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Gone, Gone Beyond 360 Surround A/V Movie

“Hey, hey, have you ever tried… reaching out to the other side?”


OSLO Black Box Teater present KinoKammer in collaboration with nyMusikk
13-16 October 2021

28-30 October 2021

BRIGHTON Attenborough Centre (ACCA)
4-6 November 2021

LONDON Barbican Centre
10-13 November 2021

CANTERBURY The Gulbenkian Centre
21-23 April 2022

Audience quotes:

“probably the most magnificent piece of cinema I’ve ever seen, I was knocked out by it, I’ll remember that vividly for the rest of my life, absolutely staggering”– audience member, SPILL Festival, Ipswich UK

The first time I saw a 360 degree movie was at Disney World, and it was nothing compared to this. Gone, Gone Beyond takes us to the next level in the People Like Us Cinematic Universe, by adding not just one more dimension to the traditional flatness of cinema but a groundbreaking way of approaching video collage. I’ve never seen anything like it.”  tomcomitta — Grey Area, San Francisco

“it was epic. Wasn’t sure if I’d dreamt it or it actually happened. A visual feast and a truly mind bending experience.” — Vic, Attenborough Centre, Brighton UK

Just went to see it! It’s a f**king masterpiece!” –– Helena, Attenborough Centre, Brighton UK

Created by Vicki Bennett (aka People Like Us), ‘Gone, Gone Beyond’ was five years in the making and combines sequences from innumerable iconic movies, alongside specially shot footage. This hour long 360 degree film collage work is a fully immersive and at times psychotropic experience. Anyone who has encountered Bennett’s work over the past 30 years won’t be surprised by her painstaking attention to detail, or the range of raw materials she is able to blend and shape to serve her own witty and occasionally unsettling vision.Whilst many collagists seek out unfamiliar source material, she often elects to use some of the best known musical and cinematic works of the late 20th century. As narrative surrenders to a cosmology of symbols and recurring motifs, her alchemical skill means this juxtaposition of overly familiar material can forge new meaning and authentic emotion.‘Gone, Gone Beyond’ pushes the boundaries of cinema, not only in its formal presentation, but also in the way it operates on the viewer’s perception. It is Bennett’s masterpiece, and it needs to be seen by anyone with an interest in cinema’s rich history. As well as anyone fascinated by the future of the moving image.”– Graham Duff, Attenborough Centre, Brighton UK

I thought Gone, Gone Beyond was tremendous. I cried twice. The sheer mad energy of it. Great work.” — John, SPILL Festival, Ipswich UK

“That was one of the best things that I’ve ever seen and heard. Amazing, and quite indescribable in words.” — Pete, Barbican, London

“We live in a 24/7 blizzard of images, soundbites, information: a frenzy of scrolling ephemera. Gone, Gone Beyond takes that feeling of crush and rush and deluge and pushes it towards an absolute horizon, a thrilling catastrophe, as if searching for some kind of step-change or transformation that may be just a preview of extinction, or, if you’re so inclined, a flight path to states beyond. It’s an enthralling and constantly fascinating audio/visual/spatial experience: at times frightening, funny, invigorating, lysergically beautiful or achingly sad. Lyrical fragments from familiar songs vibrate with haunting new resonances, snippets of classic movies infect one another with unexpected ironies, moments of meditative calm collide with the surreal excess of a deranged Hollywood, as everything constantly warps and weaves into strange new shapes. All of this is conveyed in 360-degree cinematic surround, and the images are seamlessly manipulated and choreographed to make maximum use of the possibilities: swooping transitions, corner-of-the-eye startlements, wraparound ‘you-are-there’ head-trips, and a frequent ‘tearing of the veils’ sensation as scenes are engulfed by fire or smoke or cosmic darkness. 21st century global-digital culture can feel like a city with no exits, a relentless procession of information surfaces: Gone, Gone Beyond is a herculean attempt to lift it all up by the bootlaces and sling it round the bend into… who knows where”. — Stephen Thrower, Attenborough Centre, Brighton UK

feeling overwhelmed and thoroughly inspired by what I just saw. So many breathtaking and witty collisions of sound and image I don’t know where to start. A truly amazing job Vicki & co.!— Ian, Barbican Centre, London

