On the weekend of February 10 to 12, 2017 Forth will host Forthwith, a festival for experimental sound in Winnipeg, Canada. Through this gathering we aim to support and showcase a blend of local and international artists and blur the lines between music, creativity and tech. Friends from afar will be joining us to collaborate with hosting, teaching and performing. We aim to create a convergence of improvisation involving music, workshops and food.
Ewa Justka is a polish electronic noise artist, self taught instruments builder and electronics teacher based in London. Her main field of research is based on exploration of materiality of objects, vibrant, ontological systems (human bodies, plants’ bodies, electronic circuits: varied range of micro and macro environments and relations between them) and an investigation of modes of quasi-direct perception through noise performance actions, interactive installation, DIY electronics, hardware hacking, plant-molesting, breaking, deconstructing and collaborating. In her artistic work Ewa attempts to explore the concept of materiality of the hidden.
Regolith is a duo consisting of Austrians Richie Herbst and Christian Zollner and started in 2006. Following a phase characterized by harsh noise, they’re now into improvised soundscapes, some created on analog modular synthesizer, effects and homemade equipment, all situated at the interface of deep drones and unsettlingly beautiful harmonies.
Freya Björg Olafson is an intermedia artist who works with video, audio, painting and performance. Her praxis engages with identity and the body, as informed by technology and the Internet. Her creations have been presented and exhibited internationally at venues such as SECCA - SouthEastern Center for Contemporary Art (North Carolina), OchoYmedio / Alas de la Danza (Quito, Guayaquil and Manta in Ecuador), The National Arts Center (Ottawa), Sequences Real Time Media Arts Festival (Iceland) and Medea Electronique / Onassis Cultural Center (Athens, Greece). Freya’s solo performance AVATAR received the ‘Buddies In Bad Times Vanguard Award’ at the Summerworks Theatre Festival in Toronto and toured across seven provinces in Canada, four states in the USA, three cities in Ecuador, Reykjavík, Iceland and Germany. Freya’s video work has screened in festivals across the globe with recent dates in Serbia and France. To develop her work Freya has benefitted from residencies: most recently through EMPAC - Experimental Media & Performing Arts Center (Troy, New York), Atlantic Center for the Arts (Florida) and SÍM - Icelandic Association of Visual Artists (Reykjavík). Freya holds a MFA Degree in New Media from the Transart Institute / Donau Universitat in Krems, Austria alongside her BA Honors in dance from Winnipeg’s School of Contemporary Dancers / University of Winnipeg and six years training in the Professional Program of the Royal Winnipeg Ballet.
SATURDAY 11 FEBRUARY - @ VIDEOPOOL
SIGN-UP REQUIRED! SIGN UP HERE.
max participants: 10 persons.
BUILDING THE VOICE ODDER
For this one-afternoon workshop, Polish electronic music artist Ewa Justka will guide you through the creation of a unique, multi-faceted electronic instrument and effects unit - The Voice Odder.
The Voice Odder is a simple electronic circuit based on delay IC. It can generate various sounds - from echo and delay effect to reverb, extreme resonance sampling and distortion, depending on resistance and voltage.
During the workshop participants will learn how to build electronic circuits: how to solder, read schematics and data sheets, use multimeter and what are the functions of basic electronic components.
The workshop is for beginners in electronics but advanced participants will have fun too!
All of the materials will be provided and are included in price. Participants will finish the workshop with their own fully-functioning Voice Odder to take away!
Érica Alves from Brazil is an electronic singer-songwriter and producer who caught our eye while performing in a 10m2 wooden cube inside a Berlin club. Her "lo-fi-trip-synth-pop" performance was so strong, filled with fun and well constructed that we needed to invite her to Forthwith, where she will perform into the night on Saturday (Feb 11th).
SUNDAY 12 FEBRUARY - @ VIDEOPOOL
SIGN-UP REQUIRED! SIGN UP HERE.
max participants: 10 persons
Together with electronic whizkid Dan Green from established synthbuilder 4MS Company we will be building the SimSam!
The SimSam (Simple Sampler) is a single-chip “sample-rate cruncher” that’s glitchy as all-get-out but only costs about $8 in parts. It’s an effect with an input and output jack; and it’s a noise-maker since a jumper shorts the output back into the input when nothing is plugged into the input jack.
