Tullis Rennie: Expanding Fixed Freedoms

Performed by Tullis Rennie with Preetha Narayanan, Tara Franks, Cath Roberts and Dee Byrne.

Tullis Rennie's most recent studio release is Fixed Freedoms on Accidental Jnr’s Room 2 – a series for Matthew Herbert’s label dedicated to electronic music outside the main thoroughfare of club tracks. Here, Fixed Freedoms is reimagined in a new performance with instrumental quartet and electronics.

The music of Fixed Freedoms explores and reflects on themes of constraint: musical, personal, political. 'Freedoms' include the indeterminate nature of field recording, and of improvisations through equally unpredictable analogue circuits and patches. These are combined and juxtaposed with the 'fixed' notion of one-take recording as an immutable entity, and limits on choices - musical, technical, and of personal movement/travel in contexts both local and global.

Please note, this event is free to attend, but seats are limited, so please do sign up to attend, via the 'register now' button above.

About Tullis Rennie

Rennie’s varied career to date has touched upon many different conceptual approaches, examining the impact of listening with jazz musicians Matthew Bourne and Graham South on 2018's Muscle Memory and investigating the hidden process of performance preparation with Vonnegut Collective on 2021's 48 Hours. He’s also a founder member of Barcelona-based AV collective Insectotròpics and co-director of community-oriented arts organisation Walls On Walls.

"Rennie foregrounds the act of listening as an active component in the creation of musical experience”—The Wire Magazine

"...touches on Vladislav Delay, Lorenzo Senni and DJ Sprinkles ... a mutated set of electronic experiments that bends recognizable formulae (trance, dub techno, electro) into abstract landscapes"—Boomkat

“With his unique combination of experimental electronics, improvisation and field recording, Rennie’s music seems to reach towards a hyper-realist kind of ambient. His pieces are sensitive to the importance of noticing sound”—The Cusp Magazine