Pop Mutations are delighted to welcome UK-based musical collective EX-EASTER ISLAND HEAD to The Glad Cafe for their first ever live show in Glasgow and first Scottish appearance in many years. Composing and performing music for solid body electric guitar, percussion and other instruments - they're well known for their thrilling live performances.

Primarily performing as a quartet, the group incorporates multiple electric guitars augmented through mechanical preparations and extended techniques to create works that explore group interplay, repetition and melodic invention through purposefully limited means.

Their records Mallet Guitars One –Three, Large Electric Ensemble and Twenty-Two Strings have been released to significant critical acclaim from the likes of The Wire, Pitchfork, the Quietus and the New York Times. The group have received airplay on the BBC, ABC and more with their music favourably compared to the likes of Steve Reich, Glenn Branca and John Cage. Their two volumes of library and production music for EMI/KPM – Mechanical Landscapes One and Two - have seen use on television and radio productions internationally.

Performances have taken place in venues ranging from the tiny Scottish island of Iona to a 150-year old brewery in Berlin and include appearances at Stewart Lee's ATP, Supersonic and Le Guess Who? festivals. Tours have included the UK, EU and Japan.

Collaborators include the BBC Philharmonic, Royal Liverpool Philharmonic, Immix Ensemble and composer Arnold Dreyblatt. Between 2012-2017 they created two “Large Electric Ensembles”, bringing together musicians from Nottingham, Manchester and Salford's experimental music scenes to create ambitious concert pieces for up to 20 players.

In 2019 the group joined forces with Laura Cannell, Charles Hayward and Andre Bosman to release the critically acclaimed collaborative album Whistling Arrow on God Unknown records.

Ex-Easter Island Head:

Benjamin D. Duvall, Benjamin Fair, Jonathan Hering, Andrew PM Hunt

“Free flowing genius”

– The Guardian

"Churning pulses, alternate tunings

and dense harmonic worlds...

all the strings being heard at once"

– The New York Times

“Repetition and rumbling resonances

bringing to mind Rhys Chatham's seminal works

with tone and John Cage's rhythmic sensibilities”

- Pitchfork

“A three chord punk mission statement

turned into a neo-classical manifesto”

- The Wire

“A thrilling venture into galloping rhythm

and elongated layers of droning melody”

- The Quietus

“Percussive drones that would make the

likes of Steve Reich and Brian Eno proud”

- Noisey