singer & trumpet in anarchistwood / NiMBLE[NiMBUL] / Dr. Equalizer  trumpeter in Girls in Synthesis
vj. film maker. poet. tarot card reader. cake baker. mad knitter. grandparent. scientist. artist. idiot.

I was born in Kent. I grew up a bit in Maidstone in Kent and then I grew up some more in Stilton in Cambridgeshire. I am 5ft 10in tall, weigh 11st. have blue eyes and long blonde hair and am of medium build. My interest in music began at an early age when, still a baby, I used to vibrate on the floor to my fathers record collection; there is cine film evidence of this. My father had a piano and he plonked me in front of it at the age of 6/7 and since then I have been playing and writing music. When I was 15 I was attracted to the bass guitar and have been playing in various rock/blues and jazz outfits since then, most notably the Rude Mechanicals. Playing all over Cambridge and more recently London we have done much to convert people to a stranger kind of music and performance - it has done them good.
As well as this, I compose experimental/avant garde modern classical and electro-acoustic music. This has been performed at such venues as Cambridge Corn Exchange, West Road Concert Hall, Kettles Yard and The Foundry (Old Street). I have been shortlisted by the S.P.N.M. for a piece I wrote for Tuba and Piano. I am interested in the experimental and avant-garde forms of composition with performance.

I once played the bass with a plastic fish and on a separate occasion sat on a swivel chair with a yellow paper cone to my mouth shouting whilst spinning round very quickly.

I don't know how wide I am but I still vibrate to music which makes me feel quite good.

The Model Aircraft Museum, a world of Neurodiversity stories and experiences is now available on SoundCloud under the title TOUCHING THE SUN - THE MODEL AIRCRAFT MUSEUM.

The Terminal Beach, my JG Ballard short story soundtrack.  A successful free download with Linear Obsessional label.  Get the free PDF booklet from there.

Please enjoy.  :)

I enjoy performing solo improvised electronics, creating sound-design for installation, theatre and film, performing live with cabaret star Miss Roberts as part of "Rude Mechanicals". 

I started working life as an Oceanographer. Throughout this time experimenting extensively with sound, using modified reel-to-reel and self-built devices. 

His portfolio of compositions includes work for piano and "tape", live processing of soprano saxophone, video, theatre, dance and installations. His soundtracks have been heard on Resonance FM and at national events including the Manchester Short Film Festival, Newcastle Vain Festival, Sonic Arts Network Expo! 

MORE STUFF (if you really want to know)

Gear
The set up has several elements which are pretty interchangeable, but I normally use a 3/4 size electric guitar as a primary sound source with a Headrush loop pedal (because its very straightforward) processed through various effects units. I only rarely play the guitar conventionally, preferring to use preparations: placing objects between strings and rubbing and striking the strings or using devices like the ebow to generate sounds. The tuning of the guitar varies and often I deliberately detune during performance - some strings by around two octaves. If I’m collaborating with other musicians this is often the only instrument I’ll use as it’s quick to set up!

For a solo performance I’ll bring some more devices along - very much depending on the nature of the  event and how long I have to perform. Ive become fond of Korg recently and often use their Kaossiloator and Monotron synths as they are easy to slip in a pocket. I also like to bring along one of a selection of larger synths, self built/circuit bent or novel instruments. This includes a Stylophone 350S, a Wasp, SH101, a fretless bass tuned to low B, a child’s keyboard, contact mics, and a modded delay I made in the 80s. Rather than set all this up through a large mixer I like to use a small 4-channel microphone mixer and plug things in and out - probably because it adds to the danger and theatre!

Development
During the 80s I started using computers for music in particular a Yamaha CX5M and in the early 90s a Mac. Making music using these was slow (not quite as slow as using magnetic tape! But still sloooowww…) My interest was in electroacoustic music and combined samples and synthesised sounds. The level of detail I went into was borderline obsessive. Initially I was doing sound design for theatre, but then I started a post grad degree in music and found playing finished pieces in concert halls was an odd experience as no one was doing anything. So I started working with live performers and playing the pieces live myself.

It quickly struck me that the sounds and structures I had taken so long to achieve in the studio could be created spontaneously on stage. I used a AKAI S3000 to sample instrumentalists editing and manipulating on the fly. No only was there little sonic difference, it was more interesting  for myself and the audience. Computers in those days were forever crashing and I always found a mouse a rather clumsy musical instrument, so I’ve never felt tempted to use computers live.

Aesthetic
The unpredictability and ephemerality of improvisation appeals and for years I avoided recording my performances. Choices about what to use are made on the spot after arriving for a performance - sometimes using less than half of what’s brought. I enjoy collaborating - especially with other art-forms like dance and this extends to the audience who can be asked to choose what equipment used etc.. Often a series of shorter pieces of around 5mins can seem more satisfying that extending an idea for 30min. Recently Ive started using computers again for creating the sound element of installations - sometimes supplementing with live performance.

“Hackney’s answer to the Gypsy Kings” - Come Dine With Me
Spanish songs, celebrating a golden age of Latin song/melody, and flamenco-style coplas aka Canción Española 
Amor Bendito is actor and translator Robert Allwood. He was born in London, and has lived in Brighton, Berlin and Barcelona. He loves flamenco music and fino (dry sherry – Tio Pepe will be fine, thanks!). His most recent TV appearance was in Come Dine With Me – Enfield as the entertainment, singing a Mexican ranchera. As an actor he has appeared in Very Important People, Seconds From Disaster: King's Cross Fire on National Geographic, and in the 118 118 Rocky ad. He translated the original catalogue for the museum treasures rescued from Afghanistan.
Influences/tags/Similar Artists: Miguel de Molina, Billie Holiday, Lola Flores, Rocío Jurado, Pedro Infante, Chavela Vargas, Lila Downs, Marifé de Triana, Antonio Machín, Ibrahim Ferrer, Buena Vista Social Club, Manu Chao, Concha Buika.
Previous gigs have included Come Dine With Me – Enfield as the entertainment, TChances, Evidently Chickentown, Hays Galleria, Poetry Cafe, the Palatine, Tribal Voices festival, Diceman George’s, The Klinker, the Black Dog Club, the Mindsweeper, Friern Barnet Community Library, Everest Base Camp talk, Southwark Arts Festival, Regent Studios, float23's Meltdown, the Torriano, Caledonian Road Festival, Bonnington Sundays, Billy Blake’s Birthday Bash, Paranoid Olympics

Heads: limitedNOISE PR / events

Artist: World Sanguine Report, Snack Family, WSR Redux

Miss Roberts does these at home on her own with nothing but a small dog and the ghost of Wolfgang to keep her company. She is also the singer with Rude Mechanicals who may eventually get round to playing these tracks.


Miss Roberts is following