Konsztrukting Soundz Evening #3

KONSZTRUKTING SOUNDZ Evening #3, 23rd March 2024

an evening of improvised electronic and electroacoustic music

Date: 23rd March 2024, Saturday

Admission Fee: £5 CASH at the door
Doors open: 19:00
Concert Start: 19:30
Concet Setup: 3 solo sets with 15 minutes break in between.
Concert End: 21:45

Venue: The Fishermen’s Chapel, 39 New Road, Leigh-on-Sea, SS9 2EA

Evening setup

  1. Set #1 Phil Durrant  Levente Dudas
  2. Short break
  3. Set #2 Kate Carr & Matt Atkins
  4. Short break
  5. Set #3 Christopher Hill & Edward Shipsey
  6. Short break
  7. Set #4 The Sextet

About Artists


Phil Durrant is a multi-instrumentalist improviser/composer/sound artist who currently performs solo and group concerts. As a violinist (and member of the Butcher/Russell/Durrant trio), he was one of the key exponents of the “group voice approach” style of improvised music. In the late 90s, his trio with Radu Malfatti and Thomas Lehn represented a shift to a more “reductionist” approach.
Recently, he has been performing solo and duo concerts with Bill Thompson, Mark Wastell, and Gaudenz Badrutt using either a semi-modular synthesizer system or a system utilising amplified objects & electronics.
As an acoustic or electric mandolinist, he has been performing duos with guitarists Martin Vishnick, and Daniel Thompson. He also performs in trios with Maggie Nicols and Emil Karlsen, Olie Brice and Andrew Lysle as well as Marjolaine Charbin and Jackie Walduck.
Durrant still performs regularly with the acoustic/electronic group Trio Sowari (with Bertrand Denzler and Burkhard Beins) and Mark Wastell’s The SEEN as well as the international electronic ensemble MIMEO with Keith Rowe, Kaff Matthews, Thomas Lehn a.o. With Mark Wastell, Steve Beresford and David Toop, he is involved in a new audio/visual project celebrating the work of the celebrated Scottish artist, Alan Davie.


Kate Carr has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico. She works across composition, installation and live performance and runs the sound art label Flaming Pines.
Recent commissions include: New compositional work for the Coventry Biennial, BBC Radio 3, and a live performance for Listening to Place at the Barbican, a short film for Yarmonics Festival, as well as the ACE-funded installations Under Construction, TACO Gallery and Ascending composition No 1 for Air Matters, Waterman’s Gallery.
Her work has been featured in The New York Times, The New Yorker, The Wire, Pitchfork and Fact Magazine among many others, and has also been played on the radio on stations ranging from various channels of the BBC, to independent stations in Estonia.
Carr regularly performs throughout the UK and Europe, with recent notable performances taking place at the Barbican, Tate Modern, Whitechapel Gallery, Cafe Oto, Instants Chavires (Paris) and AB Salon (Brussels).
Her music can be found on the labels Helen Scarsdale (US), Hasana Editions (Indonesia), Rivertones (UK), Longform Editions (Australia) Galaverna (Italy) as well as on her own label Flaming Pines. Kate Carr is Australian, and lives in London.


Matt Atkins is an improvising percussionist and sound artist who uses electronics, objects and tape loops in his work. He has released music on labels such as Falt, Rusted Tone Recordings, Invisible City, Whitelab Recs, tsss tapes, Coherent States, Steep Gloss, Flaming Pines, Wabi Sabi Tapes, Dasa Tapes and Chocolate Monk, among others. Since 2006 he has run his own label, MRM recordings. In 2020 he began curating and presenting a show for CAMP radio called Auricular Shelter.
In 2022 he had his first solo exhibition of paintings and drawings, ‘Eoliths’ at London’s Hundred Years Gallery.


CHRISTOPHER HILL is an improvising musician and sound artist. Based in London he regularly plays with the London Improvisers Orchestra, Eddie Prévost’s workshop group and promotes performances under the name of Babble&Squeak and DiscountGnostic. Recent collaborations and releases have been with Phil Morton (Project 50:50), Matt Atkins (Map & Territory; Moonside Tapes, 2023), Stephan Barrett (Dawn and Soil Bound: MRM 75, 2023), Microtonal Music (Moonside Tapes, 2023) and Ed Shipsey with whom he records as Egg & Crisp (Suckle Time; Astral Sewage, 2023). Some recent work has been aired on The Ambrosia Rasputin Show (Resonance FM) and Radiophrenia (Glasgow).


EDWARD SHIPSEY is an improvising musician based in London. He works often collaboratively using a myriad of different instruments and voice. He has been increasingly developing more composed approaches. He has also curated the event series Hard Work (with Paul Ingram) and different people doing different things together. Both of these try to bring different artistic mediums (music, poetry and performance) together.


LEVENTE DUDAS, and the inception of N/O/E/W/A took root while he was engrossed in curating and promoting contemporary free-form jazz and improvised music in Szekesfehervar, a town situated approximately 45 km (30 miles) southwest of Budapest, Hungary, during the 2008–2009 period. Initially, his focus was on achieving success as a music promoter, without any inclination towards sound art, sonic exploration, or the creation of experimental electroacoustic music.
Fast forward to early 2019, a transformative moment struck him during a live performance, prompting a decision to embark on a personal journey as a sonic explorer and adventurer. Uncertain about the form it would take, where to begin, or the approach to adopt, he delved into the works of various electroacoustic composers, musicians, and performers—some of whom are listed under influences. Armed with minimal experience and knowledge, he acquired his inaugural hardware synth, the Moog SubSequent 37. As he twiddled the knobs, he conjured captivating sounds and intricate sonic textures from the machine, achieving a sense of exhilaration with the creation of his initial arpeggiated rhythm pattern.
Since then, his quest has been a continuous exploration to discover his distinct voice as a sonic artist, sound designer, noise enthusiast, and performer.