For the real nerds, here are the specs:
The heart of it is a programmable AVR chip, the ATTINY85. This 8-pin chip has 512 bytes of SRAM memory, which is used to simultaneously record and play a constantly changing “sample.” Think of the SRAM as a very very short tape loop (a few milliseconds long). The signal comes in the Audio Input jack and gets stored into SRAM (via a virtual “record head”) at a variable rate called the “sample rate”. Sample rate can be thought of as the speed of the motor on a tape-deck that’s recording. While that’s happening, the SRAM is also being played back (via a virtual “playback head”) and sent out the Audio Output jack. Two buttons affect the sample rate to get different effects. The button on the right cycles through one of 8 different rates, which effectively changes the pitch of the output– but don’t think of it like a pitch shifter, it’s way glitchier than that. If you hold this button down, recording to SRAM is disabled, and the playback just plays whatever happens to be stored in SRAM. Since the SRAM is so tiny, this “sample” sounds like a tone with a weird waveshape. Finally, when you hold down the button in the middle (or the left button for v1.0), it cycles through all the sample rates at a fast pace to create a warble effect. In v2.0, there is a button on the left that resets the whole circuit
Native Instrument is a Berlin based sound collaboration bringing together the field-recordings archive of Felicity Mangan and the abstract vocabulary of Stine Janvin Motland. Often referred to as insect techno, Native Instrument’s music is constructed using electronic and vocal adaptations of animal and insect sounds originating mainly from the Australian and North European fauna. Mixing natural rhythms of birdcalls and bug beats, with digital effects and vocal imitations, Native Instrument enlightens a sonic ambiguity between rural nature, electronics, and the human voice.
VOR aka Andrea Roberts is a Canadian multidisciplinary artist whose research based practice deals with sound, technology, affect, and embodiment. Roberts has exhibited internationally including recent shows at Oakland University Art Gallery (Detroit), SomArts (San Francisco), Send & Receive Festival of Sound Art (Winnipeg) and aceartinc (Winnipeg). A founding member of the feminist artist collective ngtvspc, Roberts was a summer 2016 artist in residence at Brooklyn's Pioneer Works Center for Art and Innovation.
The Vinyl Salon is an all female vinyl collective based out of Winnipeg, Manitoba.
The Vinyl Salon is an evolving space for women to enjoy and share music. Whether we're playing records in a West Broadway living room or at the West End Cultural Centre, the mandate is the same: we're women occupying a particular space, curating our love of music as a shared experience.
Panenkov is the experimental techno/ambient moniker of vocalist/songwriter/instrumentalist Marlon Penn. His involvement in music and arts goes beyond genre or discipline. Marlon has performed as a solo singer/songwriter, as a backing musician, as a producer, as a dancer and choreographer. Panenkov is about creating a fully improvised show, with electronic instruments as the foundation for this highly personal experience.
Colby Richardson is a visual artist, filmmaker, and analogue video artist based in Winnipeg MB, Canada. As a video artist, Colby utilizes an array of historic video technologies and equipment to create dynamic and textural visual works, sculptures, and installations focusing on the control and exploration of video feedback, and the modern role of obsolete technologies. Colby creates other-worldly video realms that straddle the border between glossy and grotesque, investigating themes of transformation, passage, and escape. Richardson has exhibited and screened solo and collaborative work across Canada and the United States, at such institutions as Microscope Gallery (Brooklyn, NY), WNDX (Winnipeg, MB), Videofag (Toronto, ON), Artist’s Television Access (San Francisco, CA), and Studio Kura (Itoshima, Japan).
Influenced by experimental fusion electronic, acoustic jam, Passiflora combines afro - brazilian percussions , echoes, melodic electric guitar distortions, and many other analog noises. The mix is the result of the close interaction between the artists improvisation and the ambient. The acts are always improvised. Sounds and samples are generated while Passiflora is playing.
Steffan de Turck has been a sound-artist since the nineties and lives and works in Tilburg, The Netherlands. In the early nineties he started creating “noise-machines” by circuit bending turntables, amplifiers, radios and other audio equipment. In 1995, he started releasing this noise using the project-name “aMP”. 2003 saw a change of name into “staplerfahrer” bringing with it a change in sound: less harsh rhythmic noise gives way to elements of microsound, field recording, drone and musique concrete. Since 2005, staplerfahrer has been performing extensively solo and with various groups all around Europe and in the USA.
Using the cello, voice and analog electronics, Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of a homemade analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language which hearkens back to song, noise and melody; combustible, acrid, sweet, pitted full and potentially beautiful.
Oldest surviving recordings date back to 1983, using radios, tape, metal, junk and anything that could be used to make a sound.
Shortly after, tapes were mailed out into the home taper underground. Started a small cassette label, Industrial Therapy Unit, to serve as a vehicle for both self made tapes and tapes by others. Got more sound making devices, including synths and samplers. Played the first show in 1993. Many more since then. Has opened for Venetian Snares, Fanny, Merzbow, and others. Played at a few festivals, including send + receive. Styles range from noise, ambient, breakcore, IDM, techno and quantum synthesis, all done under the same name. Has done various remixes for various people including Venetian Snares, Fanny and Ambassador 21 amongst others. Still uses radios, tapes and junk, as well as samplers, synths and computers. Clearly bad at writing bios.
Alyssa Bornn is a Winnipeg based visual artist currently pursuing a BFA at the University of Manitoba. She has on and off called both London, Ontario and Montreal, Quebec her homes.
Affectionately she considers herself both a perpetual amateur and enthusiast. Her recent work has centered itself around the intersection of sculpture and photography; often using unconventional means such as scanners, photograms, broken projectors to register image. Recently she has started making moving image work and venturing into the performative aspects of these projects.
Our friends of Skullspace will host a open synthfest at Forthwith! Come down to pet and play with a bunch of mostly modular synthesizers!
