Two live improvisations exploring textural detail and drift.
Adam Kinsey is a sound artist working with electronics whose interest is in improvisation and transmission arts. Adam performs sporadically in London at free improv events and has had solo work broadcast on transmission art platforms such as Radiophrenia Scotland.
Adam curates a slow, meandering and largely directionless project called Desire Lines which includes a Threads Radio show, live events and releases. Adam is one half of Littoral Transmissions who broadcast work regularly on Resonance Extra and Threads Radio as well as performing live at a range of venues, festivals and events.
Matt Atkins is a London based sound and visual artist whose principle interests are reductionism, chance, repetition and texture. He uses objects, percussion instruments, occasionally a laptop and cassette recorders to create sound collages in both the recorded medium and live, usually in collaborative performances. He is a regular attendee of Eddie Prevost’s London Improviser’s Workshop.
He has recently released his work on the labels Falt, Midnight Circles, Invisible City Records, and TQ. He also runs his own label, Minimal Resource Manipulation, whose back catalogue is included in the British Library’s sound archive as well as playing drums in Crumbling Ghost, Newts and Smallgang.
Lowercase documents a collaboration between British sound artists Matthew Atkins and Adam Kinsey, both of whom are quite active in London’s experimental music and improvisational community. The name of the CD evokes common traits of the titular genre, which often features an emphasis on silence and purposefully sparse composing, but the vivid constructions conjured by Atkins and Kinsey don’t feel restricted by any such constraints. The colorful two thirds of an hour of Lowercase bubble and boil through evolving mixtures of tactile object interplay, fragile granular textures, and field recordings coated in varying amounts of manipulation. The release situates itself in a sound-world that is consistently calming and always a bit familiar, but the two artists never neglect to push this envelope of comfort closer and closer to the breaking point, bending and twisting and stretching the elements they introduce into increasingly elusive configurations. The ever-present balance of the tangible and the detachedly synthetic, the distorted tape groans that conclude part one, the immersive but almost uncomfortably intimate stereo space… it all materializes into an abstract musical language that never quite lays all its cards on the table.
-Noise Not Music zine