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Lau-Land Collaboration Station

Lau are hosting a series of music festivals, the most recent, at Sage Gateshead was a stoater. As part of the event we host the Collaboration Station, where artists at the festival collaborate with Lau and each other. Here is the first in a series of videos, this is Lau and the amazing Aoife O’Donovan.

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The Bell The Never Rang – New Commission

Lau performed the premier of The Bell The Never Rang, one of 20 new pieces of music for the PRSF New Music Biennial earlier this week. A gig at Celtic Connections is always a treat, and we were very luck to get to work with the magnificent Elysian Quartet. Very nice Guardian review below, click for full article.

Some beautiful shots by John Gray at BaylisGray, thanks John. Check out Elysian Quartet here.

Lau-Land Edinburgh January 2014

We hosted another Lau-Land curated event, complete with “The Sign” and a host of talented friends at The Roxy Edinburgh on January 1st.

Participating were:

Tim Matthew and Úna Monaghan (check out Fuaim Is Solas post below)
MacMaster/Hay
Fraser Fifield and Graeme Stephen
Sue Mckenzie
And of course Lau.
Visuals by Mike Guest at stashmediaworx.com.

SPEND TWO MINUTES IN LAU-LAND:

Lau-Land Edinburgh January 2014 from Martin Green on Vimeo.

 

Many thanks to Inge Thomson, Unique Events, John Gray at BaylisGray, and all the great performers.

Great photos by John Gray below:

 

Guardian piece on Crows’ Bones

Click above for full article, or go here.  The Crows’ Bones tour was fantastic, nice review in the Bristol Post here and on Folk Radio UK here.

Huge thanks to Opera North Projects, Ben Everett (production manager) and of course to Inge, Becky and Niklas for a great time.

The Crows’ Bones album is finished, and a wee blog on that coming soon.

Controller instrument from cutlery

I made this controller/instrument out of forks and spoons, for those that are interested, the a makey-makey chip sends qwerty information to Ableton for triggering, the knobs are ripped out of an old M-Audio controller, and there is a piezo pick up on the back which gives the live sounds, which feed back in through Ableton. It’s just back from its first Lau tour, which went very well, now it will get a few tweaks and a return to the workshop for a couple of minor things.

Thoughts From The Van

Lau are delighted to have been commissioned by Celtic Connections and The PRS for Music Foundation for the New Music Biennial project to write for Lau and Elysian Quartet.

Here is a little ramble about its conception:

Most of Lau’s life takes place in a van, a Mercedes Sprinter to be precise, and we have a great deal of love for it. It is in the van that we have time to speak, formulate ideas and notions, argue over whether or not salted licorice was really designed for human consumption and most importantly, listen to music. And we listen to a lot of music. Driving is done by sound-engineer, tour manager and van owner Tim “Roaddog” Matthew. Tim is a remarkable musician in his own right and he loves to listen to music and he does all the driving, so it seems like the thing to be doing. I have always been glad of this, a music making entity should listen to music together, it seems extremely healthy, even important to us to listen to a lot of different music. Each of us appear at the beginning of tours with new nuggets of music for the van, either things we have just discovered, or things from the past we have loved and recently obtained in fun-sized squashed to the baws mp3 format.

So anyway, our story starts in the van, maybe outside a travelodge on the M6, maybe in a sexy little corner of Scotch Corner services, I can’t quite remember, but Aidan had been talking to Donald Shaw at Celtic Connections about them commissioning us to write something for the PRSF New Music Biennial project. So he’s off the phone, everyone’s game for the plan, but then the question is what do we write?

27i
Folk music is a very serious business..... Photo: David Angel

 

 

And this is partly why I love the van, because if you were just to sit for four hours in real life mulling something over, mostly just staring and conversing sporadically you would feel you were perhaps wasting time. In the van though, such activity is making extra use of time, it’s bonus time, and that gives the mind a freedom, a removal of the hurry felt in the terrifying world that lies beyond the sliding door of the Mercedes splitter.

