#FIMAV

[anne-fff]

quelques photos de mon installation températures, au Festival International de Musique Actuelle de Victoriaville, mai 2022.

[skillstopallmedia]

FIMAV | In Victo, a page turns

After 41 years at the helm, Michel Levasseur is leaving the Festival international de musique contemporaine de Victoriaville. Who can succeed him? Updated yesterday at 9:00 a.m. Are you a lit person? Opened ? Versatile? Do you like exceptional music? Freejazz? The experimental? Are you able to manage? To organize? To program? Apply for grants? Living in the region could be an option? You may…

[avantpanda]

By utter chance I sat next to the legend Keiji Haino before the Moor Mother & Roscoe Mitchell concert at the 2019 FIMAV.  Stealth portraits taken.

[praegerdesign]

Merzbow.... !!! Live.... witnessed the man back in the days blow out speakers

Merzbow is the Vegan Straight Edge Noise Project of Masami Akita (born 1956, lives and works in Tokyo, Japan). In late 70s, he gradually withdrew himself from the rock scene and began experimenting in his basement with broken tape recorders and feedback. He started the project Merzbow in 1981. Merzbow began as the duo of Masami Akita and Kiyoshi Mizutani, who met Akita in high school. Akita started releasing noise recordings on cassettes through his own record label, Lowest Music & Arts, which was founded in order to trade cassette tapes with other underground artists. In 1984, he founded a second record label called ZSF Produkt. During this era, Merzbow found much wider recognition and began making recordings for various international labels. He also started touring abroad with the help of various collaborators. Merzbow performed in the USSR in 1988, toured the USA in 1990, Korea in 1991, and Europe in 1989 and 1992. Kiyoshi Mizutani left Merzbow after the 1989 European tour and continues to pursue a solo career. During the European tour in September-October 1989, Merzbow could only bring simple and portable gear; this led to the harsh noise style Merzbow became known for in the 90s. Recordings from the mid-1990s onwards are mostly of extreme volume, some mastered at levels far beyond standard. Merzbow's sounds employ the use of distortion, feedback, and noises from synthesizers, machinery, and home-made noisemakers. While much of Merzbow's output is intensely harsh in character, Akita does occasionally make forays into ambient music. Contrary to most harsh noise music, Akita also occasionally uses elements of melody and rhythm. During the 90s Akita's work became much harsher and were generally mastered at a louder volume than usual. These were heavily influenced by death metal and grindcore bands of the time. In 1994, Akita acquired a vintage EMS synthesizer. From 1996, plans were made to release a “10 (or maybe 12)” CD box set on Extreme Records. In 2000, Extreme Records released the Merzbox a fifty CD set of Merzbow records, twenty of them not previously released. Since 1999, Akita has used computers in his recordings, having first acquired a Macintosh to work on art for the Merzbox. Also at this time he began referring to his home studio as “Bedroom, Tokyo”. At live performances, Akita has produced noise music from either two laptop computers or combination of a laptop and analog synthesizers. Since 2001, Akita started utilising samples of animal sounds in various releases starting with Frog. Around 2002, Akita became a vegan. Also in 2002, Akita released Merzbeat, which was seen as a significant departure from his trademark abstract style in that it contains beat-oriented pieces. In 2009, Akita reintroduced the drum kit, his first instrument. This could be heard on 13 Japanese Birds, a thirteen disc series recorded and released one-a-month throughout 2009. At this time he changed the name of his home studio to Munemihouse. Beginning in November 2009, Masami Akita started releasing archival material from the 1980s and 1990s, both reissues and previously unreleased material, several of which were released on cassette. Merzbow has also released several archival boxes: Merzbient, Merzphysics, Merzmorphosis, Lowest Music & Arts 1980-1983, and Duo. Merzbow has released more than 300 Records & CDs. Merzbow performed concert/sound installation in all over the world. Merzbow played international music festival such as Sonar (Spain), All Tomorrow Parties (UK etc), FIMAV (Canada), Super Sonic (UK), Molde Jazz Festival (Norway), etc. Merzbow also played at contemporary art event such as the Westbunt Biennale, Shanghai (2013), the Yokohama Triennale, Japan (2001), and the 3rd Berlin Biennale for Contemporary Art (2004). Merzbow also collaborates with different kind of artist such as Balazs Pandi, Mats Gustafsson, Thurston Moore, Boris, Keiji Haino, Richard Pinhas, Duenn, Nyantra, Jim O'Rourke, Lawrence English, Xiu Xiu, Gezan…

