PhD student Georgia Rodgers is profiled in a recent entry on the NMC Recordings website highlighting her involvement in the Next Wave Project. Georgia is one of twelve composers from higher education institutions across the country to be selected for the project, which stems from a collaborative partnership between Sound and Music and NMC. The project has allowed Georgia to develop a new work for tuba and live electronics in close collaboration with tubist Oren Marshall and Sound Intermedia. The work — titled ‘partial filter’ — will be premiered at this year’s Huddersfield Contemporary Music Festival, and released on a dedicated Next Wave Album by NMC. An extract from the work can be found below, along with an interview with Georgia on her experiences as part of Next Wave.
Category Archives: Concerts
Alexander Karpeyev organises Medtner Day at Guildhall School of Music and Drama
On 22nd May 2014 the first one-day UK festival dedicated to the Russian émigré pianist and composer Nikolay Medtner (1880–1951) took place at the Guildhall School of Music and Drama.
Twenty-two musicians performed Medtner’s compositions, including two major sonatas – Sonata-Reminiscenza by Louise Cournarie and Sonata tragica by Mihai Ritivoiu – alongside eight smaller pieces, twelve songs, the Violin Sonata Op. 21 and the Quintet Op. Posth.
Professor Hamish Milne of the Royal Academy of Music gave an outstanding masterclass on Medtner’s music. Performers were pleasantly surprised to receive tuition from a teacher who knew the repertoire so well. Professor Francis Pott of the University of West London presented an enthralling talk entitled ‘Born with the Sonata Form?’, followed by a Q&A session.
The Guildhall’s cozy Lecture Recital Room was always full. The audience’s response was appreciative: ‘…a most unusual treat…’, ‘I was exposed to music I didn’t really know… wonderful’, ‘…all the playing was really impressive’ and ‘it was a brilliant evening’.
Rachmaninov hugely admired Medtner, even telling him: ‘I repeat what I said to you back in Russia: you are, in my opinion, the greatest composer of our time.’ One can hope that similar events organized on topics related to Medtner will take place in order to encourage the wider performance of his music.
Medtner Day-2014 was organised by City University DMA student Alexander Karpeyev (www.akarpeyev.com).
Five minutes with: Gwenaëlle Rouger
Pianist Gwenaëlle Rouger will be joining Mark Knoop on stage as part of City Summer Sounds. We spent a few minutes having a chat with her.
We’re delighted to welcome you to our stage as part of the festival. Could you tell us a little about the works you will be performing?
I will be playing a piece for piano and electronics called ‘Dans le mur‘ (In the wall), by composer Georges Aperghis. Aperghis was inspired to write this piece by the graffiti that you see regularly out of the windows of commuter trains. He said he imagined that ‘the walls were a type of music, a sort of compressed music, compact, walls of music’. I like the violence and rebellion associated with this piece – it’s my kind of hip hop. The second piece is written for two pianos, live electronics and live video – I will be interpreting this with pianist Mark Knoop. It was composed by Michael Beil, and it is called ‘Doppel‘. I’m interested in its experimental format as a live visual and musical performance. I am also fascinated by the opportunity it gives to the audience to dissect and question the creative process by witnessing the composition and decomposition of the piece in real time.
You say that you perceive the concert as a moment of experimentation for both audience and performer. Why do you think it’s important to have this exploratory state of mind?
This commitment to exploration and experience is the only way to take part in the evolution of the concert format, and the place of the pianist within it, from accepted 19th and 20th norms to what it will become in the 21st century. It is necessary for us to question existing models. By thinking of a concert as a shared experience for both audience and performer alike, we create a unique social moment and facilitate more engagement from the audience. When both listener and interpreter are sharing in this moment of experience, we create a positive creative feedback loop, which keeps the music alive. As John Cage says in his book “Silence“: “The activity of movement, sound, and light, we believe, is expressive, but what is expresses is determined by each one of you…”
In 2013 you began a project called ‘Urgent Stimulation’, in which you are enclosed in a box whilst performing, purposefully blocking the audience from seeing any visual element of your playing. Can you tell us a bit more about this project?