Bring your own modular and let's get nerdy!
SkullSpace is a hacker space in Winnipeg, founded December 2010; a place for hackers, builders, programmers, artists, and anybody interested in how stuff works to gather in a common place and help focus their knowledge and creativity.
S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.
Kelly Ruth is a Textile/New Media artist living in Winnipeg. Most recently she has been activating her textiles and tools through using electronics, sound, and integrating microcontrollers into the foundations of her woven cloth. She has created several bodies of work using fibre, dyeing with plants and weaving, recognizing these as early technologies and ethnographic relationships that humans have had with the land. In her work she is primarily concerned with the interplay between class, economics and ecology. In her live sound performances she uses contact microphones on her weaving loom collecting and manipulating the sounds through pedals. Through these sounds she aims to give a voice to the loom speaking through history considering our relationship to freedom; our submissions to the controls over our time; the manipulations of our thoughts; and our complicity in the oppression of others in the face of global capitalism. Kelly has a background as a textile dyer/painter for dance, theatre and film companies across Canada. She is also a garment industry activist and models her manufacturing ideals through running her small business as an artisan garment designer.
New York duo Talibam! might be remembered in a variety of ways: as a classic keys/drums free jazz duo, as obnoxious Dadaist provocateurs with an uncanny sense of musical history, as members of the D.I.Y. Brooklyn underground. Given their name and occasionally lo-fi surrealism, they might also be just as easily written off as goofballs, but keyboardist Matthew Mottel and drummer Kevin Shea could never be accused of slacking.
Frans de Waard has been producing music since 1984, first as Kapotte Muziek, but throughout the years, he also worked as Beequeen, Goem, Zebra and such solo projects as Freiband, Shifts as well as his own name. He has worked for Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital, now only Vital Weekly, an online music magazine, which has been the online source for underground music since 1995, and which celebrated its 1000th issue in 2015. In 2016 Timeless in France published his first book, an autobiography of life at Amsterdam’s experimental record label Staalplaat called ‘This Is Supposed To Be A Record Label’.
Wouter Jaspers is a Dutch musician and instrumentbuilder living in Berlin, Germany. He's an auteur of field recordings, making use of his busy tour schedule to amass a noise archive where the narrative qualities of sound become catalysts for dark ambient folk chasms and ear splitting adventures.
Matt Motte (infamously of Talibam!) is bringing his audiovisual performance called Osmotic Imagination, which showcases / and is based on his father Syeus Mottel's deep well of cultural and political photography (including a whole series of Silver Apple's photos from 1968) to Forthwith!
Matthew will perform Osmotic Imagination at the start of the festival and the photography will be featured as an installation at the festival for you to immerse yourself in along with all the wild and curious sounds going around!
Burden creates composed and improvised works for the amplified piano soundboard, exploring physical properties of the piano: tension, tuning, and resonance, using handmade tools and found objects to produce dark warm drones, thuds, and squeals. Unlike a full piano, whose felt dampers mute the strings until a note is played, the open soundboard's strings all vibrate and sound at once, creating layers of beating harmonics.
Dan Green is an inventor, engineer and musical instrument builder. In 1996 founded an innovative effect pedal company named 3ms Pedals and began producing table-top noise devices as well as effect pedals for experimental musicians. In 2009, now under the name of 4ms Company, he started well ahead of the curve with eurorack synthesisers and began designing synthesizer modules.
Richard “Richie” Herbst is a sound activist, who lives and works in Graz, Austria. He uses analog modular synthesizers and effects to create meandering landscapes of sound. Besides his solo project “Herbst” he is part of FS Massaker Trios and Regolith. Herbst is the cofounder of the recordlabel Interstellar Records.
DJ Propinquity (drumherum/Berlin) plays world inflected happy beats, relaxed and easy with deep bass. Perfect for our closing afterparty with all the artists, volunteers and visitors! Lets dance into the night and end an awesome festival weekend together at Forth!
Aaron Zeghers is a Winnipeg-based artist working in film, video and photography. Zeghers is eclectic in his own practice, working simultaneously in documentary, photography and of course experimental film projects. Zeghers’ films have have screened around the world, including live performances oh his expanded cinema work in New York, Rotterdam, Los Angeles, San Francisco, Oakland, Milwaukee, Minneapolis, Chicago, Toronto and more. Zeghers is also a founder and co-director of the Winnipeg Underground Film Festival and the Open City Cinema on-going film screening series. He's also the current Artistic Director for the Gimli Film Festival, Manitoba's largest film festival.
Come and join the pop up choir practice on Saturday afternoon! Danilo Timm born in Brasília, Brazil has over 10 years experience as a singing teacher and coach. He will be taking participants through some breathing and vocal exercises and will wrap it up with teaching a song. In touch with music and musical theater since young age developed a great interest in exploring multi artistic practices. After some years working in musical theater productions in Brazil as an actor, musical director and vocal coach, moved to Berlin to develop projects focusing on improvisation. Now singer in the Passiflora LIVE – Maracujá Records, cook and project developer in Nowhere Kitchen and director of Agora Choir.