[daggerzine]

The Simon Provencher interview (by Tom Murphy)

Simon Provencher is perhaps best known for his frenetic and creative guitar work for the post-punk band VICTIME out of Québec. But on March 26, 2021 the musician released his debut EP Mesures via Michel Records. It is six tracks of free jazz collages that bear favorable comparison to the avant-garde compositions of Anthony Braxton as Provencher makes creative and playful use of clarinet, electric guitar, percussion and processing to convey a strong sense of mood and place while making one very aware of aspects of the environment around us we often tune out. In pairing aspects of exploratory jazz and musique concrète, Provencher has given us an album that is both soothing and keeps us grounded in the present. The composer and musician recently answered some questions we presented to him via email about the nature of his music, its inspirations and methods of crafting its elegantly evocative passages.

 Dagger Zine (Tom Murphy): Mesures will probably hit some people's ears as akin to a free jazz or spontaneous composition type of record. How did you approach putting together these songs and experimenting with sound compared with maybe how you do with VICTIME?

Simon Provencher: People wouldn’t be wrong in these assumptions at all. Mesures is a record that was written very quickly. I decided to trust my first instincts for much of the record. With VICTIME, our approach has always been more iterative. By that I mean that we’ll loop “embryonic” parts over and over again, slowly changing elements, morphing the composition until we found ourselves happy with how everything sounded together. I’m still very much into this way of writing, but Mesures was a much more immediate affair.

For me, inspiration almost always comes from timbre, usually through loads of guitar pedals. In this case though, I wanted to see what sounds and textures I could get out of the electric guitar without using any external effects or even amplification. Timbre was still my main concern, but in a more subtle way I guess. I slightly detuned the strings and experimented with resonances, chord shapes, finger placement, fingernails, etc. I also “prepared” the guitar: I jammed objects between the strings and tied sewing thread to the strings (if you pinch the thread with slightly wet fingers and slide them around, you get eerie, reverse-like effects).

Enough about me though, another big change was that this record was made remotely with two new collaborators, Elyze Venne-Deshaies (clarinet) and Olivier Fairfield (percussion). Both of them had “carte blanche” (pardon my french) to do whatever they wanted. I can’t speak much to their personal approach to improvisation, but both of them are seasoned veterans and delivered absolutely amazing performances.

 D: Some people might think of any kind of music declared experimental is a barrier to its acceptance but your album seems to me very accessible as a form of pure expression. Do you have a sense of why your songs seem so open and, as one reviewer put it, welcoming?

 S: I don’t quite know actually. I do agree that the songs have a certain softness to them that was certainly somewhat intentional. When I did the initial guitar parts, I did set out to make something conventionally “beautiful”, or at least “not harsh”. I don’t really have the vocabulary to describe what happened there, but the resonances, repetitions and patterns definitely implied a soft mood from the get go.

I guess this foundation inspired Elyze and Olivier to also play with softer tones, to approach the music with warmth and subtlety in mind. They really “got” the vibe of the music without me ever telling them anything about my intentions. A “shift” of some kind happened when the clarinet parts were added to the drums and guitars. I felt like the mood of the pieces almost completely changed (in a positive way, of course). I think there’s something to the linearity of Elyze and Olivier’s playing, in contrast with the repetitive, hypnotic guitars that gives the music a sense of wandering aimlessness which I really love.

On the audio engineering side, I did intentionally mix the songs with a certain softness in mind. We added some warm tape saturation to some of the sounds and carved out a lot of higher frequencies. On the songs with feedback and noise, Simon Labelle, who mastered the record, made it so that when the clarinets get louder, the high-frequency content ducks out of the way a little bit. This nifty little trick does help out a lot with making the noisy songs more warm and inviting too.

