Nightlife
At Resolution, live electronics meet cutting-edge light and sound design
The London-based event series harness new programming developments to create immersive, technically-complex shows. Could this be the future of live electronic music?
Immersive live shows are carving out new, high-tech ways of experiencing electronic music. Through close collaborations between producers, DJs, sound designers and AV artists, programming developments like 3D sound systems and multi-channel visuals submerge audiences in an ecosystem of light and sound.
One event series working within this cutting-edge realm is Resolution, comprised of three Goldsmiths University students, Henrik, Ed and Charles. The trio met on their music computing course and, inspired by their learnings about the intersections between computer science and art, created Resolution from a desire to develop innovative, technically-intricate live shows using new technology in the field of sound and visual design. In their own words, they want to celebrate electronic music talent in a way which surpasses “traditional notions of DIY performance.” It's DIY indeed – just not as you’ve experienced it before.
They’ve collaborated closely with a range of electronic artists across their seven events so far, all of which have taken place in the university's Sonics Immersive Media Lab – a flexible, state of the art facility that can be configured for things like 360 degree visuals and surround sound. Renick Bell, for example, performed a live coding set diffused to surround sound in the space, and they created custom visuals for a Shelley Parker performance dense in abraisive breakbeats and intense sound design.
Renick Bell performs live coding at Resolution
© Rupert Earl
Coming up on April 14, they’ll be hosting a show as part of Amoenus, an event series curated by sound designer and artist Christian Duka that invites local curators and artists to explore how space can be used as an “artistic tool”. Alongside an installation that pays homage to electronic music pioneer Daphne Oram, the venue’s 25 channel surround sound configuration will be the tour de force of the night, upon which the music of Piksel, Bruised Skies and Roly Porter (the producer and composer previously of dubstep innovators Vex’d) will be let loose.
Ahead of the event, the Resoluion crew and headline act Roly Porter discuss the challenges and rewards of putting on an event of this techical calibre, and the close collaboration between art and science that occurs as a result.
What are the key things you look for in a venue when putting on your shows?
Resolution: The venue needs to be able to support our core principles and allow us to create an intricate sound and visual system. We have to consider how we might incorporate our projection systems, how we might install projection screens, what the surround sound capabilities are and how the audience might respond to the environment. Creating a detailed immersive environment can be tricky and takes a huge amount of preparation and design.
What is the collaborative process like between yourselves and the artists you work with?
Resolution: We work closely with each artist to help expand their live performance for surround sound and often create custom visuals from scratch. Having this level of creative involvement and working together with artists to create these performances is really inspiring for us.
Roly Porter: I love to collaborate with people who use technologies that I have no idea about – music is still the love of my life, but it's rare that I hear a sound in electronic music that I have absolutely no understanding of at a technical level. We have shared some images and sound to set a basic aesthetic framework and the visual element will compliment the music perfectly.
Yee-King, Grierson, Zbyszynski at Resolution
© Rupert Earl
Let’s talk about the set up – can you explain what is meant by a 25 channel surround sound configuration, and the effect this has on those experiencing the show?
Resolution: The Aures space boasts a multichannel setup incorporating 54 speakers – 25 pairs of speakers and an additional 4 subs to maximise coverage – which hang at various heights on the two long side walls of the venue. This effectively means there are 25 locations around the edge of the room from which sound can be produced. Unlike in a normal PA setup, where sound always hits you from the same direction, this means that sounds can circle you and move past you – like you experience in the real sound world.
Although not always true, the more speakers in a configuration the greater the accuracy and immersion that can be achieved. This is a more enhanced live music experience for the audience, allowing them to hear tracks they may be familiar with in an entirely new form, and that they can explore freely by simply moving around the space.
This upcoming Resolution event is part of of Amoenus, which is a series that ‘focuses on the use of space as an artistic tool’. How have you interpreted this for the 14th?
Roly Porter: Because of the nature of this sound system, the Resolution show will be a one off, based on new material adapted for the surround space they have. There are parts of [third solo album] Third Law that I always wanted to hear in that environment so I will be re-working some sections of that album, but it's mostly new music.