“It was amazing, so much work up there on the screen even from one angle let alone four that it would require repeated screenings to catch it all. The visual and sonic narratives would carry across into any territory and language I’m sure, making it an easy export just about anywhere in the world that could host it. Would love to see it progress into a larger scale work if that was possible too.” — Kev, Barbican, London

” loved loved loved it – an amazing immersive experience that shows what can be achieved…it was an experience sitting above the sound, you can feel it resonate through you” — Hazel, SPILL Festival, Ipswich UK

Am so grateful to have seen this last night. So amazing to see how this has developed. Think it had a really cathartic effect on my mind” — Lisa, Barbican Centre, London

“Absolutely brilliant work, and seeing it for the second time I felt like I was noticing so much I missed the first time round. Highly recommended, do go and see it.” — Akāshamitra, Barbican, London

An absolute work of genius. So happy to see this and thank you for sharing such a wonderful creative masterpiece.” — Angela, Attenborough Centre, Brighton UK

It blew me away!” — Andrew, Attenborough Centre, Brighton UK

Gone, Gone Beyond took me to so many amazing places – totally immersive, blown away by the the vibrations of sound, vision, memories, art, film, music and more. I have never experienced anything quite like it – my neck wished it was on swivel so that I could spin around quickly to see as much as possible – I was offered earplugs in case I needed them but I wanted to be fully present to everything that came at me and to me. I loved it all – the images from past, present and future – take me to the stars and back – what a trip – what a journey – amazing – well done to all involved – more please!!!!— Donna, Attenborough Centre, Brighton UK

Unlike anything else I’ve seen. Absolutely wonderful.” — Misha, Attenborough Centre, Brighton UK

“This is one of those all audience works and it would be at home in any city it came to” — Jon, Gray Area, San Francisco

“Massive show. Brilliant, surprising, humorous, full of questions and combinations. Excellent evening” — Simon Fisher Turner, Barbican, London

“Very much enjoyed the amazing sensory experience and bursting energy of this wonderful piece of work. Pretty mIndblowing. The colours and sounds and images stayed spinning in my head for days! I’d love to see it again.” — Janet, Barbican, London

“Gone Gone Beyond was both one of the most moving experiences of my life and one of the most beautiful things of any kind I’ve ever seen. It was somehow as familiar as my own subconscious and aggregated memories, yet as unsettling and otherwise as an unexpected hallucination. I can’t wait to see it again at Canterbury. Thank you!!” — Malcolm, Barbican, London

“This was exhilarating and life-affirming. When it ended I just wanted to watch it all over again. A wonderful experience.” — Jenni, Barbican, London

Privileged to attend an absolutely marvellous event at Goldsmiths College, a unique piece of immersive 360 degree cinema put together principally by People Like Us aka Vicki Bennett. It builds on her previous work, juxtaposing familiar film and music to unsettling effect;… the audio and imagery builds layer upon layer to a meaningful, psychedelic cacophony, layer upon layer of the familiar; .. over an elaborate, kaleidoscopic sensurround collage of footage….The familiar and the unsettling; that’s the idea. Taking these film clips out of their original contexts, presenting them as part of a gushing continuum of dynamism, breakthrough, without resolution; because, in life, there is no resolution, no end to the story, simply this multiple, simultaneist mass of concurrent narratives, whose sheer kinetic energy, like an ever-flowing waterfall, is the real story that cinema is telling us; “endings” are mere temporary hiatuses, the definition of fiction. tl;dr; this is a meticulous, deceptively chaotic audiovisual blast like no other. And it deserves to be seen by everyone.” — David Stubbs, private screening at Goldsmiths, London UK

