“A little minimal, a little magical, a little chaotic and little bizarre. Live on stage. The craft of harmony and rhythm taken off the beaten track.. Risky live electronic music. Boxes, wires, instruments, pedals, and laptops … a platform for new sounds, collaborations and innovation. And since the beginning of Series 4, immersive, surround-sound concerts in London.”

We are delighted that there are now accessible protocols for designing sound in space. Having worked with ambisonics for 3 concerts using the ‘Amoenus’ sound rig at Iklectik in London, we are now also working with Southby Productions and D&B speaker and system technology to present our next immersive concert on 2nd April 2024.

Here’s some info on Tuesdays Post founder Georgina Brett:

Georgina studied undergraduate music at Edinburgh University under Peter Nelson and Nigel Osborne, focusing on contemporary music study and techniques. On the strength of her final electronic compositions and her compositional work as music director of the university theatre company Georgina secured a scholarship to The Banff Centre in Canada to study composition and a bursary fund to study MA at Birmingham University under Jonty Harrison. In early 2000’s Georgina worked on a series of binaurally recorded fieldwave CD releases of the environment of eco-festivals and since 2003 she has explored the territories of the voice and delay pedals making collages of vocal sound, usually non verbal. In 2012 Georgina began Tuesdays Post : Live Progressive Ambient in order to create a platform for artists who explore acoustic instruments and electronics, focussing on music both eccentric/eclectic/electro-acoustic and also with a sense of aesthetic beauty. (So much experimental music is hard on the ear!)

Spatial Work

“My introduction to spatial music, (and still the best concert i have ever been to!) was “Persephassa” by Iannis Xenakis. A piece for 6 drum kits surrounding the audience. I had the opportunity to meet Xenakis after the concert, which is perhaps one of my most treasured memories. As a postgraduate I used ‘diffusion’ techniques to spatialise my compositions with B.E.A.S.T (Birmingham Electro-Acoustic Sound Theatre) and in early 2000’s I dj-ed at The ICA using diffusion rigs. Borrowing a matrix mixer from a theatre hire company I set up an octophonic ambient room in a massive club night in 2014, and in 2015 and 2016 presented 2 live concerts with instrumental performers in 6 channel surround-sound.