My project “Urgent stimulation” is a concert for solo piano in which I play inside a box made out of a light wooden frame covered in black cloth. This structure covers where the pianist sits, and the area around the keyboard, while the tail and soundboard of the piano are left completely open. This idea comes from the feeling I’ve always had that when I am unable to see the performer I feel more directly in contact with the sound. This piece is called “Stimulation”, because the purpose of art is to stimulate the sensitivity, and creativity which is in every person; and “Urgent” because for this stimulation to occur, one must be an active listener, willing to engage. The void that is created by the absence of the performer creates a feeling of something missing that needs to be filled. The listeners are left in front of themselves, and their relationship with the sound.
You also are one of the artistic directors, and a pianist of the new music ensemble soundinitiative. Can you tell us a bit more about soundinitiative? What works have you been working on recently and what is important for you in this ensemble?
soundinitiative is an ensemble of 12 musicians created in Paris in 2011. We like to think of ourselves as more of a band, in which strong links are formed between the musicians because we play together on a permanent basis. We also like to work with composers on a longer term, in order to create this same bond – this is the case with the likes of Chris Swithinbank, Santiago Dìez Fisher or Joanna Bailie. Through our series ‘Hors les murs’ (Out of the walls), we work outside conventional concert venues; our next date in this series will be in an art gallery in Paris, for example, on 18th June. We will be playing, among other pieces, a cycle by Peter Ablinger. This summer, we are also performing pieces by Joanna Bailie, Santiago Dìez Fisher, Mauro Lanza et Jennifer Walshe at the Darmstadt festival. At Darmstadt, true to our commitment to the notion of audience as experience, we will be the associate ensemble in Simon Steen Andersen’s workshop “Extended Music”.
soundinitiative have a focus on collaborations with established and emerging composers, could you tell us how does this collaborative process inform your playing both of the new works and also more generally?
As performers, we give a body, a breath to the music that only existed in thought when composed. The collaboration with the composer is extremely subtle and enthralling. Both parties must welcome in the other in what makes the core of their personality. This cooperation, and the feeling of shared accomplishment, is an enormous source of energy.
Mark Knoop and Gwenaëlle Rouger perform as part of City Summer Sounds festival on Thursday 12th, 7pm in the Performance Space, College Building.
Admission is free
http://www.city.ac.uk/events/2014/jun/mark-knoop-gwenaelle-rouger-pianos
For more about City Summer Sounds head to: www.city.ac.uk/city-summer-sounds
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CUSO reviewed on classicalsource.com
The City University Symphony Orchestra’s final concert for the year (Friday May 23rd, at LSO St Luke’s) has received a glowing review on Classical Source, drawing particular attention to DMA candidate Ben Schoeman’s performance as soloist in Saint-Saëns’ ‘Egyptian’ Concerto. The full review can be found here.
Five minutes with: Ed Fish (CUEE)
Ed Fish is a final year student at City University London and one of the founding members of City University Experimental Ensemble. We took a few minutes to talk to him about CUEE ahead of their concert at City Summer Sounds.What is City University Experimental Ensemble and why did it form?
CUEE is a student led ensemble who compose and perform new, improvised, conceptual and avant-garde music. The ensemble formed through a collective desire to play music that would expand our horizons and perhaps challenge our preconceived notions of what musical performance and composition should be. It also acts as a platform to discuss and try out new ideas in a friendly and welcoming environment.
One of the great things about the ensemble is the collaborative nature that seems to exist, and especially amongst performers/composers of very different backgrounds. Was this always the intention of the ensemble and is it integral to the music you perform?
I would say it is pretty integral. Some of our members are classically trained musicians or come from jazz, latin or pop backgrounds whilst others are computer musicians and scientists. I think that this diversity makes for a richer creative environment and allows us a variety of perspectives when we approach a piece or discuss an idea. We have always been completely indiscriminate as to who can join the ensemble and for us a curious mind is more useful than an ABRSM qualification. That’s not to say that some of the music we perform isn’t challenging though, but the challenge may be learning to echolocate, keeping rhythm on a teacup or interpreting a graphic score.
You recently performed works by James Saunders with Plus-Minus and James himself, and you will be performing Saunders’ everybody do this in tomorrow’s concert. How was that experience, and what is it about his music that you are drawn to?