“It was an absolute pleasure and flat cinema will never feel the same again!” — Leanne, Barbican, London

Great to have a record to try and convey the impossible task of describing what it was like. I love the fact that one has to be in it to know it. The transformation from Austrian alps to the napalmed jungle is a moment etched. The bombastic soundtrack was beyond, very beyond!” — Julian, Attenborough Centre, Brighton, UK

“I really enjoyed the experience, and I’m finding that I keep thinking about it, it’s a truly memorable piece of work. Good luck with everything that comes next.” — Angela, Barbican, London

I’m at a loss to describe, ‘Gone, Gone Beyond’. The scale of it, the ‘I’ve-never-seen-anything-like-it-ness. That it’s not a kaleidoscope or a rollercoaster and a dodgem car of merged pop culture memories. It is those things, but so much more. How People Like Us messes minds is with our sense of time, I think, maybe. What we don’t think of nostalgia and our fear of the nothingness of life. Audio-visual collage that deconstructs and disassembles. What surprises most is the delicacy of its intimacy in such a large dizzying frame. Even in the darkest moments of ‘Gone, Gone Beyond’ the candles flicker and dim, the infinite dancers spin downward like rain, the 1970s jukeboxes merrily mash up making something astonishingly new and somewhat otherworldly. The balance of this, and what I love so much about all of Vicki’s work, is that this is avant garde art that holds an audience of all ages and backgrounds on the edge of their seats. In ‘Gone, Gone Beyond’ I saw schoolchildren and misled daytime shoppers enraptured for over an hour in Ipswich. In 30+ years of going to all sorts of arts, I’ve really never seen anything like that before. In the cinemascope experience, the audience and their reaction is part of ‘Gone, Gone Beyond’ – this is truly immersive work.” — Leon, SPILL Festival, Ipswich UK

“What a brilliant excuse to sit down and watch every film ever made worth watching” — audience member, Attenborough Centre, Brighton UK

Absolutely blown away by @do_or_diy new show ‘Gone Gone Beyond’ @BarbicanCentre go and see immediately if you are a lover of cinema and film. On till end of week. Thank me later.” — Gerard Johnson, Barbican, London

“sensory overload”– audience member, SPILL Festival, Ipswich UK

“it was amazing, we could not stop talking about it and we think the next step is a viewing from a floatation tank, with room to turn 360*” — Hazel, SPILL Festival, Ipswich UK

“So good I came back with the kids who thought I’d spiked their drinks” — Andrew, Barbican, London

“fragments of memories, visual audio bonanza thrown at you from all angles”– audience member, SPILL Festival, Ipswich UK

“like doing all drugs at the same time, in a nice way”– audience member, SPILL Festival, Ipswich UK

“This was absolutely mindblowing” — Shane, Barbican, London

“It really was incredible. It took me a few minutes to realize there was no way I could ‘see’ every bit (head spinning 360). Then I could relax and enjoy the experience, knowing that I have to see it again, and again.” — Tracey, Barbican, London

“A truly mind-blowing, mesmerising and epic 360-degree audiovisual experience unlike anything you may ever before have seen.” — Leanne, Barbican, London

“Was so so good 😊 probably the best female artist on the planet right now . Mashed up mixed up and messy – I love her distorted dystopian films” — Helen, Barbican, London

“an incredibly vivid visual rollercoaster and I loved the soundtrack” — Mark, Barbican, London

“Wonderful immersive and mindblowing cinema experience at the Barbican created by talented Vicki Bennett. Go if you get the chance! We loved it” — Janet, Barbican, London

Reviews and Interviews:

