Matthew Whiteside is a regular co-host on The Vile Arts Radio Hour: bringing a touch of intelligence and knowledge to my usual vague understanding of contemporary classical music, he is a tireless supporter of new composition. He's part of the wonderful Said Ensemble, a group committed to bringing classical music into unfamiliar places, like the pub, and he has been known to compose a cheeky electro-acoustic number, or two. In fact, he is prolific.
His entry into the next Edit-Point show explains why he is a good match for the Vile Arts ethos. It's called Sanshen and early indications suggest that it is going to be a big drum solo. Edit Point have got young percussion Glynn Forrest on board to bash some bits - six new compositions, and the full range of percussion, from maracas (Javier Alvarez’s Tamazcal sees the instrument made popular by Bez face off against tape) to a rock'n'roll style kit.
Edit-Point are in one of those marginal areas that I love so much: not purely classical composition, not purely electronic and intrigued by the possibilities of sound in specific spaces. Of course, every experimental musician likes to say something like that, but Edit-Point back it up by having a constant programme that challenges emerging composers to think about sound as "cinema for the ears."
It might be said they are John Cage's children, in their fascination with the complete listening experience. Then again, maybe Cage had an affair with Stockhausen, because these kids like to get plugged into the machine.
Edit-Point are performing as part of the Sound Lab series: 7.30pm, Wednesday 27 February, Recital Room, City Halls, Glasgow
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