The concert was a great opportunity for us to work with a professional composer and ensemble as well as getting a bonus session with composer Matthew Shlomowitz. I think I was a little surprised by how friendly everyone was and how interested James was to hear our ideas on the piece and our interpretations. The performance of everybody do this was fun but pretty hectic with so many musicians on the stage so I am looking forward to performing it with a smaller group in the next concert to see how it affects the way that the piece unfolds. Perhaps people who may have been less dominant in a larger ensemble may become more confident in a smaller group or vice versa. I think I am drawn to Saunders’ work because of the experimental nature of his music and its ability to explore interesting ideas with relatively basic indeterminate structures. For example the performance instructions for everybody do this are very simple but, when performed, the piece raises interesting questions about group dynamics and social structures. I was surprised watching the performance of the last concert how much of a loudmouth I was so I guess I have learnt something about myself in the process too. Maybe I will try to keep it down a bit this time.
You can see the recent performance of everybody do this, performed by City University Experimental Ensemble, Materials and Plus Minus here.
On a more personal note, you graduate this year and begin your journey into pastures new. Where do you hope to be musically in 5 years time?
Fingers crossed I can get on a masters course and explore composition at a deeper level. I think my compositional output at the moment suffers from a lack of knowledge about existing practice, especially in new music and so over the next few years I am going to invest heavily in exploring existing works. It’s another reason why it’s so good to be a part of CUEE. I think the best way to learn about new music is to perform it. In five years I would hope to have a few pieces under my belt and have a clearer idea of how I define myself as a composer.
And finally, what’s next for CUEE?
We should be getting a new batch of recruits next year and hopefully with that will come new music and new ideas to explore. Thanks to Newton Armstrong and Diana Salazar we have been put in touch with some exciting new composers and performers so we will aim to develop these relationships as we make the transition towards becoming a professional ensemble.
City University Experimental Ensemble perform as part of City Summer Sounds festival on Wednesday 28th, 1.10pm in the Performance Space, College Building.
Admission is free
http://www.city.ac.uk/events/2014/may/lunchtime-concert-city-university-experimental-ensemble
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‘Garden City’ – A presentation of compositions by Alex de Lacey
Year 3 BMus student Alex de Lacey will be presenting his final portfolio for Studio Composition and Audio Art 3 in City University’s Performance Space at 1pm on Friday the 9th of May. Admission is free and all are welcome to attend.
Largely inspired by The Factory Photographs of David Lynch, the electronic works in de Lacey’s series ‘Garden City’ look at the degradation of British industry, gentrification, and the reuse of factory spaces by art galleries and musical performances.
The programme will be:
Garden City – Electroacoustic 5:1 audiovisual work. Images and words by Chris Runciman, 12′
Disrepair – Electroacoustic 5:1 work, 7′
Regeneration? – Stereo fixed media with live electronics/triggering, 8′
Alex de Lacey is a 3rd year studio composer who mainly works with live processing and electroacoustic composition. He is also a DJ, and interested in the implications and performance practice of this art form.
Chris Runciman is a University College London graduate working with contemporary and sound poetry.
More information on the event can be found here.
Five minutes with: James Saunders
James Saunders is a composer with an interest in modularity. He performs in the duo Parkinson Saunders, and with Apartment House. He is Head of the Centre for Musical Research at Bath Spa University. On Tuesday his music is featured in a portrait concert performed by our ensemble-in-residence, Plus-Minus, including a new work composed specifically for the event. We spent five minutes talking to James about his work.
Your works tend to explore open forms and processes. This brings with it the issues of generality and specificity, something that you have talked about previously. What is it about the boundaries between generality and specificity that draws you to compose in this field?
At the moment I see them as two states, and pieces I make tend to be broadly either specific or general. By specific, I mean that the score will indicate a more tightly controlled series of activities, normally with definite sounds of some kind or a clear temporal relationship, but still may be open in some way. The general pieces leave a lot of possibilities left open, and might be used to generate more specific pieces themselves. Recently this has become more of a focus for me. I tend to sketch out ideas for pieces in my notebook, some of which stay there for good reasons, but others are made quite quickly into scores, normally short verbal descriptions of processes. I’ve found over the past few months that they might also exist in a more specific state, taking the basic process and fleshing it out, giving it a context, normally with particular sounds. So as an example, I wrote a piece ‘things whole and not whole’ for Basel Sinfonietta in 2011 that models the way birds flock. The musicians are able to use any sound sources or instruments, as long as they can produce short sounds on cue. The new piece on bare trees in the concert on Tuesday is a version of this, but the players are given a series of pitches in short phrases. The cueing system is the same, but a different kind of patterning emerges, with each phrase coming to rest on a repeated unison pitch. I expect some of the other general pieces might develop in this way.