Crack Magazine Barbican review (November 2021)
https://crackmagazine.net/article/live-reviews/gone-gone-beyond-people-like-us-at-barbican/ (file)
Rosa Magazine (November 2021)
https://www.instagram.com/therosamag/?hl=en (file)
brutjournal (November 2021)
https://brutjournal.com/login/ (file)
Crack Magazine Movie Top 5 (October 2021)
https://peoplelikeus.org/2021/crack-magazine-abstract-viewing-5-must-watch-films-chosen-by-vicki-bennett/ (file)
The Quietus Interview (October 2021)
Jon Wright – SPILL Festival feature on BBC Radio Special Feature (October 2021)
https://www.bbc.co.uk/sounds/play/p09xvj2h (listen)

Scenekunst (October 2021)
http://www.scenekunst.no/sak/psykedelisk-meditasjon/ (translated file)
Shakespeare Tidsskrift (October 2021)
http://shakespearetidsskrift.no/2021/10/pa-tide (translated file)
Klassekampen (October 2021)
https://klassekampen.no/utgave/2021-10-16/en-kveld-pa-kammerset (translated file)
Ballade (October 2021)
https://www.ballade.no/kunstmusikk/lasse-marhaug-og-people-like-us-dystopisk-stoyfilm-fra-groruddalen-og-eit-draumebad-i-kinokjensler/ (translated file)
Interview with Hearty White about the making of Gone, Gone Beyond (2017)

Gone, Gone Beyond is an immersive a/v spatial cinema work by People Like Us (Vicki Bennett), which breaks the rectangle, smashing the thin screen into tiny fragments, looking beyond the frame, climbing through to see what’s behind.  

The initial work was commissioned by Naut Humon, the founder of immersive theatre project RML CineChamber, Gone, Gone Beyond is a 10 screen / 8 speaker piece, with seamless wrap around projection and surround sound where the audience sit inside. It comprises of movie and musical compositions, animated and sample-based/musique concrète collage juxtaposed with content filmed/recorded by the artist, all sewn together in a giant patchwork. Pull on a thread and watch whole new narratives expand and unravel all at once on a 360º palette. The project has been a work in progress since 2017, and is showing for the first time in Autumn 2021 in feature length format.  

Gone, Gone Beyond in CineChamber OSLO

The works title and underlying concepts come from the Heart Sutra, a key Buddhist text, describing how all phenomena are empty in form yet ultimately interconnected. The last lines of the Heart Sutra say ‘gate gate pāragate pārasamgate bodhi svāhā’, which means “gone, gone beyond, gone beyond that a bit more, and then beyond that a bit further”. This reflects perfectly the action of going beyond the frame to where there are no edges to the narrative – just emptiness.  

Gone, Gone Beyond 2021 Trailer

In this 360º format, time and space becomes elasticated, with the use of collaged video furthering the reflection on how information comes to us as fragments and that nothing is fixed. A new narrative-thread is woven in the mind of each viewer every time the work is seen, limited only to that exact time and space – just as the Heart Sutra reminds us that the only constant is change, and everything is related with no fixed source.

The initial in-process tester movie screened in San Francisco in October 2017 at RML’s own Recombinant Festival at Gray Area Foundation for the Arts. Since then the work has been in development, with a private screening event in April 2019 Goldsmiths SIML (with thanks to Sound and Music’s New Voices programme) for potential partners. The work will screen in Oslo (Black Box Teater/nyMusikk), Ipswich (SPILL Festival DanceEast), Brighton (Attenborough Centre For The Creative Arts (ACCA)) and London (Barbican), in Autumn 2021 and Canterbury (The Gulbenkian Centre) in April 2022.

We gratefully acknowledge support from SPILL Festival of Performance, presented in partnership with Attenborough Centre for the Creative Arts (ACCA) and Barbican. Supported by Recombinant Media Labs (RML), DanceEast, nyMusikk, PRS Foundation’s The Open Fund and Arts Council England. Developed as part of Sound and Music’s New Voices Programme.


