Convergence presents Noise of Art's Lab/ Comfortably Spun at Red Gallery Friday 18 March

Live club night with DJs, live electronic music and art installation with
White Noise –  Live
Deben Collective – Live
Ben Osborne – DJ Set
Horton Jupiter – DJ Set
Comfortably Spun –  AV Installation by CAVALCANTI & Ben Osborne
7pm – 2am, £5
Red Gallery, 1-3 Rivington St, London EC2A 3DT
On Friday 18 March Comfortably Spun, Noise of Art’s audio visual installation at Convergence festival, will be joined by a live club night celebrating the legacy of the late Sixties Arts Lab club night.
Arts Lab was one of the first clubs in London to bring art installations, film, technology and experimental music into the same space. One regular who modelled his career on Arts Club’s cross platform art message was David Bowie, who was so influenced by the club that, after the central London venue closed, he started his own Arts Lab in the suburbs.
Tonight’s show features a rare live set by White Noise (pictured), the band behind the UK’s first electronic LP. More importantly for tonight’s show, they were also the band that first took electronic music into Arts Lab – using their otherworldly, futurist vision of music to soundtrack early experiments with pop video. White Noise’s appearance tonight connects today’s experiments in multi media with its London origins at Arts Lab.
Joining White Noise  are The Deben Collective, a live, experimental electronic outift formed by Jan Pulsford, whose credits include works with Cindi Lauper, The Thompson Twins and Nile Rodgers.
On the decs, throwing down a mix of twisted disco and cosmic house, will be Noise of Art’s Ben Osborne and Horton Jupiter, former frontman of krautrockers They Came From The Stars I Saw Them.
The night will also feature Comfortably Spun, an art installation by Ben Osborne and CAVALCANTI, which uses a textile factory in Portugal as an instrument.
There’s more on the Comfortably Spun installation here
http://convergence-london.com/sessions/noise-of-art-presents-comfortably-spun
“Harbingers of a future where sampling and sound manipulation would become the pop norm.” (Quietus on the legacy of White Noise).