Mar 212018
 
Jun 21, 2018 | Thu | 18年06月21日
8:00 PM | 20時00分

Rie Nakajima & Pierre Berthet

Dead Plants and Living Objects

Tin cans, whistles, locomotive suspension springs, porcelain bowls, compressor top bells, ping pong balls, agave dry leaves, sponges, steel wires, branches, paper foils, plastic bags, silver papers, pink gloves, piano, balloons, buckets, feathers, water, scraps, peebles, flower pots, guitar, metal tubes, paulownia tree seeds, pearls, bamboo sticks, logs, bones, stones, filter queens…

RN and PB have been creating various ways to vibrate things so that their acoustic shadows dance around: invisible air volumes that reshape constantly, move in the space, enter in the most secret places and inside ourselves. A way to get closer to things inherent spirits is to listen to them. Eventually encouraging them to produce sounds and resonate by various means: to hit, caress, shake, beat, scrape, scratch, claw, boil, clap, rattle, rock, throw, move, magnetize, clamp, cook, pinch, galvanize, motorize, bow, blow, pluck, heath up, let flow, freeze, drop, drip, connect, roll, mix, extend, sing…

David Toop about a performance by Rie and Pierre

This concert was made possible with the help of Wallonie Bruxelles International

Gigaldi

Sommer / Summer / 夏

“Das ganze Doppelalbum” is the first solo release of Gigi Gratt aka Gigaldi. Since 2005 Gratt plays in intense bands like the improvisation trio Nirwakia with Wolf Lobo Eisberg and Martin ‘Hipi’ Hiptmair. At the same time he started with Bernhard Breuer (Elektro Guzzi) the band Tumido. But Gratt also created Gigi’s Gogos, a 13 piece orchestra built around improvisation conducted by Gigi. This project transferred into the GIS Orchestra, an Upper Austrian improvisation orchestra, with up to 30 musicians (organised in collaboration with Waschaecht Wels (Unlimited Festival). Gratt comes from Ottensheim, he is one of the key pillars of Ottensheim Open Air and organises shows for KOMA, a culture association doing shows at changing spaces. He is playing E-Guitar in the post-math-rock quartet of NI, next to BRAAZ a quartet between Jazz and Noiserock, with a lot of space for improvisation. These days Gratt is also playing at DRUMSKI a collective working in a traditional way with (upper-)austrian proverbs. And if he is not involved in new projects, his next other band is ROMANOVSTRA working in a new way with hungarian proverbs.

In 2015 Gratt transferred the idea of a concept recording having every season one piece, giving each season its own instrument. This was also the time he has chosen GIGALDI as his moniker. In winter 2013 he recorded, like every track on “das ganze Doppelalbum”, “winter” in Ottensheim with E-Bass, a dark, close to 16 minutes song. On “frühling”, Gratt uses the flugelhorn, a following composition of TUMIDO’s album “vakuum”, that was completely recored using wind instruments. On the 2nd LP, “sommer” was recored in Schrattenberg in 2016, Gratt uses the Tres, a cuban string instrument and “herbst”, with E-Guitar, he recorded in a gym hall with an amzing acoustica in Vinac, Bosnia. His Tumido fellow Mario Stadler mixed the album at the Goon Studios / Linz / Austria. Mastering done by legendary Alexander Jöchtl aka Audiobomber. The artwork was done by artist Inga Hehn. The liner notes in the album, are written bei Andreas Fellinger of the Austrian Independent zine “Freistil”. Released by Interstellar Records, that collaborated with Gigi for more than 10 Years resulting in the releases of TUMIDO, NI and BULBULTUMIDO.

Mar 112018
 
Jun 11, 2018 | Mon | 18年06月11日
9:00 PM | 21時00分

Hiroshi Hasegawa

He was in the band named C.C.C.C. which was one of the biggest Japanese noise group.
Born in 1963, Hasegawa has begun his improvisation with his voice and drums. And in 1990, he made the group C.C.C.C. which’s concept was impovisative mass-noise with very loud sound. The group became legend with the members Mayuko Hino, Ryuichi Nagakubo, Fumio Kosakai.
Also he has begun his solo unit ASTRO with analog synthesizers in 1993 as well as playing in C.C.C.C.
Now he is actively playing and issuing and doing many collaboration with other artists. The artist who played together by now are Yamazki Maso, kawabata Makoto, Keiji Haino, Seiichi Yamamoto, Masaya Nakahara, Reiko.A, KK Null and many more. And there are released works beyond 50 titles.
His playing style is like drifting between the meditation and awakening state with electronics and still he is pursuing it.

https://astrocosmiccoincidence.tumblr.com/

Very interesting interview with Hiroshi Hasegawa

Manuel Knapp

Der Österreichische Alchemist Manuel Knapp ist aktiv in Komposition, Computeranimation, bildende Kunst und noch einiges mehr. Er tourte in Europa und Asien mit Schwerpunkt Japan, Tokio.
Immer fordernd und fokusiert bewegt er sich zwischen harsh noise, drones, melodien und frequenzen.
seine arbeiten sind archaisch und elementar; seine live-sets sensorische fluten, die uns augenblicklich einnehmen und unseren körper und unsere sinne direkt adressieren: radikal, herausfordernd und unausweichlich.
Manuel Knapp ist fixer Bestandteil der Underground Noise Szene in Tokyo wo er unter anderem mit Hiroshi Hasegawa und Rohco Hasegawa die legendäre Noise Formation C.C.C.C. unter dem neuen Namen „Cosmic Coincidence“ wiederbelebt hat.
Internationale Konzerte mit Hiroshi Hasegawa, Zbigniew Karkowski, Government Alpha, Tetsuo Furudate, Keiko Higuchi, Kelly Churko, Daniel Buess, Tim Blechmann, Christian Schiller, Robert Lisek, Cal Lyall uvm.

Infos und gratis downloads:
https://manuelknapp.bandcamp.com/ https://wolfsberg.bandcamp.com/
https://k-iller.bandcamp.com/https://soundcloud.com/manuelknapp
http://mokabar.klingt.org/http://knapp.klingt.org
https://vimeo.com/manuelknapp/

Now Sports

die musik der in graz ansässigen band spannt einen bogen von noise-lastiger elektronischer klangerzeugung über träge hip-hop-beats bis hin zu erinnerungen an ein kinderlied.
einflüsse von freejazz und trashmetal von gitarrist michl laab treffen auf weite räume und sphärische flächen eines modularsynthesizer, der sich mitunter auf minimalistische strukturen zurückzieht.
bedient wird das instrument von richie herbst, der auch dichtem breakbeatgewirr klänge beisteuert, die sich scheinbar auflösen und doch existieren.
reas am e-bass erzeugt sounds, die sowohl als „bass“ funktionieren, als auch durch verschiedene effekte verfremdete klangwelten ausloten.
rhythmisch versetzte loops von gitarre und bass, die sich überschneiden und durchdringen, lassen patterns entstehen, die stützen und verführen.
alles improvisiert, teils tanz, teils geräusch, entwickelt die musik einen sog, dem man sich gerne anvertraut.