Featured post

Artist Biography

Under the name “People Like Us,” artist Vicki Bennett has been making work available via CD, DVD and vinyl releases, radio broadcasts, concert appearances, gallery exhibits and online streaming and distribution since 1992. Bennett has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and collage as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form. Embedded in her work is the premise that all is interconnected and that claiming ownership of an “original” or isolated concept is both preposterous and redundant. Most of the People Like Us back catalogue has been available for free online since 2002. For many artists, profit and publicity is more likely through free distribution (the gift economy) than independent publishers and distributors, which often struggle with limited resources. Online self-distribution allows an artist to keep their work available, resolving a tension between label production costs and the desire of an artist for work to be available. UbuWeb generously hosts the discography and filmography of People Like Us.

Review in scenekunst.no of Gone, Gone Beyond in OSLO

KRITIKK 15.10.2021 Mariken Lauvstad
Vicki Bennett (People Like Us) / Lasse Marhaug:
Gone, Gone Beyond + For My Abandoned Left Eye
Black Box Teater / nyMusikk / Double premieres October 13, 2021

Review as pdf

The art event Kinokammer consists of two works made by noise artist Lasse Marhaug and the British video artist Vicki Bennett, better known under the artist name ‘People Like Us’. Both works are world premieres and are shown as a collaboration between Black Box theater and nyMusikk. CineChamber is a cross-genre format based on a concept developed by San Francisco-based Recombinant Media Labs, called CineChamber . The format frames the audience in a 360-degree moving audio and video landscape.

At the Black Box theater, Kinokammer is a so-called double ticket . First Marhaug’s work For My Abandoned Left Eye (2021) and then Bennett’s Gone, Gone Beyond (2021). The public can bring the wine glasses from the foyer into the exhibition hall. Rows of chairs are set up along three of the room’s four walls, while scattered seat cushions are placed on the floor. Thus, the audience will consider other spectators’ eyes and reactions as part of the art experience. Before the screening of Marhaug’s work really begins, an atmosphere is established where small talk and wine drinking are buzzed in the room for several minutes. Whether this is intentional or not, it creates a kind of ‘we’ in the room, an experience of sharing something. This sets a precedent that adds an extra dimension to the art event that will grow and develop throughout the screenings.

Marhaug describes his work as a ‘post-capitalist-science-fiction-noise film’. It is so far a decent genre description, but I experience in a way the work as more ordinary than that, at least visually. We are in a world that is preferably in black and white. We see images and fragments of forest and nature against hard building structures and remains and traces of man-made objects. Garbage, a sneaker, a sofa, an animal foot. The totality appears raw, wet, cool and hard, not only visually, but also acoustically. Occasionally, the film material is contrasted by abstract images, such as massively pulsating black spots, close together against a white background.

A mass bombardment that challenges the senses
Each projected movie sequence apparently has its own and ever-changing soundtrack. This constantly creates new and different layer-on-layer effects. The soundscape gives, among other things, associations to machine repetitions and massive metal grinders against crackling and crackling in various qualities, auditory textures that for a few moments remind me of the feeling of stinging icy rain or penetrating intense wheezing in the ears. Suddenly, small interruptions occur with the absence of noise before new images and sounds are fired at us like projectiles. It is a mass bombardment that challenges the senses and the distinction between impression and disturbance. Finally, I’m not sure if I actually hear sampled cries, the noise of a full room of screaming people, or if it’s just my brain that tricks me into thinking I sense these cries through the noise. I go out filled with a kind of unpleasant dizziness and with aching retinas. The work leaves an eco-deterministic turmoil in me that I need far more than thirty minutes to digest and reset myself from, and this also constitutes my objection to two such different works being put together.

After the break, we are thrown out on a completely different journey. This time, some have lain down on their backs, some close their eyes, some just sit relaxed and sip on the evening’s second or third glass of wine. All four walls are projected close together with flaming candles. The picture is obviously strikingly kitsch, almost ironic. Gradually we can hear sounds reminiscent of a crowd of stomping boot steps mixed with an indefinable hiss from insects and crickets, and a diffuse hum from distant, manipulated choruses. It is difficult to interpret and place the soundscape, and I also do not have time to get very far before the whole room is almost sucked through a kind of visual tunnel. The bass makes the floor below us vibrate, and we are pulled at breakneck speed through countless projected doors. This estimate reinforces the illusion of being in a simulator. It is as if a virtual wind has suddenly blown us away and we are suddenly sitting on a flying carpet, traveling through the artist’s subconscious, where playful pop cultural references are replaced by nightmarish and disturbing images. The audience looks in all possible directions as if to orientate themselves in constantly new places.