I like to work towards music that has no obvious function but occupies its own universe with its own rules. From a compositional point of view, defining the parameters of that universe for each project is the hardest and most important part of the process. I enjoy the challenge of moving through different parts of a story, from noise and panic or aggression, into peace and resolution. The challenge for me is not to get carried away and have too much movement in the space, but to use the system to enhance the sense of scale in the sound.
This is a more enhanced live music experience for the audience, allowing them to hear tracks they may be familiar with in an entirely new form
Having rehearsed in the space, Roly, how does it all feel and sound?
Roly Porter: I love loud music, and since I first heard a sound system I have always needed that sense of weight and that complete assault on the senses. But in many cases, just because it's loud doesn't mean it's good; when your ears are tired or the system is struggling beyond its limits or the music is simply not designed to be played loud, it can be pretty unpleasant.
The advantage of this system is that by placing different aspects of the sound around the space you can maintain a lot of detail even at high volumes. You have a better control of different frequencies; it’s possible to spread things out and allow them the space to stand out. Basically, it sounds great.
Can you walk us through how you intend to visually transform the space and some of the technology you'll be using?
Resolution: We were inspired by the high arched brick ceilings of the long, narrow room, so we’ll be installing a system of projectors and screens that engulf the stage and the ceiling area above it. The visuals are audio reactive so as to establish that intrinsic connection between the AV elements, and having both feed off each other naturally. All the visuals will be performed live as well, with Henrik and Ed reacting to the live set to tie the whole performance together.
Bruised Skies (pictured) will play at Aures with Piksel and Roly Porter
© Rupert Earl
In a first for us we’ll also be combining the lighting rig into the projection system. Charles is an experienced lighting designer and we’re creating a custom system that feeds off the visuals to combine both sound, visuals and lighting together as one symbiotic system. When combined with the surround sound, this will hopefully elevate the act’s performances to a new level.
Can you also explain some of the ideas behind the installation?
Resolution: We wanted the programme to act as an ode to the artists who inspired us to get involved with experimental electronic music, and provide a platform for their groundbreaking works to be heard for the first time in this state of the art venue. We were fortunate to get our hands on two of our favourite Daphne Oram compositions, Episodes Metallic and Four Aspects. The Oram Trust was extremely supportive in allowing us to work with these iconic pieces, diffusing them to playback over the Aures audio system.
We are also featuring the work of Emmanuel Spinelli, a sound artist whom we have worked with in the past, who will be presenting a rework of his piece, Samdà Magna Morfina. The exhibition also allows us to produce a more varied musical experience and work with artists in both a predefined installation environment, as well as a live music performative setting.
We wanted the programme to act as an ode to the pioneers of electronic music and the artists which inspired us
What are some of the main challenges with putting on immersive events like these?
Resolution: One of the main challenges when running events that have surround sound and multi-channel projections at their core is that the majority of venues can’t cater for this. Whilst we’re seeing greater interest from venues to support experimental performances and installations, the cost to install these AV systems is still large and often means we’re restricted to smaller venues with limited capacities.
Do you foresee technology such as surround sound diffusion becoming more integral to club culture and nightlife in general?
Roly Porter: This is a very exciting time for new technologies in sound and vision. For a long time the format of listening to music has stayed relatively the same. I am spending a lot of time listening to music in VR which can be incredible, but to try and translate that level of immersion into a shared experience is a fascinating challenge.
Resolution: There seems to be a trend at the moment, especially in London, where people want to experience more new and refreshing shows, such as immersive audio visual events, rather than experience the same stream of DJs or club nights each week. Although immersive events may possibly seem daunting at first, we’ve noticed that you don’t need to appreciate the technology, or have any in depth understanding of how it works, in order to enjoy yourself at an immersive show. They provide a more natural way to experience live performances, as we are presented with sounds and sights from all around us.
We find that a huge variety of people come to these events now, and as more people become aware of these events, the technology will have a larger part in our nightlife. Technological developments are continual and inevitable, and will always be embraced by club culture, as with it we are able to push the boundaries of how we experience live music. That’s what drives us to continue this project, combining new and existing technologies with the purpose of creating a unique, emotive, sonic and visual experience for the audience.
Like Red Bull Music on Facebook and follow us on Twitter at @RedBullMusicUK