Jan Herman, 'Vivace and Dolosoro Something Else Press Yearbook', 1974.

TVL artists Cara Tolmie and Sue Tompkins will be taking part in the Her Noise Symposium, Saturday 5 May 2012. The symposium will explore and develop emergent feminist discourses in sound and music, and its participants include musicians, artists, academics and writers to offer divergent readings and approaches to feminisms and the sonic. The programme is as follows:

Session 1: Situating Her Noise
Ute Meta Bauer, Lina Dzuverovic, Cathy Lane and Salomé Voegelin (Chair)
The panel will situate the Her Noise project within wider discourses of feminism and sound practices.

Session 2: Affinities, Networks and Heroines
Sonia Boyce, Emma Hedditch, Catherine Grant and Georgina Born (Chair)
A series of contributions exploring feminist genealogies and histories from a number of perspectives, including DIY approaches to music making and distribution.

Session 3: Vocal Folds
Viv Corringham, Anne Karpf, Maggie Nichols, Cara Tolmie, Sue Tompkins
Reflections from musicians and artists who use their voice as a key medium in their practices. Introduced by sociologist and writer Anne Karpf.

Session 4: Dissonant Futures
Kaffe Matthews, Nina Power, Tara Rodgers and Anne Hilde Neset (Chair)
A panel exploring women’s varied uses and abuses of technology.


Kimberley O’Neill and Cara Tolmie, ‘A Game’, performance, Talbot Rice Gallery, 2009.

As part of the Urlibido cabaret-style night, London-based artists Kimberley O’Neill and Cara Tolmie (whose work is being shown as part of THE VOICE IS A LANGUAGE) will be presenting new collaborative musical compositions featuring song, sampled sound and live performance.

Urlibido is a project curated by Sarah Lowndes and Katie Nicoll, with Kim Coleman & Jenny Hogarth. Additional artists also include Shelly Nadashi, Susie Green, Morag Ross.

8pm, 22 April 2010, Sloans Ballroom, Glasgow. Admission: £4, tickets available through Tramway Box Office 0845 330 350

Glasgow-based collective Muscles of Joy is an absolute collaboration in sound. Working outwith chord structures and assignable band roles, its highly individual production is contingent on each member’s style of contribution, where instruments and vocal sections are often swapped between players. Tracks initially emerge from loose improv sessions, and form the basis for a more orchestrated and labour-intensive scenarios, while the band’s live performances often employ Katy Dove’s video work as a visual counterpoint. Muscles of Joy are comprise of artists Anne-Marie Copestake, Katy Dove, Leigh Ferguson, Sophie Macpherson (whose video work ‘Deep Dancing’ is commissioned for the THE VOICE IS A LANGUAGE), Victoria Morton, Jenny O’Boyle, Ariki Porteous and Charlotte Prodger. They will be playing at Sneaky Pete’s, 14 April, Edinburgh; and at Stereo, Glasgow, 18 April.

Listen to a live recording of Muscle of Joy’s ‘Protest’ on Myspace

This weekend, Nick Hallett, who is previously mentioned in this reader, premieres his first opera at The Kitchen, New York, as part of artist Shana Moulton‘s tenth installment of her ongoing series ‘Whispering Pines‘. Moulton’s surreal epic features the artist’s alter-ego, Cynthia, a naif who navigates a world where psychedelia has catastrophically collapsed into kitsch. Hallett’s new composition is an electronic chamber opera, which draws on pop, extended vocal techniques and features soprano Daisy Press and harpist Shelley Burgon.