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BRB/Spoils & Relics/Ali Robertson/Sippy Cup/Claire Potter
June 21 @ 7:30 pm - June 22 @ 12:00 am£5
‘Tis a curious eve and no mistayke…
“Kev Wilkinson is something of a local legend, having pursued his BRB project in various guises on and off for the past quarter century. Starting out as Big Road Breaker and also being the brains behind the Muza Muza label (that released the first Jazzfinger output all those years ago, plus Ashtray Navigations and many more), his identities have gradually evolved over time though his predilections have remained the subsonic, the garagantuan (sonically) and the indefinably disturbing.” -Tusk Festival.
“… the enigmatic Spoils & Relics; lay out their wares for all to see. These include all manner of hard to identify sounds that could have been made inside a deep sea divers helmet at 20,000 fathoms. Here we have shortwave trawls picking up single, impossible to translate words, slight squeaks, wheezes and heaves, sounds of budgie cages being shaken in empty houses, lo-fi electronic squawk, bottles being kicked around a stone floor, parps culled from small boxes with switches on them, electro-acoustic dub, dried peas rattling around a Quality Street tin, a mass beetle exodus … or none of the above.” – Harbinger Sound.
“One half of Edinburgh’s absurdist sputter and clink duo Usurper and head honcho of Giant Tank – Ali will be performing solo on the night. Having dabbled and drooled his way through improvised collaborations with the likes of Blood Stereo, Phil Minton and Adam Bohman – his combination of avant sound poetry, scuttled performance art and garbled Scots vernacular will provide a fine lubricant.” – Braw Gigs.
SIPPY CUP is a duo, a duo of two people, firstly a woman and then also a man, who operate in ALL MEDIA and under operate under ALL KNOWN CONDITIONS, impervious, with anything to hand. Nature is not easily diverted or waylaid. Look at moss. Look at moss, for instance.
Yet this is not a calcified imperviousness. Nor is it an unreflective mechanical imperviousness seeking to falsely replicate objective processes as “expression”. Don’t get it twisted. It is the autonomous imperviousness of responsible decision-making, lodged like a gleaming shard right in the heart of chaos. A jaunty cap. For LOOK, they retain full access to their archaic reserves of spontaneity. Listen, little man! And these reserves appear seemingly inexhaustible. Inexcusable. It is a deep well. Ineluctable. A deep well, like a deep mossy well, for instance. And for this they are the envy of all around. Everyone that’s around.
Claire Potter is an artist-writer from Merseyside who works with published text, live performance, audio, and installation to address modes of reading, speaking and writing.