"Timperley Rhapsodies", recorded live at the Chapel in the Garden, Bridport, April 2014.
Tuesday, 15 April 2014
Saturday, 5 April 2014
Monday, 17 March 2014
Thursday, 13 March 2014
Monday, 3 March 2014
Immediately after the screening of Jon Ronson & Lenny Abrahamson's FRANK at Bridport's From Page to Screen Festival, head to the Chapel in the Garden for an after party where unique, one off songwriters perform songs by and inspired by the unique, one off Frank Sidebottom.
With performances from Ergo Phizmiz ("“We can't decide whether he's the new Viv Stanshall, a young Eno, a British Zappa, or a replacement for Frank Sidebottom (RIP)” - The Guardian), Oblivian Substanshall, and Elvis Herod, this is a one off, unmissable evening of outsider entertainment.
Also exhibiting will be the giant, fibreglass heads created by Martha Moopette for Ergo Phizmiz's productions of The Third Policeman and Gargantua an excessive entertainment by Ergo Phizmiz ....
Tickets just £4. Can you resist? Didn't think so.
Sunday, 23 February 2014
|Photograph by Claire Shovelton|
“He is a burst of imagination, colour and noise” - The New Statesman
“We can't decide whether he's the new Viv Stanshall, a young Eno, a British Zappa, or a replacement for Frank Sidebottom (RIP)” - The Guardian
“He's like the grandma-gobbling wold in Little Red Riding Hood, swallowing down the entire world, all the better to heave it back up in your face” - The Wire Magazine
“The Emperor of Music!” - Tom Ravenscroft (BBC 6Music)
“Mad, but mesmerising” - The Times
“One of the most inventive composers around” - BBC Radio 3
“A truly English original who we should cherish deeply” - Sound Projector Magazine
Songwriter, Radio Producer, Collagist, Opera composer, and Film maker Ergo Phizmiz has developed a reputation as one of the most consistently inventive, entertaining and prolific artists working today.
His wildly unpredictable output has included the 15 hour sound odyssey “The Faust Cycle” (described as “the most ambitious music project of the 21st century”), “M: 1000 Year Mix” (a mash-up of a millennium), award-winning radio-plays for broadcasts across Europe, and his unique, home-made operas on subjects as diverse as the death by demonism of broadcaster Chris Evans, a late flowering love-affair of Gala Dali, the history of yodelling, an adaptation of a novel by Flann O'Brien, and a visualisation of the entire internet playing a game with itself.
He is also notorious for his cover versions of other artists, including the Velvet Underground, Beyonce, Missy Elliott, the Pet Shop Boys, and Aphex Twin, who listened, perplexed, slowly fathoming out his material from Ergo's Amish-Party sound.
For his 2014 tour Ergo will present intimate, solo performances of music, miniature theatre, puppetry, and spoken-word, drawing upon his back catalogue whilst simultaneously inventing new material, and covering, in his own inimitable way, all your favourite hit songs from the 1920s to the present.
“His set is rusty and unrehearsed, yet he has a certain theatrical charm that makes his crowd smile, in whimsical confusion if not genuine joy....Everything about him is shambolic, from his creased shirt to his arrangement of instruments. This would be annoying coming from any other artist, yet Phizmiz manages to create a laid-back environment; the atmosphere is more like having a cuppa with a close friend rather than giving a performance.” - The Upcoming magazine, on Ergo Phizmiz live at Rough Trade
Interested? Course you are. Contact firstname.lastname@example.org
In the meantime, while away the time with a beverage of your choice and the Ergo Phizmiz 2008-2014 Concert Film:
And a specially cooked mix for the 2014 tour of ERGO'S FAVOURITE ERGOS ...
Tour dates to be announced soon...
Tuesday, 18 February 2014
Deutschlandradiokultur are repeat broadcasting Ergo Phizmiz's 2011 30 minute radio-collage work "The Carnival in the Mirror Marches Into The Sea", next to a 20 minute edited version of the 2012 piece "Conversations With Birds". Listen here, at 0.05am (German time) on the morning between 27/28 February.
"The carnival is warming. Costumes rustle, commentators mutter in their microphones, glasses are filled and emptied. As an unheard sound procession on the audience begins overtake.
Surreal acoustic natures transform into and through each other, pianos squirt their guts, dead carousels come to life, and the audience is increasingly in ecstasy."