As if David Lynch were to take ayahuasca in the desert
The editing technique is extremely good, and the dramaturgy has a kind of kaleidoscopic associative form at the same time as each picture is just so easy to interpret that you can get caught in a new hook that throws you in the head. new associations before being torn loose and thrown into the next. This is as if David Lynch had taken ayahuasca in the desert and made a film of what he hallucinated afterwards. We are constantly somewhere between dream and nightmare, for example when we see Julie Andrews dancing carefree between tree trunks while war helicopters thunder across the sky while the world goes up in flames and explodes around her. We see prairie pictures with saguaro cacti and hear the sound of unpleasant radio signals. The chimney sweep from Singing in the Rain disappears into animated pipes, we see oil barrels burning and growing nebulae, barely hearing the sound of Joni Mitchell’s ‘Both sides now’, glimpsing the globe from space (or is it a disco ball?), being drawn to the sound of lyre boxes and suddenly surrounded by giant funfair horses.

In the popular cultural references, a darker contemporary commentary is hidden. Most of the references are from the 1950s, 60s and 70s, and in contrast to beautiful images of the universe’s darkness, celestial bodies and galaxy fog, an experience is created that time flows through space and pulls us through the cosmos at relentless speed. The work opens the gaze to the paradoxical and random of our popular cultural history, the powerless and merciless in that we have created what we have created, and nothing else.

The work also makes me philosophize about what can be called a performance. There are no actors or actors here, but I experience in return that we audiences become part of it. At one point a man rushes out of the room, a woman overturns a bottle, some get up from their chairs and walk around smiling or looking. None of this bothers me as it would in many other contexts. At one point there is one who laughs, and after this it is as if something in the room dissolves, the reactions become freer and more expressive. People respond and come up with small exclamations. The work would therefore not have been the same if I experienced it alone, and then maybe it’s a performance anyway?

In sum, I still think the two parts of tonight’s double ticket should have been shown separately. They are both so strong and intense works that they leave different resonances and reflections it would have been nice to have time to dwell on separately.

The Wire: Music By Any Means at Somerset House

A series of three talks programmed by The Wire magazine looking at different strategies and systems for making music and organising sound. 

Wed 20 October 2021 | 18.45 – 20.30 | In person £8
Lancaster Rooms, New Wing & Online
An in person event from Somerset House. If you are unable to join us on the evening, a recording will be archived and available to view via a ticketed link. 


This in person event will also be streamed live from Somerset House. If you are unable to join us on the evening, a recording will be archived and available to view via a ticketed link.  Music By Any Means has been designed to show how anything can become music, from objects to actions, archives to rituals, and how anyone can make it, regardless of any previous musical experience or ability. In the process of demystifying the processes of sound organisation and music making, the series will illuminate other ways of being in the world through sound, bypassing existing orthodoxies to enable and empower new creative activity.  
The talks, which will include demonstrations and performances, will be presented by O YAMA O (Rie Nakajima and Keiko Yamamoto), People Like Us (Vicki Bennett), and Elaine Mitchener; all artists who use aspects of film, theatre, performance, visual art and other practices to inform and develop new and distinctive approaches to making music and organising sound.  Music By Any Means will be available to audiences both onsite and online, with each event broadcast live from Somerset House Studios. 

Vicki Bennett explores the processes of making audiovisual content, working with archives and found footage.

Using collage as a compositional tool opens up endless opportunities to create and experience results that are more than the sum of their parts, opening doors (and windows) to let light in and move beyond limited and repetitive ways of creative thinking.  

