kubba, Marlies Pfeifer & Barbara & Konrad at Goethe Institut Glasgow. TICKETS FULL FESTIVAL PASS £40 or Friday & Saturday Day Passes available www.counterflows.com/tickets or visit Monorail, Glad Cafe or CCA VENUES CCA 350 Sauchiehall Street, Glasgow, G2 3JD. 0141 352 4900 Garnethill Multi-cultural Centre 21 Rose Street, Garnethill, Glasgow, G3 6RE. 0141 332 9765 Fleming House Underground Carpark 134 Renfrew Street, Glasgow G3 6ST TheVic Bar,The Art School 168 Renfrew Street, Glasgow, G3 6RQ The Glad Cafe 1006A Pollockshaws Road, Shawlands, Glasgow, G41 2HG. 0141 636 6119
  • 35. © Counterflows 2014 Produced by AC Projects Cover illustration by: Lucy Duncombe and KennethWilson Design by: christine-jones.com Printed by: Barr Printers Ltd Printed on: CyclusOffset, 100% recycled www.counterflows.com
  • 36. Friday 4th April GARNETHILL MULTI-CULTURAL CENTRE / £10 The Space Lady 7pm Ela Orleans & Maja Borg 7.40pm AiAso 8.30pm FLEMING HOUSE/UNDERGROUND CARPARK / £6 Akio Suzuki & Aki Onda 9.25pm CCA5THEATRE / £6 Counterflows Commission - Luke Fowler/MikaVainio/Lee Patterson 10.40pm CCA / SARAMAGO CAFE BAR / FREE Late Night Counterflows: Joe McPhee,Whilst & DJs General Ludd 11.30pm–3am saturday 5th April CCA CINEMA / £3 Counterflows Film Screening –Tropicalia by Marcelo Machado 12pm Counterflows Featured ArtistTalk – with Joe McPhee & Brian Morton / FREE 2pm CCA CREATIVE LAB / FREE Counterflows Residency Presentation – Peter Dowling & Rob Kennedy 3.30pm CCA5THEATRE / £6 Counterflows Commission – CaraTolmie & PaulAbbott 6pm CCA5THEATRE / £10 Will Guthrie & David Maranha 7.30pm GhedaliaTazartes & Maya Dunietz 8.25pm John Butcher & Mark Sanders –Tarab Cuts 9.30pm GLASGOW SCHOOL OFARTVICTORIA BAR / £10 Cry parrot’s Late Night Counterflows 11pm–3am Extended Play Heatsick with special guests GoldenTeacher & Joe McPhee sunday 6th April THE GLAD CAFé SUNDAY / FREE Counterflows’ FamilyWorkshop with Sarah Kenchington 11am The Space Lady in Queens Park 1.30pm Sonic Bothy 3pm GLAD CAFé EVENING / £12 The Songs & Music of Emahoy Maryam Guebrou Talk & performance with Maya Dunietz 6.15pm Roedelius & Schneider 7.30pm Joe McPhee’s PO Music Joe McPheeTrio with Steve Noble & John Edwards 9pm Joe McPhee & Mats Gustafsson duo 10pm Joe McPhee, Mats Gustafsson, John Edwards, Steve Noble & Peter Nicholson 10.15pm FULL FESTIVAL PASS £40 or Friday & Saturday Day Passes available ForTICKETS and more information: www.counterflows.com/tickets or visit Monorail, Glad Cafe or CCA