nine unbearably incessant clarinettists
norman underestimated ivan completely
no use inspiring chaos
nasty uncontrollable itchy cough
nothing under investigation, captain
never use implied chords
nearly useless infant choir
not unskilled improvising cohort
nipples upset ignorant capitalist
numb udder interests cow
nigel's uncle idolises crabs
naughty uncle interferes constantly
now under ignorant control
norwegians understand ian carpark [‘ian carpark’ is a translation of jan
garbarek]
never unable to impose clarity
nasty urges in chelmsford
no use if coherent
no, unfortunately i can't
nylon undies, itchy crotch
now usually i collapse
no-one understands indirect charity
nuisance underling imbibes crack
additionally, select and combine from the following:
new, noisy, nearly, nebulous, neurotic, needy, nice,
nurture, not
utopian, unstable, urgent, useful, unintentional, up, under,
urban
interesting, illogical, intuitive, impossible, intimate,
idiosyncratic, if, inspired, intended
collective, calm, chaos, creative, cacophony, clear,
careful, confused
other than the above, NUIC does not stand for anything
Bookings:
NUIC are available for all religious and secular ceremonies
and private functions including: parties, weddings, bar/bat mitzvahs,
christenings, funerals, civic occasions, raves, launches (e.g. book; car; ship;
exhibitions; etc.), private functions (e.g. romantic meals; walks by the sea /
acoustic only; drives in the country / restricted instrumental combinations;
etc.), corporate entertainment (including ‘Name That Tune’ and other musical
games), poetry readings, changing-of-the-guard, wedding anniversaries,
children’s parties (novelty sounds included), new age gatherings, …
For bookings: email
Personnel 2003:
Christian Berg, Adam Coney, Emma Fisk, Naomi Gaffney,
Bennett Hogg, Richard Nielsen, Matthew Rowan, Matthew Sansom
Mondays 12 noon – 1 pm
NUIC
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All performers have received specialist training in the
discipline of free improvisation
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The combination of instruments and number of performers
varies from performance to performance
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Non-amplified acoustic instruments, electric guitars and
occasionally homemade instruments are used
Music
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The improvisations may be chaotic and loud but at times
inaudible, they may sound familiar and referential but also alien, induce bliss
and be physically abusive
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Our music can be understood as wobbly explorations that pass
through minimalism, abstract expressionism, and postmodern pastiche
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Its heritage can be traced back to the 60s and 70s, and
resides in the music-making activities of several UK art schools; American
Experimental music; European avant-garde art music; and developments in jazz
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Today, it is a recognised musical practice with specialist
practitioners, record labels, literature, fans, magazines, etc.
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It is sometimes described, often by lazy people, as ‘music
for musicians’
Intent
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Our approach does not treat this musical practice as a
concert form
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We think of it quite literally as ‘air conditioning’ and is
allied to visual art in the sense that it can be attended to and/or
perceptually discounted at will (music’s permeating qualities sometimes disrupt
this)
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‘Audiences’ are not obliged to specifically listen, nor are
audiences invited in the usual sense: we are attracted to locations that have
the potential to offer this musical experience to receptive individuals
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Part of our approach is to ‘play’ the performance space: we
are attracted to spaces that have interesting acoustic qualities and
significant cultural resonance
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We perform in a spirit that is explorative, interactional,
appreciative and respectful of the location (although it may not be immediately
obvious)
Contact
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NUIC contact details: www.saltlick.org/nuic
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This series of events forms part of the Connecting Principle
initiative: http://www.ncl.ac.uk/connectingprinciple