FEED AT Z/KU 091314

Neil Flynn + Jon Schmidt

Saturday September 13th, 2014
Zentrum für Kunst
Siemensstrasse 27, 10551 Berlin

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Equally inspired by mystic and scientific approaches, Bsynthome aims at exploring dynamic interrelationships and cycles within a fictitious system. An environment composed of kinetic installations, incomprehensible instruments, video cameras/projection and objects resembling primitive organisms, geologic finds or artifacts forms the core of the Bsynthome system.

Performers work with instruments and tools in an attempt to interact with and understand the system’s changing connections and the cycles of its elements. By observing the complex stage arrangement, its correlations and sequences, the performers eventually change the system itself and leave it in an altered state.

The performance is structured in three parts. In the beginning, the audience can observe the stage arrangement in a balanced loop. In the second part, three performers enter the stage, observe, interact and transform the system. In the third part, the stage set-up changes completely to produce an altered loop.

Bsynthome is both workshop and work at the same time. Using the performance space as a laboratory, the production process and the results of that process are presented on an equal footing. The interplay between the actions of the performers and the elements of the kinetic system on stage create a functional choreography. The sounds and images that are produced can be traced to the physical actions of the performers, creating a highly engaging process through the simultaneous perception of cause and effect.

Bsynthome is the second part of the Synthome-Cycle, a performance trilogy examining complex systems. The first part, Asynthome, dealt with its creation. The third part, Csynthome, will investigate its decay.

Transforma & Yro August 2014




In 2004, prior to the founding of the label Skull Disco, Ian Hicks of Mordant Music liked and released an early Shackleton track entitled Stalker. The track later appeared on Rough Trade's 'Best of 2004' compilation. Around this time Shackleton started thinking about forming a label to release "interesting bass music". Shortly after, Shackleton began the (now defunct) Skull Disco nights in London. Attendees at the first Skull Disco night included Loefah and Mala of the DMZ label.

Releases on the Skull Disco label were typically double A-sides, often featuring a track apiece from Shackleton and Appleblim. Skull Disco releases tended to use unusual sounds, atypical of any particular genre; they often used African percussion and samples of ethnic vocals, combined with massive, wobbling sub-bass and sometimes elements of four to the floor, Basic Channel-esque drum patterns.

Typical artwork on releases (by Zeke Clough) was also of an idiosyncratic nature, the pen-and-ink covers referencing egyptological symbols as well as displaying a decidedly metal influence.

Shackleton's music seems to have tapped into a wide range of genres with support for his music coming from djs as diverse as Kode 9, Ricardo Villalobos, Radio Slave and Mary Anne Hobbes while the Hardwax record shop and The Wire magazine are also very enthusiastic. The Wire featured him on the cover of the December 2010 issue. Shackleton's releases have been record of the month in publications such as Mixmag and IDJ magazine on several occasions, whilst Mixmag has also included Skull Disco and Shackleton in their “Best Of The Year” top ten lists as well as being in the top five record labels and at number one in the remix chart.

Shackleton has also been involved with remixing for Simian Mobile Disco, Harmonia and Brian Eno, To Rococo Rot, Modeselektor and Apparat, Badawi, Kasai Allstars and dub techno pioneer, Pole as well as doing remix work for Ricardo Villalobos which went on to take first place in Resident Advisor's remix of the year poll. In the same year, his Death Is Not Final track and Skull Disco record label both made top five in the polls. Shackleton's 'Soundboy's Suicide Note' mix was even made the official mix of the year on Mary Anne Hobbes' show on BBC radio.

“What you're describing as the darkness,
I call the warmth.” Sam Shackleton | The Wire Magazine

He has continued to release on Woe To the Septic Heart, including a double album entitled Drawbar Organ EPs/Music for The Quiet Hour in 2012 which again made the Best of Year lists for publications such as The Quietus, The Wire, Resident Advisor, Little White Earbuds and many others. The music itself during this time has tended to go in an ever more idiosyncratic direction with the use of unconventional time signatures and unusual structures in preference to the big bass drop.