OVERVIEW FOR PROMOTERS
Martin Archer - electronic keyboards, laptop, saxophones, clarinets, recorders
Hervé Perez - laptop, saxophones
Peter Fairclough - drums and percussion
Inclusion Principle operates in a space between electronics, nu-jazz, contemporary electroacoustic music and free improvisation. In performance you will hear pure jazz skill, electronic beats and areas of texture and abstraction all seamlessly woven into a fascinating and constantly shifting tapestry of sound.
Inclusion Principle was formed in 2006, initially as a duo until Peter Fairclough joined as permanent third member in 2013.
Both Martin and Hervé play a similar set up of laptop and woodwinds and yet have a different approach to their instruments. Put together, there is a chemistry that inspire and drive their improvisations towards a wide range of soundscapes.
The choice of instruments and sounds on their palette allows them to dramatically change their music between beat driven electro, minimal and microtonal improvisation via electroacoustic experimentation and nu-jazz.
Long time collaborator Peter Fairclough fills a space in the soundscape that was meant for him, bringing a range of sounds and acoustic instruments. His inventive use of hand percussion, cymbals sculptures and bells blend perfectly with abstract textures while establishing definite jazz grooves that sit comfortably amongst electronic beats.
First and foremost, they share an enjoyment of sound and performance which touches their audience, no matter what style they may adopt, in a way which makes their abstractions accessible to all.
Hervé is a sound artist/composer from France, now based in Sheffield, UK.
He works across genres, drawing from many influences in jazz, electro-acoustic, contemporary music, experimental electronics, free improvisation, immersive sound art and ancient techniques of sound therapy alike.
Hervé's research approaches sound as vibration, the relation between sound and objects or spaces, architecture and the body.
his use of field recordings and sound design is concerned with frequencies and harmonic relationships found in nature, how they relate to the physical world, and how the sounds of natural elements connect to our own resonances.
He has developed a very personal way to process and sculpt location recordings to reveal their musical features and maximise resonance with the listener and their experience of sound.
Following an early career with 1980s jazz punk pell mellers Bass Tone Trap, followed by the fondly remembered and widely gigged Hornweb Sax Quartet, Martin disappeared into the recording studio for 15 years in 1994, from where he produced a series of highly acclaimed albums for his own Discus imprint. In recent years, as well as forging a several album creative partnership with veteran vocalist Julie Tippetts, Martin currently works with avant rock groups Orchestra of the Upper Atmosphere and Combat Astronomy, 35 voice experimental music choir Juxtavoices,and most recently Engine Room Favourites, in which Martin revisits his AACM roots.
1995 Peter Whittingham Award winner, Peter Fairclough, has played and/or recorded with Keith Tippett, Mike Westbrook, Ute Lemper, John Harle, The Bournemouth Sinfonietta, The Matrix Ensemble, Peter King, Martin Archer, Rod Hull & Emu and many others. He has toured, mostly in continental Europe, and performed at many International Jazz Festivals. Peter has also recorded on several major labels including Decca and CBS.
He has 5 CD releases of his own; Shepherd Wheel (ASC CD1), Wild Silk (ASC CD8 with Keith Tippett), Permission (ASC CD18), Imago (JazzPrint JPVP132CD also with Keith Tippett) and Momentarily (pfcd0901 with Hayley Youell, Fred T Baker & Dave Bainbridge).
Peter teaches drums at Liverpool Institute for Performing Arts and Leeds College of Music.
This electroacoustic set retains the spontaneous qualities of a live recording, mashing up abstract textures, field recordings and extended techniques - Jazzwise
The sense of considered, focused interplay between the participants is undeniable. An hour or so of abstract noise passes imperceptibly, then, suddenly, everything feels shockingly different - Stuart Lee, Sunday Times
What you are hearing are the results of initial meeting between the two. First hour, first day. Improvised. Minimal, detailed, immaculately recorded. Not so much a sound installation as a room in which you finally get to hear the sound that were already there, but the very elements are broken down to their basic particles forming into glitch electrics where electrons reveal themselves from within the whole. There's something of the alchemical about it as nature's music forms these things. It's a productive and worthwhile collaboration between two heavily experienced instrumentalists with an impressive sense of awareness. - Hassni Malik, Irrational Arts
I have not heard a better album from Martin Archer yet. - Petr Ferenc, hisVOICE
A CD of intricate moments, steering away quite nicely from many of the clichés associated with the vague beast that is the improv genre. Both (players) do indeed seem to be on an extended nature trip, albeit a microscopic one.....It's an album of abstract micro-events, none of which help pin the improvisation down, and it feels at times that we're moving along with the musicians on a cellular level of sound.....What I hear is the deep thinking of stones and the beating hearts of young trees, the dying wishes of leaves falling to the ground and the absurdist symphony of a gently running stream.....Guaranteed to make even the most hardened sceptics want to smell new spring flowers and run naked through the fields. - Aaron Robertson, Sound Projector
The sound-construction/deconstruction works to a truly great effect here. - Chuck Rosenberg, Aural Innovations