So we’re driving along listening to music and talking about possible projects. Lau love to collaborate, it always felt natural that if we were awarded a commission of this size that we would bring in other players, other influences, it has always been good for us as musicians in such a small unit to take inspiration from outside sources, often musicians from outside folk music. So the conversation turns to successful uses of folk music in other genres, what were the hits, what were the misses (subjectively speaking). We go through a few things, and widdling our way round to compositional thinking, we hit on Bartok. Yeah, Bartok had some rockin folk tunes banging on in there, so the ipods are searched, and Bartok is found (gotta love the van) and it is Takacs Quartet playing String Quartets 1-4. That happened to be what what Bartok there was to be had, but that led the conversation on and we thought about this for a while, perhaps a project based around Bartok? or his approach to collecting, but transferred to Scotland? we weren’t quite sure, but we did know for sure, we loved Bartok’s quartets, and that in turn lead onto to speaking of quartets.

So we spoke of string quartets, as non-classical musicians, the string quartet seems like one of the more understandable socio-musical dynamics to us. Where as a beast the size of an orchestra magically channeled through a wizard like conductor seems quite alien (and fantastical), the quartet seems more like a band as we understand it. By this time we have arrived at our destination, but the seeds are there for this idea, some combination with Lau and a string quartet that allows equal voice to both musical traditions, theirs and ours. Then we do a soundcheck, a gig, drive to another travelodge and wake up in the morning. And get in the van.

The conversation about who we would like to work with is much shorter, Elysian Quartet, like many of the world’s great musical entities, are friends of Roaddog, he has toured with them with Adem et al, and through him we had become huge fans of Geese (a duo that comprises one half of the Elysians) and the van had also very much enjoyed Laura (cello) Moody’s solo CD in the past. We had been following reports of Stockhausen’s Mittwoch aus Licht (Helicopter) piece they were involved in, and all in all they seemed the perfect people. So we had it, it’s gonna be this Bartok project with the Elysian Quartet, no problem, so I phone up Emma Violin Smith of said quartet and propose this master plan.

“Yeah that’s great Martin, but we don’t really play Bartok, that’s not really what we do”

TheElysianQuartet
The Elysian Quartet Obviously contemporary classical music is very serious too....

 

Hmm, so optimism and healthy ignorance failed to propel us to end of the project in one clean swoop, but my chat with Emma did involve talking about what the quartet had been playing recently and what excited them. So some more thinking needs to take place, but that’s cool because we have the van. So we go and listen to Elysian’s Soundcloud (do it), and we there hear something else. An approach to improvisation formed in a musical world quite different Lau’s but one that seems to make immediate sense, a definite sense (in our minds) of two bands approaching similar destinations.

After that it seemed a natural path to follow, to construct melodies and forms in the way Lau always had and create avenues for all musicians involved to explore. We test drove this set-up at Snape Proms this year, with Elysian and Lau joining forces for a couple of our existing tunes, resulting in what may well have been the best gig of the year for us. We can’t wait to get writing and do more.

Wouldn’t it be great if I ended this with examples of fantastic cross-genre uses of traditional music from the last two hundred years? yeah wouldn’t it. Here’s a beautifully shot film of Lau on tour, I want you all to see the van:


Many thanks to The PRS for Music Foundation, Celtic Connections and Elysian Quartet for the opportunity to do this project. Video by John Gray of BaylisGray.

For more info visit: www.lau-music.co.uk and www.elysianquartet.com

Fuaim is Solas

I was delighted and privileged to take part in this project Fuaim is Solas (sound and light)  with Tim Matthew and Una Monaghan. The shows we did were intense and I look forward to the chance to do more. Here is a great video about it:

Fuaim is Solas – Gaelic: Sound and Light
Collaboration between musicians Una Monaghan, Martin Green, and Tim Matthew and film curator/projectionists Screen Bandita.

Description
Screen Bandita curated 10 short 16mm films from their archive and put them together on 2 reels. They projected these reels with two of their trusty Elf projectors onto a gauze screen. Behind the screen, Martin Green, Una Monaghan and Tim Matthew improvised to the images. In return, inspired by the music, the Bandita projectionists physically manipulated the images using lenses, mirrors etc. The result: a jam between sound and light

Filmed / Edit by Mike Guest
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Post Production sound mix Christopher Hall
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Fuaim is Solas from Stash Media Worx