You have composed a new piece for Plus-Minus, being performed on Tuesday, in which you use a mutually orthogonal latin square to control various permutations of four parameters. Can you explain a little more about this compositional process and what we can expect of ‘so many territories’?
They’re a bit of a mouthful aren’t they? I first came across them in relation to George Perec’s ‘Life: A User’s Manual’, which is one of my favourite books and through which I developed a fascination with the Oulipo. Perec uses a Graeco-Latin Bi-square, which is a square gridded arrangement with each cell containing two elements, one from each of two sets. Across the square, each element of the two sets appears in each row and column only once, and each combination of the two elements occurs only once across the whole square. In the book, Perec uses this to determine the constraints for each chapter of the book, creating a set of permutations of elements from which to construct the narrative. It is possible to create squares with more than two sets, and they are mutually orthogonal if there is no repetition of the different combinations of elements across the square. In my piece, the score is presented as a 8×8 grid of cells. It took me a while to find four mutually orthogonal squares, but the result is that each cell contains a unique combination of four musical parameters (two pitches, a dynamic and articulation). In some parts this is rationalised a little where unplayable results occur, but it allowed me to define a space, both sonically and on the score. The players move across this grid independently, creating loops and chains of events as they progress.
Your recent works also employ musical cueing systems that explore group behaviour in your works. How does ‘so many territories’ fit within this context of cueing and group behaviour?
There’s no cueing in ‘so many territories’ as such, but group behaviours may emerge. The players work independently across the grid, but stable states may sometimes develop where repetitions of cells in a fixed relationship occur. If this happens, players may either choose to submit and move on, co-exist for a time, or refuse to move on and wait for the other player(s) to submit. This determines the progression.
‘everybody do this’ was recently performed in Bath with four performers [watch here]. Next week we will see this performed with a larger group of around 20-25 performers. How do you expect the outcome to change considering the much larger ensemble?
Good question. It is likely to be a lot more chaotic of course. The piece works by each player giving spoken cues for actions to which the other players respond. Cues relate to pitches, noises, and devices, so for example if someone says ‘pitch 4’, then everybody plays their fourth pitch sound. The choice of sounds is left to the players to decide independently, so the combinations are determined through distributed decision making. All players give and receive cues simultaneously as they want. In the first performance it was possible for all of us to hear the instructions easily enough. Patterns were constructed and broken regularly, and there was a relatively high degree of order. With a much larger group it will be very different. It is likely that it will oscillate between having a few dominant voices to which everyone responds, smaller localised groups of concerted activity, and a few loners. To be honest, I can’t wait to find out. This piece is another group behaviour piece and is part of a series which explore organisation structures. So if this is a many-to-many relationship, the other pieces use one-to-one (‘what you must do, rather than must not do’, 2012), many-to-one (‘you say what to do’, 2014), and one-to-many (‘I say what to do’, 2014). These will all have been performed by the middle of the year, and the next stage of the project is to look at other more complex relationships. The master plan is to use these as modular blocks from which much larger networks can be built. They model organisation structures, and these tend to be complex, and often short circuit themselves at some point. Anyone who works in a big organisation will know what this feels like, so you might identify with the chaos which ensues in the piece, despite the occasional havens of order.
You can find out more about James Saunders and his work here: www.james-saunders.com
James’ works will be performed on Tuesday 8th Aril at 7pm in the Performance Space, College Building.
Admission is free. To book a place head to: http://www.city.ac.uk/events/2014/apr/james-saunders-and-plus-minus
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City’s Big Band wins Battle of the Big Bands Competition
On Saturday 8th March, City University London emerged victorious in the annual Battle of the Big Bands competition. The competition sees some of the best university big bands in London face off against one another. City’s Big Band, founded by music students in 2010, bested the competition with their varied programme, excellent musicianship and energetic performance. They came out ahead of big bands from other London institutions, including Royal Holloway, Kings College London, and Surrey University.
