Steve Hauschildt // Leila Bordreuil // QUIP
// Tickets //
First Release: £5
2nd Release: £7.50
// Steve Hauschildt //
Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing.
In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns withvNonlin, an album that’s freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour — Chicago, Los Angeles, New York, Tbilisi, and Brussels — this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales.
Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener “Cloudloss” permeates the mix with an unsettling smog, which reappears and all but engulfs “A Planet Left Behind.” On cuts like “Attractor B” and “Subtractive Skies,” pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations.
The album’s title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. “Reverse Culture Music” casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his
already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends
// QUIP //
Ben Eyes’ oeuvre as Quip has sought to absorb as broad a range of digital audio culture that could be imaginably possible for an artist, whilst resolutely stamping his own unique take on all of these styles, which can only be described as quintessentially recognisable as Quip. Glitch, Drone, Techno, Experimental and Post-Rock are all referenced in a multitude of compositions.
His early works were Boards of Canada-esque meditations on broken glitched-out hip hop, whilst diversions into more dancefloor friendly territories would see a muscular and mutant hybrid of electro-techno delight and enthuse many a sweaty European underground club or basement-bar across the continent. In parallel, throughout the years, he has also performed more experimental sets for guitar and laptop, which, at their most melodious, call to mind the spectral beauty and impressionism of Christian Fennesz and at their most abstract are sound adventures into detailed textural complexity.
His recent works have explored the open-ended properties of modular synthesis, with abstract workouts utilising a custom Eurorack system.
// Leila Bordreuil //
Leila Bordreuil is a Brooklyn-based cellist, composer and sound-artist from France. She works in the realm of Noise music, Improvisation, New Music and sound-art. Her music is often dark and melancholic, and the New York Times has described her work as “steadily scathing music, favoring long and corrosive atonalities”. Driven by a fierce interest in pure sound and inherent texture, Leila challenges conventional cello practice through extreme extended techniques and unorthodox amplification methods. Her composed works frequently incorporate sound-spatialization by way of site-specific pieces and multichannel installations.
Leila is also a dedicated improviser and “rising figure in New York’s improvised music scene” (The Chicago Reader), having performed with a wide variety of artists such as Marina Rosenfeld, Zeena Parkins, Thurston Moore, Toshimaru Nakamura, Kim Gordon, Eli Kezsler, Chris Corsano, Nate Wooley, Lee Ranaldo, and SENYAWA to name a few. Ongoing collaborative projects include duos with Bill Nace (Body/Head), Tamio Shiraishi (Fushitutsa), techno producer Bookworms (L.I.E.S records), Zach Rowden, Julia Santoli, and a trio with Sean Ali and Joanna Mattrey.
Venues who've showcased her work include The Whitney Museum, MoMA PS1, Lincoln Center, Cafe Oto (London), Edition Festival (Stockholm), KRAAK Festival (Brussels), All Ears Festival (Oslo), Ausland (Berlin), Ftarri (Tokyo) and many basements across the USA.
Leila will be a 2020 artist in residence at the GRM, Paris, and Exploring the Metropolis, New York. In 2018, Leila received composer commissions from the French Embassy, The Kitchen, the French Alliance and LAMPO (Chicago). She was a Composition Fellow at the McDowell Colony (2017), and an artist in residence at Issue Project Room (2016), Harvestworks (2015) and the Atlantic Center for the Arts (2013).
Stream her debut solo EP "Flush" here https://catchwaveltd.bandcamp.com/album/headflush