January 11th 2014, 9pm-5am
The Bussey Building, Peckham, London [tbc]
Filthy Lucre invites you to join our cult, to take part in an unmissable ceremony of music, art, dance and intoxication. For one night only, London's best up-and-coming musicians come together for a sonic ritual that moves from the stage to the dance floor.
- Filthy Lucre Ensemble: Will Cole conducts our 20-piece orchestra
- Orchestral works: Scelsi - Anahit, Vivier - Bouchara
- Covers: Scott Walker, Radiohead, Dirty Projectors, Frank Ocean, Yeasayer
- DJs: Turf
- New dance: Julie Schmidt Andreasen sets Jonny Greenwood's music from The Master
- Artword and Design: Georgia Hicks
- Trailers: Paul Vernon
- New works: Joe Bates and Joel Rust
- Soloists: Aisha Orazbayeva, Juliet Fraser and Geoff Clapham
Founded in 2010 by Joe Bates and Anthony Friend, Filthy Lucre creates immersive musical experiences with carefully crafted programmes built around artistic concepts and cohesive musical ideas. From sixties minimalism to filth-funk, our nights provide striking musical images to our audiences. Following three packed out nights in Cambridge, Filthy Lucre 3 finds us moving to London with a dramatic new project based on the music of Claude Vivier and Giacinto Scelsi.
Both Vivier and Scelsi were hermetic eccentrics with strong interests in religion and spiritualism. But perhaps the most striking commonality between the two composers is that they both predicted their own deaths.
Claude Vivier was a Montreal libertine who died in his mid-thirties. For years his music had been exclusively concerned with themes of death. On the night he died, he left a poem unfinished on his night stand in which he describes being stabbed through the heart by a lover. That night, he went home with a serial killer and was found with a dagger plunged into his heart. Scelsi’s departure was somewhat more peaceful, if no less bizarre. Having years before declared that “his spirit would part this world on the day the eights aligned”, he fell into a coma on 8/8/88.
Both of these composers are under-performed, and this concert offers a rare opportunity to see two of their most striking pieces.
The evening begins with Giacinto Scelsi’s violin concerto, Anahit – a ‘poeme lyrique’ about the ancient Persian god of love and death – followed by Scott Walker's Sleepwalker's Woman. As the audience enters, dancers in fantastical costume are scattered through the listening area, standing and sitting perfectly still. The atmosphere is attentive, but relaxed – similar to a jazz bar.
As the applause for Sleepwalker's Woman fades, music sounds in another part of the space. The dancers suddenly move for the first time, drawing the audience towards the new sound. The procession leads them to a new space, where the dancers perform to an electronic rearrangement of Jonny Greenwood’s score for The Master and new music by our artistic director, Joe Bates. After a pause, the orchestra begins again in another space with a new work by young composer Joel Rust and by his arrangement of Scott Walker’s chilling Jesse. This is followed by another dance interlude.
We return to the main hall Claude Vivier’s Bouchara, a work which explores an imagined confrontation between Marco Polo and a foreign priestess who incants in an invented language. This is followed by spaced-out orchestral arrangements of Radiohead, Frank Ocean, Dirty Projectors and Yeasayer by Joel and Joe. The night is then joined by DJs from club night Turf, who will be remixing electronic versions of the music heard earlier in the evening as well as playing their own material.
By midnight, the evening is a full-blown club night that will last until 5am. The move from abstract concert music to visceral dance music is a gradual transformation that provides a trajectory for the evening, combining with an engaging theme to create an expansive and immersive musical experience.
You can read a fuller description of the works here.
The Tab: "Filthy Lucre was one of the oddest and most enjoyable nights out I’ve been to in a long time... absolutely stellar... unique" (Four stars)
Varsity: "in fun [...] this night excelled" (Four stars)
The Daily Telegraph: “A great talent for playing emotionally and technically demanding music.”