In this talk, Vicki Bennett discusses and demonstrates her creative process making audio-visual content, working with archives and found footage, showing how she sources and organises this material into finished works which break the rectangle, smashing the thin screen into tiny fragments, looking beyond the frame, climbing through to see what’s behind. The talk will be followed by a Q&A session. 

Print edition for sale

We are now selling limited edition prints through bandcamp:

We have some prints that we made for our 2011 solo show The Doors of Perspection – each was made in an edition of just one, and we are selling them.  We have six different ones that we will gradually put up.

One sold earlier, here are the second two that we’ve just put up, more being added:

https://peoplelikeus-vickibennett.bandcamp.com/merch/edition-of-one-streetwalking-2011-c-type-print-on-dibond-large-artist-print AVAILABLE

https://peoplelikeus-vickibennett.bandcamp.com/merch/edition-of-one-in-retrospect-2011-c-type-print-on-dibond-very-large-artist-print AVAILABLE

Desert Island Discs on BBC Radio Suffolk

People Like Us will guest on Jon Wright‘s show on BBC Radio Suffolk on Monday 12 July 2021 – in a segment called SPILL Spins – selecting 4 significant tracks and talking about them. We will be on after 7pm (UK time). “SPILL” is SPILL Festival, who are partnering with the BBC on this project, pending an announcement very soon!
LISTEN : https://www.bbc.co.uk/programmes/p09m8qmm

Afterwards it will post as a stand alone programme up for 30 days.

30 Years of People Like Us – Cafe OTO gig with PLU and friends



An evening hosted by Vicki Bennett (People Like Us), featuring live performances from Porest, Gwilly Edmondez, Irene Moon, Ergo Phizmiz and People Like Us.

Get tickets well in advance here because Cafe OTO gigs are selling out quickly.

Interview on Over The Edge, KPFA

20 May 2021 11.59PM PST (that’s 8AM UK 21 May): PLU interviewed by Jon Leidecker on Over The Edge on KPFA radio: https://kpfa.org/program/over-the-edge/

Hour 1 Vicki and Jon in conversation (recorded May 2021)
Hour 2 Live Session with PLU, Wobbly and Don Joyce on Over The Edge, KPFA (2002) Hour 3 Live Session with PLU, Wobbly, Irene Moon and The Evolution Control Committee on WFMU (2002)

People Like Us exclusive audio mix for The Wire

Vicki Bennett compiles a comprehensive soundtrack to her Wire cover feature, piecing together 30 years’ worth of work in a new mix:

“Collage makes sense of things in a manner that our brain understands”, says samplist Vicki Bennett aka People Like Us, speaking to contributor Abi Bliss in The Wire 447. “Because of these fragmental parts and the way we assemble information, collage is like the working of the brain”.

In her cover feature interview, Bennett discusses the influence of Buddhism, the subversion of popular culture and the auto-regenerative nature of cut and paste, as well as her audio-visual multi-screen project Gone, Gone Beyond, which is set to tour the UK and Oslo this year. Here, the prolific artist reflects on 30 years in the field of collage and sampling with a retrospective mix, packed full of solo and collaborative releases and radio works spanning her long career.

