PAUL BRADLEY :

Originally from the UK, Paul Bradley is a musician who creates textural drones to re-describe the sonic landscape. Sounds are abstracted from life, reinterpreted and given a new context. Instruments, most notably guitar, are disembodied and twisted into new sound-worlds creating rich, sonorous organic abstractions. Concepts are rarely made explicit or even discussed under the belief that language would destroy the un-temporal and emotional aspects of the work.

Releases have been issued on a number of labels including ICR (UK), Alluvial Recordings (USA), Shining Day (PL), Small Voices (IT), Con-v (ES) and also on his own label Twenty Hertz. Collaborations have been plentiful working with contemporaries such as Colin Potter, Maile Colbert, Andrew Liles and also as a recent member of Monos. As well as being issued on CD these “sensual strung-out vibrations” have been shown and performed both solo and in collaboration in the UK, Spain, Portugal and the USA.

Paul also runs Twenty Hertz and Edition Sonoro issuing recordings from the likes of Ubeboet, Keith Berry and Jgrzinich and also co-organised a series of live events entitled Intergration which included artists such as Keith Rowe, Andrew Chalk, Jonathan Coleclough and Scribble Seven (aka Nurse With Wound).

REVIEW QUOTES:

“(Liquid Sunset) is an absolutely beautiful piece. Let there be no mistake about it.”
Vital Weekly

“As if watching a highway glowing in the burning sun, the flickering heat radiated by these tracks turns into a sensation of its own, morphing and loosing its form…”
Tokafi

“…some of the most spellbinding electronic works of the last decade.”
Touching Extremes

SELECTED DISCOGRAPHY:

Sirens - Twenty Hertz (UK) 2008
Moraines II (w/ Cría Cuervos) –Small Voices (IT) 2007
Somatic – con-v (ES) 2007
Memorias Extranjeras – Alluvial Recording (USA) 2006
Live (w/ Colin Potter) – Twenty Hertz (UK) 2005

MAILE COLBERT:

Maile Colbert is an American filmmaker, video, and sound artist currently living and working in Lisboa, Portugal.

She holds a BFA in The Studio for Interrelated Media from Massachusetts College of Art, and a MFA in Integrated Media/Film and Video from the California Institute of the Arts.

She has had multiple screenings, exhibits, and shows including The New York Film Festival, LACE Gallery, MOMA New York, Los Angeles County Museum of Art, the REDCAT Theater in Los Angeles, The Portland International Documentary and Experimental Film Festival and has performed and screened widely in Japan, Europe, Mexico, and the States.

Recently she was a visiting lecturer teaching Sound Design at UCSD; designed sound and composed for Rebecca Baron’s film How Little We Know of Our Neighbors, winner of the Black Maria Film Festival Best Film, designed sound for Adele Horne’s feature documentary The Tailenders, broadcast on PBS POV and winner of a 2007 Independent Spirit Award, Allan Sekula’s epic The Lottery of the Sea, and designed sound for Betti-Sue Hertz’s multi-media multi channel installation at the Centro Cultural Tijuana for the 2005 inSite Festival. She has had the pleasure and opportunity to work with such artists as Carole Kim, Andrea Parkins, Kraig Grady, Jeff Cain, Mark Dresser, Steve Roden, Paul Bradley, Matthew Marble, Kadet Kuhne, Anne LeBaron, Hypo, Can’t... and numerous wonderful others.

She is currently working on a new experimental opera on millennialism and apocalyptic thought and theory with Rui Costa, opera singer Gabriela Crowe, singer Jessica Constable, and using the poetry of Ian Colbert; and is mid-production on a feature documentary on Autism called The Plane Flies High Because I am Not Afraid. She returned in 2007 from attending the Binaural residency program in Nodar, Portugal and in 2008 become an active member of the organisation.

REVIEW QUOTES:

“…bunkered in breathy, teeming harmonics that hover above these clusters of incandescent notes, which time and again culminate in a bending skyward wail.”
– earlabs

“Colbert offers a delicate array of structural loops and backwards lullabies.” – Jim Haynes

”… filled with moments to be repeatedly savoured and definitely remembered… the composer is extremely clever in her choice of not fossilizing herself on a specific setting, possessing an uncanny ability in elaborating the right alternance of evocative ambiences and juxtaposed pictures” – Massimo Ricci