Chaos Theory radio show 11/04/17

Stream the new Chaos Theory radio show below, first broadcast 11th April 2017 on 199radio, with videographer Chris Purdie of Riff Underground and Chaos Theory founder Kunal.

Stoner, psych, doom and experimental DJ set

Our gig booker Kunal has started having a go at making DJ sets.

Here’s his third one, featuring tracks by Casual Nun, Taman Shud, Elephant Tree, Kurokuma, Earthmass, Slomatics, Mammoth Weed Wizard Bastard, Hey Colossus, Dethscalator, Neurosis and Kyuss.

Dark experimental, folk and acoustic DJ set

Our events organiser Kunal has started having a go at making DJ sets.

Here’s his second one, featuring tracks by Jarboe & Helen Money, Muscle and Marrow, Mishaped Pearls, Kat May, Bitter Ruin, Leah Kardos, Roxanne De Bastion, Anna Von Hausswolff, Portishead, Eels and Thom Yorke.

Progressive/post-metal DJ set

Our events curator Kunal has started having a go at making DJ sets.

Here’s his first one, featuring tracks by Core Of iO, Latitudes, Tacoma Narrows Bridge Disaster, Earth Moves, Conjurer, The Dillinger Escape Plan, Opeth, Gojira and Ephel Duath.

Father Murphy: the sound of Catholic guilt

Our week of articles about the genius artists we get to work with comes to an end with Father Murphy, possibly the most mindbending act we’ve ever worked with, before they join us tomorrow with Muscle and Marrow at New River Studios.

Loss and Love: Muscle and Marrow’s journey

We continue our week of daily articles about the experimental artists performing at our events this week.

Today we focus on Muscle and Marrow, who bring their new album tour to New River Studios on Saturday, alongside Father Murphy.

Soprano Heidi Heidelberg speaks about her techniques and influences

We continue to share info about each of the seven experimental artists involved with our two events this week. Today we hear from soprano Heidi Heidelberg, one half of Bitch ‘n’ Monk, who hold their album launch at Rich Mix on Thursday. We asked Heidi about her unusual technique and her influences, and here’s what she had to say: *   *   *   *   *   *   * After a gig I am often asked that peculiar question: “are you classically-trained?”, mainly because I can use vibrato and tend to dance around in my soprano range when I improvise, in a way that is definitely inspired by operatic coloratura. However classical training generally means a total commitment to mastering the ‘correct technique’ for opera or lyrical singing, but my mission is rather to find the technique I need to suit the music I’ve written, and the story I’m trying to tell. Sometimes I dramatically switch characters during a song and I need to abandon an angelic soprano voice in order to express rage, or even madness. When writing a passage, you are experiencing one particular emotion in its essence, but in order to perform it with emotional integrity months, or even years, later I find that vocal and breath technique helps me to re-experience that emotion. Taking short gasps creates the real sensation of panic, while long meditative breaths calm the mind, so I use technique to enter a new mental and emotional space as well as to allow me the versatility to sing the melodies I like, however angular they might be. My own training begun...