People Like Us “Music Of Your Own” (2000)
People Like Us “Smash And Grab” (1994)
People Like Us with Adrian Phillips aka Mr Rotorvator “Country Drives” (1995)
People Like Us “A Crossed Line” (1995)
People Like Us, Wobbly, Peter Conheim & Don Joyce (KFJC California) (1998)
People Like Us, Charles Powne (Chuckles) “Untitled” (KBOO Oregon) (1998)
People Like Us “Jingle” (1999)
People Like Us, Wobbly & The Jet Black Hair People “KZSU 14 Sept 99” (1999)
People Like Us with Rik Patten, Drew Daniel, MC Schmidt, Peter Conheim & Adrian Phillips “Hi There” (2000)
People Like Us “Whistle Song” (2000)
People Like Us “Sugar And Splice” (2000)
People Like Us “Nobody Does” (2000)
People Like Us “Dolphy” (2000)
People Like Us “Millennium Dome” (1998)
People Like Us “Swinglargo” (2000)
People Like Us “Stifled Love” (2002)
People Like Us with MC Schmidt “Scott Slim” (2002)
People Like Us & Wobbly “OB & Cha Cha (Live At Other Cinema, ATA)” (2002)
People Like Us, Wobbly & Don Joyce “Baby is Three II Over The Edge” (2002)
People Like Us “Gongexeva” (2003)
People Like Us & Kenny G “I’ve Got You” (2003)
People Like Us, Matmos & Wobbly “Morning (Live At SF Art Institute)” (2003)
People Like Us, Matmos & Wobbly “Dolly Pardon (Live At SF Art Institute)” (2003)
People Like Us “The Doody Waltz (John Peel Session)” (2004)
People Like Us “Listen To The” (2004)
People Like Us “Downtown Once More” (2004)
People Like Us “Blue Bayou” (2006)
People Like Us “Everyday” (2006)
People Like Us “Stand By Your” (2006)
People Like Us “Social Dance Song” (DO or DIY, WFMU) (2007)
People Like Us & Ergo Phizmiz “A Bastard’s Waltz” (2007)
People Like Us & Ergo Phizmiz “Pierrot’s Persecution Mania” (2007)
People Like Us & Ergo Phizmiz “Snow Day” (2007)
People Like Us & Ergo Phizmiz “Soggy Style” (2007)
People Like Us “On The Rooftops Of London” (Mixing It, BBC) (2007)
People Like Us & Ergo Phizmiz “In The Waking” (2008)
People Like Us & Ergo Phizmiz “Moon” (2008)
People Like Us & Ergo Phizmiz “Singin’ Femme Fatale” (2008)
People Like Us “Lavender White” (2010)
People Like Us & Wobbly “Female Convict” (2010)
People Like Us & Wobbly “Pain” (2010)
People Like Us “Sing” (2011)
People Like Us “The Sound Of The End Of Music” (2011)
People Like Us “Abridge” (2013)
People Like Us “Who’s Watching Who” (2014)
People Like Us “Shopping” (2014)
People Like Us “No One Is An Island” (WDR Radio Piece) (2016)
People Like Us “All On A Beautiful Day” (2016)
People Like Us “The Mirror” (2018)
People Like Us “Listen With Your Eyes” (2019)
People Like Us “Forever” (2018)

Read Abi Bliss’s interview with People Like Us in The Wire 447. Subscribers can also read the article online via The Wire’s digital archive.


The Wire Cover Pic!

This is on sale at The Wire’s online shop from 13 April 2021 and from selected newsagents, record and book shops from 15 April 2021. The digital edition of the issue is published online at Exact Editions and in the Wire app.

Includes a career-covering interview and the above cover picture. On The Wire website we’ve shared a 4.5 hour (no point trying to be popular now, is there!) mix of People Like Us, Spenser Tomson has made a selection of PLU tracks, and our 2020 movie Fourth Wall will screen later in the month.


Oscillation: Tuned Circuits

Online and Brussels Mill, Belgium
29|04|2021 – 02|05|2021

Four day festival in Brussels taking its name from radio pioneer Daphne Oram. The festival will also broadcast audio via its website regardless. Featuring talks, concerts and workshops from People Like Us, Catherine Lamb, Daphne Oram, Farida Amadou, Lucretia Dalt, Goodiepal & Pals, Áine O’Dwyer, Jessica Ekomane, Jonáš Gruska and Lukas De Clerck. Online and Brussels Mill, 29 April–2 May.

Here’s an interview conducted by Henry Andersen of Oscillation Festival Vicki Bennett about process.

People Like Us will have a special one hour audio mix broadcast on the radio, and you can watch The Mirror online via their website, for the entirety of the festival.