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
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
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
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
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
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