Selected upcoming & recent activity
December 16, 2015 - Lecture and workshop, "Designs on interaction: Insights from natural and artificial systems", at the Sonic Arts Research Centre (SARC), Belfast.
November 26-29, 2015 - Performances at GIOfest VIII, including my composition "E.L." (2007/2008), performed by the Glasgow Improvisers Orchestra with special guests Marilyn Crispell, Keith Tippett, Maggie Nicols and Corey Mwamba, at the Centre for Contemporary Arts, Glasgow, UK.
October 10, 2015 - Performance, "ijereja, Minoan priestess music for ensemble", open-notation digital opera composed by Lauren Redhead, at the St Laurence Church, London, UK.
October 7, 2015 - Presentation, "Deep waters: The sea of innumerable affordances in musical improvisation", Royal Music Association Colloquium, at the University of Glasgow, Glasgow, UK.
September 30, 2015 - Presentation, "Shifting perspectives: From veridical to reliable perception across physical and aesthetic contexts", Philosophy, Psychology and Informatics Group (PPIG) seminar series, at the University of Edinburgh, Edinburgh, UK.
June 28, 2015 - Performance with Evan Parker and the Glasgow Improvisers Orchestra, at the Glasgow Jazz Festival, City Halls Recital Room.
May 6, 2015 - Lecture, "Improvisation in music and life: Towards an interdisciplinary account", at the Institute for Music in Human and Social Development (IMHSD), University of Edinburgh.
May 1, 2015 - Performance at Tectonics Festival (Glasgow) with Mariam Rezaei, Glasgow Improvisers Orchestra & Members of the BBC Scottish Symphony Orchestra. Also featuring performances by Karen Constance & Adam Bohman, Peter Brötzmann, and Justin K Broadrick.
April 16, 2015 - Presentation at the 2nd International Conference on Music and Consciousness (MusCon2, April 14-17), University of Oxford, Faculty of Music.
April 7, 2015 - Performance lecture at Louise Bourgeois print exhibition, Sidney Cooper Gallery, Canterbury Christ Church University.
April 6, 2015 - Performance of my composition "Knuckleball" for four vibraphones (2011) by D'Arcy Grey (director) and the Dalhousie Percussion Ensemble, Halifax, Nova Scotia, Canada.
March 2, 2015 - Public lecture, “Improvisation, attention and rapid decision-making under uncertainty”, at Senate House, University of London, sponsored by the AHRC Research Centre for Musical Performance as Creative Practice and the Institute of Musical Research.
February 3, 2015 - Performance of my composition, “Cryptogamic sporules I” for electronics (2014/2015), at Metamorphoses, Assembly Roxy, Edinburgh. Also featuring a historical reconstruction of Stockhausen's “Kontakte” for 4-channel tape (1960) realised by Sean Williams, and new compositions by Martin Parker, Owen Green and Armin Sturm.
Press highlights
on Figures and Grounds, psi, 2011
“This is radical music in the best sense, taken back to basics but to basics that are relational in essence. [...] Figures and Grounds is a beautiful and sensuous record.”
Brian Morton, Point of Departure
“What I admire most about Figures and Grounds [is that] electronics heighten the visceral sting of their acoustic found sounds, but without the musicians relying on electronics to do the work for them, or worse, allowing electronics to paint a homogenised gloss over the music.”
Philip Clark, The Wire, UK
“The four players deliver a vibrant, free-flowing session. [...] As an exemplar of the use of electronics and processing with a small improvising group, Figures and Grounds is a great success.”
John Eyles, All About Jazz
“La réactivité, l'attention, la spontanéité et la richesse des propos et des interventions surprennent et envoutent par leur force émotionnelle, leur richesse structurelle et texturale, ainsi que par leur caractère aventureux. [...] Spontanée, chaleureuse, intense et profonde, une musique très énergique qui accèdent à des territoires riches et nouveaux.”
Julien Heraud, Improv Sphere, France
“Bien évidemment, la qualité des sons s’avère prépondérante : parfois rugueux, grinçants, métalliques, « industriels », parfois cosmiques, profonds, toujours disposés sur plusieurs plans, des plus proches aux plus lointains. [...] Pour auditeurs hardis, aventureux et passionnés.”
Jean Buzelin, CultureJazz, France
“Det är ovanligt öppet, flytande och inbjudande. Samtidigt som alla musiker hela tiden tar sin konst på djupaste allvar utan allt flams.”
Thomas Millroth, Soundofmusic, Sweden
on Integument, psi, 2009
Casserley and Linson “open up impressive vistas.”
Julian Cowley, The Wire, UK
“This studio meeting delivers a wide range of surprising (and often gritty) textures. A difficult though rewarding listen.”
François Couture, Monsieur Délire
“The buzzing intensity this duo creates is just the ticket.”
Jason Bivins, Signal to Noise
“An entrancing effort that stands out in radiant colors among similar undertakings of this ilk.”
Glenn Astarita, All About Jazz
“Ecco un esempio da non perdere di quintaessenza della musica elettro-acustica!”
Francesca Odilia Bellino, All About Jazz Italia
“Casserley et Linson transforment le temps et l'espace et plusieurs écoutes successives n'en altèrent le rayonnement multidimensionnel. Fascinant.”
Jean-Michel Van Schouwburg, Improjazz, France