 D: Listening through the album I found it resonated with the albums of Anthony Braxton and Ornette Coleman. The former of which never considered his music part of jazz though he is often associated with that form of music and the latter who expanded the range, dynamics and tonal choices of jazz. Were you inspired by in any way by those forms of abstract yet emotionally expressive music? How might you describe its impact on what you've done?

S: I totally was! I discovered Anthony Braxton through Québec jazz guitar great René Lussier. I’ve been a fan of Le Trésor de la Langue for a while and I got into his back catalog last year: his collaborations with Fred Frith, EAI stuff and more, some of which was released on “Les Disques Victo”. “Victo” stands for Victoriaville, a small city between Quebec and Montreal, where there’s a great contemporary music festival named FIMAV. Shamefully, I haven’t actually been to FIMAV yet, but I’ve loved finding recordings of some amazing concerts, a favourite being Anthony Braxton and Derek Bailey’s 1987 Moment Précieux. I was amazed to find out about this rich local history of musical experimentation and improvisation. This record was very much inspired by the whole FIMAV sound.

Coleman is another great point of reference. His records and those of his collaborators, Don Cherry being another big one, all are major inspirations. As a guitar player, I especially got into James “Blood” Ulmer’s career. I really admire his approach to guitar and the immediacy and expressiveness of his music.

 I’m probably paraphrasing it all wrong, but Don Cherry said of Ornette Coleman’s “harmolodic” approach that instead of improvising from chords, like in bebop, you’d start with melodies and improvise to create new forms, harmonies, rhythms to try and reach a certain “brilliance” as he calls it. You’d try to make the music transcend. In harmolodic theory, melody, rhythm and harmony are treated as equals, no solos, no lead and accompaniment dichotomy, no strict timing, scale or tonality.

This is both quite simple but also quite hard to actually grasp in a musical setting, and I’m far from mastering any of it, nor is it necessarily something I strive for, but it is an inspiring way to conceive improvised music for sure.

 D: The first half of the album you make great use of what sounds like atonal melodies yet they perfectly convey the mood and lend a sense of texture. What informed employing those sounds in the songwriting?

S: I’ve always written music without much regard for tonality, key, etc. My musical background is still very much anchored in No Wave and noise music, where skronky chords and weird, unstable melodies are the norm rather than the exception. When playing, I really don’t think much about it, I follow what sounds good to me in the moment.

Looking back on the recorded music though, I feel like there is a lot of nuance to be found in atonality and imperfection. Detuned chords ringing out have such complex and interesting decaying resonances, you can almost hear the frequencies battling each other. These interactions between notes and lines that fall just short of resolving are part of the magic and intrigue of abstract music. In the case of Mesures, I think there’s something special with how some of the atonal, out of tune textures and weird synths clash beautifully with the in-tune clarinet parts, making either one “pop out” depending on where you focus your attention.

 D: The second half or at least the second three songs on the album use processed drones and what some might call noise underneath or in the background, although very much a presence in the mix, of the clarinets? What do you feel this almost contrast in sounds conveyed that say a more conventional arrangement might not?

The second half of the record is basically a rearrangement of the first three songs. There’s four clarinet parts in there! On the first side, they fade in and out of focus, but on side B, everything is there all at once.

This is basically the result of me simply “soloing” the clarinet takes in my DAW (Digital Audio Workstation, the software used to arrange and mix the music). When I heard the four clarinets at once, I really fell in love with the sound.

 So I knew I wanted this to be the focal point of the rearrangement, and I knew I wanted to add something. I just happened to be working with feedback that week, so it kind of fell in place. Feedback manipulation was a technical interest first, I had gotten a new guitar pedal called a Feedback Looper, which sends some of your output signal back into the input of a series of pedals. This creates self-oscillating and rich, detailed noises that are somewhat interactive and malleable. By turning some knobs and flicking some switches on ordinary guitar pedals, you end up with an infinite amount of possible glitches and shrieking high frequency tones.

