Three challenging artists working at the blurred edges of sound, art and performance AJA, Depletion and Bianca Scout.
“Her experimentation with field recordings and the limits of sound make for a captivating sonic experience, while the attention to the visual is reminiscent of the theatricality of artists such as Peaches.” - The Quietus
“Shifting from ethereal diffusion to potent explosions that toy with genre stereotypes, it transmutes trauma into a space that’s celebratory and defiant” WIRE
“In real life she could be described as petite, but by the end of her live show – which she has talked about as a means of dealing with traumatic events from her past – she transforms into some kind of giant. It is as if she becomes a 100-foot-tall Ann Darrow and the audience a relatively tiny gorilla, shaking in her gargantuan grip.” - VICE Magazine
Using unsettling noise, distressed screams, hand made electronics and found objects pushed through pedals, AJA's industrial beats and distorted drone, combined with a psycho-visceral, intense performance challenges the audience by breaking down barriers and pushing limits sonically and visually.
AJA has so far played live on NTS Radio and after making sound scores for artist Joey Holder for ‘Ophiux’ and ‘ADCREDO’ she won The Oram Award funded by PRS foundation celebrating innovative music production.
AJA ’s self titled debut album released with Opal Tapes deploys rhythmic noise, bomb heavy drum machine, convolving vocal utterance and a dedicated hell-scape of field recordings, abrupt sound design and blistering drone. These recordings feel expelled rather than composed, a lashing of energy captured. The unhinged nature of her recorded work is complimented in what are soon becoming legendary live performances wherein the AJA experience is fully realised. AJA also featured on Perc's album “Bitter Music” on the track “Spit” in 2017.
As a collaborator with designer LU LA LOOP, AJA’s sounds have bruised the runway of Berlin Alternative Fashion Week. Her work within the LGBTQ+ community running workshops in sound art and as an advocate of promoting and increasing the presence of women in electronic music, has seen her work and performances carry throughout Europe and more recently to Brazil. It is in within the context of transgressive art, sexual identity/ politic and grass roots teaching that AJA’s work is elevated into a neo-punk
"Bianca Scout’s reverberating and vaguely poppy compositions have a similar cut-and-paste feeling to Klein, which makes sense, as the two of them have collaborated in the past. She presents a psychic map of the present, therefore, the future: hand-drawn, scribbled, not-to-scale. Rather than reaching out, they each reach somewhere inside to extract songs unable to be fully known. Songs like intimate portraits, a bit hazy as the hand that holds the camera loosens its wrist. Flashes of streetlights. Candles burning down and down for someone."
"Gateshead resident Martyn Reid began developing his own brand of classic electronic squall in the late 90’s, compiling the results on a series of tapes created purely for his own enjoyment until he was drawn into the warm embrace of the local experimental scene in 2013. Via a range of instruments from analog synth to household objects to tape loops, his performances can have a pummeling yet cathartic effect on those present, calling to mind those earlier pioneers of what we now call noise such as Robert Ashley and creating what could be called ‘machine music’ in the truest sense – listening to his tracks, your mind could be mistaken for thinking it’s hearing a field recording from the engine room of an abandoned space station." TUSK