Jon Ronson: “My Latitude highlight was Aisha Orazbayeva doing outsider music on a violin on the Late Junction stage…”
Time Out: 'This all-day, all-night end of season party at Brixton's Jamm looks like a belter' (Pick of the week)
Some Words From Our Artists
Opportunities to perform Vivier's music don't come around all that often and Bouchara has been on my wish list for a little while. I'm always up for new things, and this project sets me with new collaborators in a venue that's new to me for worthy new repertoire: EXCITING! "Hats Off" to Filthy Lucre. (Photo by William Oldroyd)
The musical worlds of Vivier and Scelsi, full of raw beauty and hidden power, are very important to me, and it's a privilege to be writing a new work to be heard alongside them. This piece links with their obsessions with ritual and myth, its subject matter being the two classes of Roman diviners: the augurs who read the future in the sky and the flight of birds, and the haruspices who saw it in the entrails of slaughtered animals. I'm also excited to be involved in the talented Filthy Lucre crew, who are giving everyone's work an original and first-rate context.
Filthy Lucre 3 is a opportunity to hear some remarkable and rarely-performed works with expert soloists, violinist Aisha Orazbayeva and soprano Juliet Fraser. It presents an unusual and informative context for this music. Most of all, in combining 20th century music, new work and covers of popular music in one event Filthy Lucre celebrates live performance; music known to us through recording is reheard through new scoring and new context. We will hear new music and rehear music we think we know.
It's great to be working with Julie and her dancer creating new dance for Filthy Lucre. I love writing dance music, and The Master is a wonderful stimulus. Its exploration of an individual sucked into a system and spat back out works beautifully with the physicality of Julie's dance. For me, dance ties the whole evening together. Not only will the choreography dictate the feel of the evening early on - the whole night ends in dance and abandon to the music of the Turf DJs.
Julie describes her choreographic ideas: A possessive dance leads audiences upstairs. Four beings make rituals, flock and free their cultic ideas. Imagery is formed to fluctuating moods of music. The visual presence is both delicate and raw, embodying sounds and atmospheres of Filthy Lucre. (Photo by Alicia Clarke)
All rewards contain the items listed in all previous rewards.
All rewards are divided into [U25] rewards, available only to those under 25, and rewards available to everybody.
The first reward is a ticket for Filthy Lucre, which includes a £3 donation in the price. There are two price bands, £12 (ages 18-25) and £21 (26+). Nearer to the event, tickets will be at the slightly lower prices of £9/£18 (i.e. excluding the donation).
Filthy Lucre 3 CD
The Filthy Lucre 3 CD will packed full with as much as we can put in - recordings of all the new works performed in the night in both live and electronic versions.
A beautifully printed version of Georgia Hick's original artwork for Filthy Lucre, without the logo or event information: just a vivid rendering of her excellent work. A proportion of the takings from this tier go directly to the artist.
Featuring Georgia's artwork on the front and the Filthy Lucre logo on the back.
Where the money goes
The event is currently set to cost £6000. We have already raised £1000 thanks to the support of Anthony Bolton, which covers our immediate costs. £3000 is being risked by our Artistic Director, to be recouped through ticket sales. That leaves £2500 to raise via Kickstarter!
Of that £6000 budget, here's roughly how it breaks down:
- c. £3500 paying our performers
- c. £1000 on other musical costs
- c. £500 on publicity
- c. £1000 on venue and rehearsal spaces
- There's also around £500 on Kickstarter fees and rewards, which is why we're asking for £2500.
Risks and challenges
Any project of this scope faces the same risk: of unforeseen logistical problems. We feel confident that as a team we have enough experience to anticipate and counteract these difficulties and to meet them head on when they do arise. Our very first gig - at the Fitzwilliam Museum in Cambridge - proved a phenomenal learning curve, with the complexities of the setting and of our vision creating a host of logistical issues. Yet we ended up producing a dramatic and successful night. With two more years of experience under our belts, we feel ready to tackle this event with confidence.
The other potential issue we face is if this Kickstarter mainly raises money through ticket sales. This wouldn't give us quite the financial support we need. We need as many of you to purchase rewards beyond the basic level as possible in order to make this event viable.Learn about accountability on Kickstarter
- (30 days)