v. 21 – 2019 – Day One – Oct 17


  • VOR
  • Toshimaru Nakamura
  • Cecilia Lopez
290 McDermot Avenue, second floor
$15 | 7:30 PM Doors | 8:00 PM Concert

Our third decade commences with the doom-laden electronics of Winnipeg’s VOR, whose mysterious voicings emerge from an ominous thrum. Toshimaru Nakamura‘s no-input mixing board is an iconic instrument in its own right, from which an eerie rhythmicity emanates beneath his master touch. Finally, Cecilia Lopez‘s permutating project, Red, unveils layers of sculpturized feedback in response to the physical space of the performance.


VOR is the solo experimental electronic project of Winnipeg based multidisciplinary artist AO Roberts. Roberts works primarily in installation, sculpture, and sound performance and has toured internationally, releasing records as a member of a multiple noise projects and feminist punk bands, including Kursk and Wolbachia. They have been performing solo as VOR since 2015.


Toshimaru Nakamura‘s instrument is the no-input mixing board, using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach in the mid-1990’s and has since appeared on over one hundred releases, including ten solo CDs.


Cecilia Lopez is a composer, musician and multimedia artist from Buenos Aires, Argentina. Her work explores processes of perception and transmission, focusing on the relationship between sound technologies and listening practices. She works across the media of performance, sound, installation and the creation of sound devices and systems. Her ongoing piece, Red, explores the relation and interaction of unstable acoustic feedback systems formed from woven nets of speaker wire. As a concert, Red constitutes an interactive electronic device that behaves autonomously and organically, defying the correlation between electronic instrument and musician.