Two Rooms for Listening #2: Elisabeth Klinck + Tom Mudd

Friday 11 November 2022

A gradient poster in blue and pink lists three music events, featuring various artists and dates in 2022.

Concert Series with performances at Lyssningsrum and an adjascent space, in this case the foyer area just inside the entrance and leading up the stairwell to MDT.

Series made possible with so-called Krisstöd from Kulturrådet, The Swedish Arts Council — and devised and delivered in collaboration with Daniel M Karlsson and the Royal College of Art.

Elisabeth Klinck (BE) is a contemporary violinist, composer and performer based in Ghent, Belgium. With a background in electroacoustic composition and theatre she navigates through emotional landscapes using intimate sound textures and atmospheric tones. She studied at the Lemmensinstuut, The Royal Conservatory of Brussels and at Academy for Music & Drama in Gothenburg, where she acquired a masters in Orchestral Performance.

Klinck’s work can be an overwhelming force, but fragile at the same time. Her debut album ‘Picture a Frame’ will be released on Hallow Ground (Kali Malone, FujiIIIIIIIIIIta,…) in April and is a beautiful collage that functions as a sonic diary for the time she spent in the Spanish Pyrenees with longtime collaborator Oscar Claus.

As a performer of composed and improvised music she often collaborates with different artists and organisations. This sense of community is as important in her music as it is in her day-to-day life. Previous collaborations include: Miet Warlop (One Song), Ben Bertrand, Lieselot Siddiki, Jarne Van Loon, OffOff Film, Kopergieterij, Benjamin Abel Meirhaeghe, Nils Vermeulen and many more.

Tom Mudd

Tom Mudd (UK) enjoys making music with computers. Recent work revolves around physical models: digital synthesis processes based on physical simulations of acoustic objects and instruments. Brass Cultures (Fancyyyyy0 uses massed brass synthesis: digital models of physically improbable brass instruments being played by algorithms. Guitar Cultures is due to be released in 2022. Previous work released on the Entr’acte label explored similar territory with his own synthesis processes. He currently lectures in sound and music at Edinburgh College of Art.

http://tommudd.co.uk

“In Tom Mudd’s work, the conceptual and technological processes are paramount. For this particular release, both are embedded in the Gutter Synthesis algorithm and software which was created for and used in all six tracks. An inevitable consequence of this way of working is that masses of material can be created, which then requires both selection and editing. Once these decisions have taken place a strange, apparently contradictory, perceptual shift takes place towards the material.

The listener is confronted with complex, intense and emotionally charged musical events. This was not Tom Mudd’s intention as he’s not overtly concerned with personal expression. A deep interest in algorithmic computer processes is his guiding principal. Yet from this apparently cold approach to making music comes vivid, dramatic, sound art, packed with rich emotional layers that never operate at the level of the trite and illustrative. There is also a strong formal and structural quality to his pieces that allows, in the best possible sense, the listener to ‘immerse’ themselves in this challenging sound world.”

John Wall on ‘Gutter Synthesis’ (2017)