In the past we've collaborated wth a number of artists, galleries and organisations in order to create one-time performance sound pieces.

 Late At The Tate - Gustav Klimt - Liverpool Capital Of Culture - May 2008

For this we created a wash of a sound collage via live manipulation of a number of excerpts taken from pieces of music composed circa early 1900s in and around Vienna; being the time and place of much of Klimt's work. We used audio effects and sound manipulation techniques available to us currently to alter the source material in order to present composers of this era through a contemporary medium.

 Red Wire Gallery - Daniel Johnston's Fear Yourself - Liverpool Bienneal - August 2008

We attended the opening night of 'Fear Yourself', armed with a dictaphone and interviewed gallery attendees regarding there thoughts of Daniel's work, what drew them to him, and why others are attracted to him. With these interviews and a numer of field recordings from the night we performed an extended piece constructed entirely of recordings; starting as an ambient piece it evolved into a fully fledged techno thumper with basslines created from filtered speech, kick drums from footsteps.

Milk and Sugar Gallery - February 2009

For the grand opening of Liverpool's Milk and Sugar Gallery/Museum we were commissioned to create a one-off performance of downbeat live remixes of our own original Capac material to be performed throughout the evening.

Co-operative - Hellfayre - Liverpool Bienneal - March 2010

We were commissioned to conceive three twenty minute audio/visual live performances which we performed at the the pop-up gallery on Renshaw Street. For the pieces we sampled themes, screams and dialogue from a number of 70's horror films (The Shining, Suspiria, Texas Chainsaw Massacre among others) and devised three higly conceptual pieces, which we named Stretch, Phase and Pulse. 

••••••••••

I - Stretch

Excerpts of soundtracks and dialogue are exposed to 'extreme time-stretching' to form an ambient backdrop, additional samples are triggered and manipulated also. The visual equivalent of this process is applied to the manipulation of video.

II - Phase

Notable film score themes and spoken passages are delayed in such a way as to create a phasing effect over a platform of 'binaural beats' inspired bass; a horrific ode to Steve Reich. The visual equivalent of this process is applied to the manipulation of video.

III - Pulse

Extended passages of dialogue are electronically whitewashed and set against pulsating beats and deep sub-bass. The visual equivalent of this process is applied to the manipulation of video.

••••••••••