City’s set consisted of a bold mix of contemporary and classic big band repertoire featuring jazz standards ‘Too Close For Comfort’, ‘Body And Soul’ and ‘Witchcraft’ (Arranged by Gordon Goodwin, Bob Florence and Tom Kubis, respectively), ‘Samba Del Gringo’ (A Goodwin original) and a suite of Michael Giacchino’s music from the film ‘The Incredibles’ (Arranged by the band’s own Andy Allen). Highlights included strong solo performances by Ben Smith on piano, Bertie Atkinson on drums, Amy Hollinrake on vocals and the ever-charismatic Nico Seal as the band’s MC.
City University Big Band, currently in it’s fourth year, is open to staff and students, past and present from all departments of the University. With a series of concerts already lined up for the summer and a large selection of exciting new music, the future is looking bright.
London Contemporary Music Festival: The Music of Bernard Parmegiani, 20-23 March
The Department of Music is happy to be supporting a major event organised by the London Contemporary Music Festival, themed around the music of Bernard Parmegiani.
The Department enjoys close ties with the festival via the involvement of several of its staff and students: among the performers are Professor Emeritus Denis Smalley, lecturer Diana Salazar, and former PhD students Peiman Khosravi and Ambrose Seddon. The festival is co-directed by PhD student Sam Mackay, and the acoustic consultant is PhD student Georgia Rodgers. As with the inaugural edition of LCMF in 2013, the Department is making available some of its cutting edge sound equipment.
The upcoming series marks the UK’s first major retrospective of the music of Bernard Parmegiani, the legendary French electro-acoustic composer who died in November 2013. For this series LCMF takes over a 20,000 sq ft former carpet factory near Brick Lane.
Parmegiani’s rich body of work, spanning nearly 50 years, stands as among the most important in electronic music, influencing generations of artists within the academy and beyond. Colleagues from the renowned Groupe de Recherches Musicales (GRM) will be among those diffusing his music, rendering it in vivid sonic detail and demonstrating what Parmegiani meant when he said sound was “like a living being”. Alongside his acclaimed acousmatic pieces such as ‘La Création du Monde’ and ‘Dedans dehors’, the three-day series features guest performances from artists touched by Parmegiani’s broad influence, including Florian Hecker, Rashad Becker, and Vessel.
20 -23 March: The Music of Bernard Parmegiani
Britannia House, 68-80 Hanbury Street , E1 5JL
http://lcmf.co.uk/
Five minutes with: Pamela Z
Pamela Z (photo credit: Donald Swearingen)
Next week City University’s Concert Series presents ‘Electric City’, a concert of electronic and audiovisual works. The programme includes works by Lauren Sarah Hayes, Joseph Hyde, Orestis Karamanlis and we’re delighted to welcome Pamela Z from the USA, who will be performing a number of her compositions for voice and live electronics. We spent some time speaking to Pamela about her work.
Your voice is central to your solo performances with live electronics. Could you talk a little about your vocal style and how this has evolved since you first trained as a classical singer?
I’ve been a musician all my life, so I think that my vocal style has been developing for a very long time. I wrote songs and was constantly singing during my childhood and youth. I got my first classical voice training in high school, where I had a very good concert choir teacher who took a lot of care and gave a lot of private attention to the students she felt were gifted, so I actually sang opera arias in High School. And I was a voice major in college, and continued to study with a bel canto teacher off and on long after I was out of school. But, through all of that training, I was always writing and singing my own songs as well, which were, for many years, focused on a kind of folk or rock singing style. I used to find it difficult to figure out what to do with these separate singing styles and reconcile them in any cohesive way.
I feel that I actually “found my voice” as an artist when I started working with electronic processing and composing and performing works of a more experimental nature. I realized that it was possible to incorporate “bel canto” style in my work, along with a wide array of experimental vocal techniques and spoken text. And that it was possible (and even desirable) to combine these styles – even within a single work or a single phrase. So I suppose I would characterize the evolution as more of an expansion of the possibilities of timbre and techniques, and a removal of the solid lines that used to separate the different approaches to singing.
Why do you work with live electronics? And how does your live electronics setup change from one work to another?
I actually consider my instrument to be the combination of my voice and the electronics. I work with live electronics because I like the way I can expand my palette of possible colours and textures even beyond the already wide ranging possibilities inherent in the most flexible instrument that is the human voice. My vocal sound is mediated through the electronics in ways that usually result in recognisably vocal sound, albeit layered or granulated, pitch shifted or, at times, distorted. And, I enjoy the possibilities that come from being able to add sampled found sounds to the mix and control and manipulate those sounds via various gesture control devices. I like to think that the interplay between the electronics and my voice is very organic.
