Kev Winser
We speak to Kev Winser of Infected Senses, Music is Murder, and DAISI Arts. Based at home in Exeter, and often seen at the Exeter Phoenix for his events for Music is Murder, Kev also travels to the likes of North Devon to run beginner workshops in basic electronic music and sound design for young people at youth clubs, community centres, and the like. As a DJ, you can also find him in dark, late-night pubs, hostelries, fields and marquees.
What do you do?
I sometimes wonder myself! :) I produce experimental electronic music and sound art/design. I teach young people how to create their own, curate and promote live events showcasing non-traditional, boundary-pushing (or boundary-destroying) musicians and artists, connecting audiences with unique and unconventional sounds. Oh, and I DJ for drunk people to dance — because someone’s got to.
Give us a bite-sized history of your organisation(s)
DAISI you can look up. [Music is Murder] MIM was dreamed up by Harry and me one night in the pub, with Stuart jumping on board soon after. We bonded over a shared love of extreme noise music and other experimental, improvised, and unclassifiable sounds and creators. Inspired by London’s Café OTO and the wave of experimental music nights springing up around the UK at the time, we figured, “Why not start our own?”
The first MIM event took place in November 2017 at what was then the Arcade pub on Fore Street in Exeter. We thought maybe three people might show up—40 came. For such a niche event, that was an absolute win. Sound restrictions at the Arcade eventually pushed us elsewhere, and we were lucky enough to be offered Sunday nights at the Phoenix Centre, where we’ve been ever since. The Infected Senses project, on the other hand, has a much longer history. It began in the late ’80s or early ’90s as part of the pre-internet underground of cassette and fanzine exchange culture, and mail art networks. After a lengthy pause for a career detour at the BBC, the project roared back to life in 2017. Coincidence? :)
Since then, I’ve completed an MA in Sound Design and worked on audio and sound design for podcasts, theatre, indie film, and public installations. I’ve released nearly 140 albums and EPs on Bandcamp, with many finding airtime and homes on like-minded labels around the world—from Japan and Brazil to France and the USA. Last autumn, about 100 of these releases were unexpectedly curated and added to the British Library’s National Sound Archive—an incredible honour, apparently, and a nod to their contribution to the nation’s audio cultural history, I was told. As for my creative story/so-called career in arts and media generally (or life as a DJ) That’s even longer, weirder, and far too chaotic to fit here.
Who do you work with and why?
As a project developer and relationship builder for DAISI Arts' Shifting Sounds project—designed for people with no prior experience of music and/or those facing social or geographic barriers to accessing tech-based music provision in North Devon (where I grew up)—I’m funded by the national charity Youth Music. While you couldn’t exactly call me “young” anymore, I think I landed the gig because I’m immature, stroppy, and hormonal like a teenager (just kidding… mostly). In reality, it’s probably down to having the experience and vision to offer something edgier than the usual community music staples like drum jams and open mics. I work with young people from their early teens to late teens, alongside youth group leaders, community centres, and a reliable colleague called Seth. For MIM, Infected Senses, and DJing, it’s mainly misfits, malcontents, and drunks. Why? Honestly, who knows?
Name one thing that would make your life easier as an artist or arts organiser.
A benevolent AI robot clone of myself , that loves spread sheets, admin and has talent.
And what keeps you going when things get tough?
That some time in the future, all the 'stuff' I've done in my life, might mean something to someone, together with dreams of a benevolent AI robot clone of myself , that loves spread sheets, admin and has talent. Lions mane suppliment and Guarana.
What does the next year look like for you?
It’s shaping up to be a busy few months. I’m currently planning and organizing a day event at Studio KIND in Barnstaple for the DAISI project. The event will include workshops, performances, and a Q&A forum aimed at young people and others already involved in music in some way. We’re also rolling out another series of our mobile electronic music workshops in South Molton, Braunton, and Ilfracombe—all key target areas for reaching parts of the region with little to no music provision. On the MIM front, we’re plotting our next event and making enquiries to book a special show with an extraordinary sound artist/performer who explores the “intersection of visceral sound design, noise, deconstructed (queer) club culture, and AI.” Well, I'M excited. DJ-wise, I’m back at my long-time home of Glastonbury, along with a couple of my regular fields. But this year, after a few years of trying, I’ve finally been asked to play at the HowTheLightGetsIn festival at Hay-on-Wye. It’s unique, billed as the world’s largest philosophy and music festival (not in physical size, mind you). Organized by the Institute of Art and Ideas, it brings together philosophers, writers, academics, comedians, and musicians. As an old Cultural Studies graduate, it’s right up my street, and I’ve got a secret mission/ambition: to get Slavoj Žižek busting some moves to Charli XCX. If that happens, I can die happy.
In what ways are you helping to put Exeter on the cultural map, nationally or internationally?
I'm not sure if thats the aim per-se. It may be an unwitting side effect of things I've put out into the world though, I suppose? It was nice to be featured in the recent edition of 'electronic sound' magazine. It did a round up grass roots electronica 'scenes' around the country and, all the above was covered in the Exeter section.
What if ….
Part of my remit for the youth music work I’m doing [at the moment] is reaching out and making connections outside of the city. Was very pleased to see a new experimental night make it debut in Barnstaple, last autumn, directly inspired by MIM, so that’s great, obviously. Personally, I do like to get involved in co-labs and connecting with other projects, and happy to do so if asked, but also happy keeping to my 'tracks'.
How do we find out more?
For MIM via the Facebook page.
For Infected senses, via the Bandcamp page and Infectedsenses5@gmail.com
For the 'shifting sounds' project, via kevin@daisi.org.uk