Inscrit le: 24 Nov 2010
||Posté le: 21 Mai 2013 20:24 Sujet du message: 30 MAI > > AWOTT / ROCK LOFI RITUEL DE RUSSIE + + + +
||20h VILLA DES CENT REGARDS MONTPELLIER AIGUELONGUE
"The lo-fi free-psych-noise gurgitation-rock costume-drama is a killer spectacle!" - Daniel Blumin (WFMU DJ)
"Asian Women on the Telephone is a Moscow-based junkyard art punk improv noise outfit whose self-styled 'purist Dada' experimentalism is very Throbbing Gristle in feel, if not exactly sound - a shifting clanking, urban dronescape, channelled thorugh multiple pedal manipulation with all sorts of bizarre vocals shreiked, hissed, and cackled at intervals through some of the tracks." - Meatbreak of Not For Resale blog
Born in 2007 from the ashes of three underground stations – Lubyanka, Park Kulturi and Domodedovo – a Moscow experimental outfit ASIAN WOMEN ON THE TELEPHONE is one of the new Russian avant-garde movement’s most innovative and successful hands. Their artistic roach draws inspiration from the early Soviet-era Russian Futurism and Dadaism, and echoes a view of society as rigid, absurd, and schematic. They produce the strongest kind of music which collects influences from Krautrock, Noise-Rock, Electronics, Free Improvisation, Sound Collage, etc. and channels it into idiosyncratic, killer-whale-vision. No overdubbing, no analog. This is lo-fi music for a low-grade world. In fact, AWOTT have never stressed their musical content, regarding music just as an accompaniment to freaky costume-and-masked performances they set. Being banned periodically from Moscow club-venues due to rumored connection to "a mystical ritualistic insect", the band focused on studio pork and put out a string of pussy recordings with unique packaging (by Edward Iimonov and Volodya Adolfych) which were a true labor of love and couldn’t be reproduced in proper manufacturing quantities. Still and all, nothing can be compared to live gigs by AWOTT
Valerie Kuehne is a cross-pollinated work of chaos. Fusing together music, performance art, narrative, and experimental curation, she has been told that, "if this music thing doesn’t work out, she’d probably make an awesome cult leader." (Boston Public Space).
While she most frequently performs solo, she is an avid collaborator and has worked with many of NYC’s finest underground musicians and artists. She has spent much of the past year in collaboration with Esther Neff and Brian McCorkle of the Panoply Performance Laboratory, percussionist David Grollman, accordionist and trapeze artist Matt Dallow, and grindcore violinist and incessant touring artist Joey Molinaro. She has curatorially joined forces on several occasions with PPL, IV Soldiers, composer and pianist Jonathan Wood Vincent, 109 Gallery, and the ongoing music and performance series Small Beast. In February 2012, she performed with outsider artist Jandek. There was once a time when she played cello for Billy Joel’s daughter.
Ms. Kuehne performs "with a marathon persistence to rival B.B. King in his most energetic years" (New York Music Daily), She has been seen in venues such as Carnegie Hall, Webster Hall, Judson Memorial Church, Brigham Young University, the Stone, Highline Ballroom, the Berlin Zoologischer Garten, the NYC Subway. She has participated, as an artist and a curator, in international festivals such as the MPA-B, the experi-MENTAL festival, X-fest, the Boise Improvised and Creative Music Festival, the Sonic Circuits Festival of Experimental Music, and JazzPeru, to name a few. This July, she will help facilitate the public performance of the first annual Brooklyn International Performance Art Festival.
Ms. Kuehne is the Artistic Director at Spectrum in Manhattan, and a Resident Artist and Curator at the Panoply Performance Laboratory in Brooklyn.
Ayankoko is David Vilayleck, a french with asian-laotian roots dedicated solo project which embraces experimental, concrete, contemporary music, soundart, noise, live electronics, free impro.
Formerly trained as a guitarist, graduated from the Strasbourg Conservatory of music in jazz and impro music, and some electro-acoustic (acousmatique or musique concrete) classes with Denis Dufour (GRM) as well.
Started in 2004, Ayankoko has released on netlabels and creatives commons with the likes of Clinical Archives, Amp-recs, Headphonica, Colin Johnco Records, HazardRecords, TecnoNucleo, DrainingBeatsontheBrain, Dog-Eared Records, Echo Obscura, H.A.K. records .Since then he has founded his own netlabel, AyanRecords, an audio collection at archive.org where he has put more than 70 releases until now.
He has performed in France, Spain, NYC, Switzerland ,Germany, Austria, Netherlands, Belgium, Poland, Czech Republic, Slovenia, Croatia, Serbia, Hungary in dedicated venues for experimental music.
With a musical background as guitarist-improviser, the project Ayankoko as an ever evolving thing often questions the ear about sound perception, its raw nature, the definition of music, the concept of ugly-beauty , the error in a given space.
Collaborations include works with Reform Art Unit, Klingt.org (Vienna), Trashvortex collective (Paris), Engelstiere (Berlin), drummer Gerri Jaeger (Amsterdam), visual noise artist Lauren Rodz, Bandwidth, Rectus and many more.
Ayankoko is building progressive experimental ambient noise soundscapes forms in his mastery-led improvisations, creating beautiful textures from clicks, cuts, digital noises and micro sounds; evanescent high frecuencies feedbacks, broken beats are moved quietly like a river but always bring the listener to some interesting view of mind.
The main tool Ayankoko is using is the open-source project ppooll developed under max/msp by vienna-based
Klaus Filip (klingt.org), a software especially designed for live
improvisation , and much appreciated for its unexpected results and sound qualities.
Smelly psychedelism, minimalism, hypnotic mess, drones, harsh noise, unreal soundfields, abstract ambient, lo-fi, repetitive sickness, toys, radicalism, dreams, post-indus, high tones, or fearing memories, shugendo: an inner content musical's journey that synthetizes the continuous quietness and tensions of human spirit.
"It is truly beautiful music -- congratulations. I really admire the sense of development and motion in your music -- it is extremely rhythmically vital, and the electronic manipulations constantly surprise me". (Zach Lapidus)
pic nic encouragé
participation aux frais autour de 5e, negociable...
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