My setup involves a main MAX patch that I consider to be the heart of my processing instrument, and a few other auxiliary patches that work together with that patch. I constructed and developed that patch over the years with a lot of help from some of my über Max-geek senseis. The idea, originally, was to replace a hardware setup that I started putting together back when I first started processing my voice in the early 1980s. It involved a lot of delay lines and multi-effects units and a sampler, so I strived to create that same set-up in MAX MSP. So, a lot of artists I knew who were using MAX tended to build a new patch every time they composed a new piece. But I tend to see my patch as the instrument I use in all my pieces. I just change parameters (like delay lengths, panning, granular settings etc) and create presets within the patch to make it appropriate for each work I perform. I start a concert with this integrated set of MAX patches open, and I just switch my presets for each piece as I perform my concert.
The performance on Tuesday will include video. What is the relationship between the aural and the visual in your solo performances?
I actually work quite regularly combining image and sound these days. Sometimes I see the visual component as an extension of the sonic component – just expanding the work to include the visual realm. Other times the visual just acts as a kind of setting for the work – like a lighting design that enhances the completeness of the experience. There are some works I do where the video is interactive – either responding to the sound of my voice or to gestures I’m doing that are also triggering or manipulating sound. I think I like to see different media as intertwined and, again, I like erasing or at least blurring the lines that sometimes segregate the different disciplines and practices. I believe that live performance does that already, even when there is no video. I think of my physical presence – my gestural movement and facial expressions etc – as integral parts of the compositions.
What other projects are you working on at the moment?
I have many irons in the fire as they say. A big project I’m currently working on is a multi-media chamber work called Carbon Song Cycle. It’s a collaboration with a video artist, Christina McPhee. I composed the music for voice & electronics, viola, cello, bassoon, and percussion, and Christina made immersive multi-channel video projections. We premiered this work at the Berkeley Art Museum in April, and we’re about to give the New York premiere at Roulette in Brooklyn this month (November 20th.) We’ll perform it in San Francisco in February of 2014, and we’re actively seeking bookings for it elsewhere. It’s the kind of work that might be fun to take to Universities and work with musicians from the college of music student body to perform the work.
Right now, I’m also in the midst of working with a composer/inventor collaborator of mine, Donald Swearingen, developing a new x-y-z gesture controller that I hope will inspire a great deal of new interactive works.
I’m also planning some new solo projects including a performance work about memory. And I’ve been doing a lot of media installations as well. I currently have an exhibition of my installation work Baggage Allowance running at the Fine Art Gallery at Bowling Green State University in Ohio. (And my browser-based version of that work is always available for exploring online at baggageallowance.tv)
And how does it feel to be woman working in the male-dominated field of performance and composition with technology?
I will say that I tend not to really think about it so much except in those cases where people say or do things that are blatant reminders of the issue. Otherwise, I tend not to be so very focused on the issue of gender when thinking about my work.
But it’s interesting how that has been constantly shifting and changing over the years. Things are much improved in that regard since the time I first started working in this field. It still has a long way to go, but things are noticeably different today. It used to be that, if I was selected to appear on a compilation of electroacoustic music, I’d be the only woman on the disc (unless it was one of those “a collection of women composers” type discs.) That isn’t so much the case anymore. More women are getting the notice and respect they deserve in the field. So that’s good news. But there’s always room for improvement.
One other comment I’ll offer is this: the fields of electronic music and music & technology are clearly still male dominated, but there is one area that woman have always had the edge on. That is the practice of combining voice and electronics. There always have been more women than men who work with live voice combined with electronics. It might be due to the fact that women lead the field of experimental vocal work in general, but I’ve always found it to be true. One can easily rattle off a list of women who compose and perform works for voice and electronics – Diamanda Galas, Laurie Anderson, Amy X Neuburg, Joan LaBarbara, Maja Ratkje, AGF, Pamela Z etc. But try to think of more than one or two men known for doing that. It’s just something interesting to think about.
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More information on Pamela Z’s work can be found on her website.
Pamela Z will be performing on Tuesday 12th November at 7pm in the Performance Space, College Building.
Admission is free. To book a place go to: http://www.city.ac.uk/events/2013/november/electric-city-with-guest-performers-lauren-sarah-hayes-and-pamela-z
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