I don’t know if my ears got accustomed to it or what, but I’ve come to really enjoy the sound of this process. I also really love the tactile aspect of it, it feels kind of like an unpredictable modular synthesizer. When I had recorded the feedback improvisation, which I did in one single take, I thought this sparse, harsh rearrangement was a nice contrast with the more warm, conventional first three songs. At that point, the record felt complete.

 D: The final three songs also remind me of Philip Glass in his soundtrack work wherein he mixes the playful and flowing with the dissonant. How would you say these sounds complement each other in your own music?

S: Especially on this release, while there are a lot of sounds that are contrasting with each other, I also feel like there is a sense of shared directionality. The song Et quart is a good example of this. The high feedback notes start out in almost complete opposition to the meandering low clarinet lines, but, as the song progresses, the sounds somehow seem to merge with each other and they end up flowing in the same direction for the song’s climax.

 D: What are some other artists operating now that you find interesting and/or inspirational and resonant with what you're doing?

There’s way too many to name them all, but I’ll try! I think there’s a very interesting local-ish scene around me. I admire the work of N NAO, either her solo releases or her collaborations with Joni Void. Sarah Pagé does mind-bending music with harp and effects; I’ve had the pleasure of catching her live in Ottawa just before the pandemic started last year. Kara-Lys Coverdale is also a major inspiration, so is Kee Avil, whose live show and guitar playing blew me away.

I also need to shout out my friend (and bandmate) Mathieu A. Seulement, whose end-year list allowed me to catch up on a lot of fantastic new music, including, but not limited to Ana Roxane’s Because of a Flower, Jasmine Guffond’s Microphone Permission, Caterina Barbieri’s Ecstatic Computation and, last but not least, Holly Herndon’s magnificent Proto.

  **the three Simon photos were taken by Charlotte Savoie

www.simonprovencher.bandcamp.com 

[mycatisanalien]

So happy and proud to play again at @fimav_victo Festival International Musique Actuelle #Victoriaville (Canada) in May with a double act: we'll present the quartet with @leeranaldo & @jmmontera and MCIAA's new verb "Spiritual Noise" ! ...and so cool to share the stage with such great figures: check the whole killer line-up program! 👽😺 #Repost @fimav_victo • • • • • • FIMAV C'est maintenant! La programmation du 36è FIMAV est dévoilée 🤩 Rendez-vous sur notre site web pour vous procurer votre Passeport Festival, disponible en prévente jusqu'au 27 février inclusivement. / It's now! The concerts line-up of the FIMAV 36th is unveiled 🤩 Visit our website to get your Passeport Festival, available on pre-sale until February 27th inclusive. (presso Festival International Musique Actuelle Victoriaville) https://www.instagram.com/p/B8YyNIJIwI2/?igshid=n7zcdjo9j7xf

[sephirot-transmission]

CIRCLES: EMANATIONS -SEPHIROT TRANSMISSION

The ten Sephirot of universal vibration emerge from the Ein-Soph.  

FIMAV Festival International Musique Actuelle Victoriaville

Located behind the Charles-Édouard Mailhot Library, Victoriaville,QC 

 91.5 FM 

This sculpture is an exploration in public interaction and transmission highlighting the inexplicable spiritual connection with “something” that often occurs during improvisational performance. The interventions// interactions will occur as short interviews, sound bites and improvisational performances between myself, festival participants, and musical friends. We will explore and chat about our interactions with the static divine while making music. 

These interactions will be either be pre-recorded or transmitted live in Victoriaville at the FIMV festival using my flagship mobile sculptural station. They will then get chopped and interwoven into an informative soundscape sonic mélange looping on the station when there is not a live transmission. People are encouraged to bring their own radios and tune in. 

 This sculpture is made up of a stationary antenna, built and placed in the middle of the breakdance stage behind the Charles- Édouard Mailhot Library in Victoriaville Quebec. It’s made out of locally sourced branches and attached to a low wattage FM transmitter placed underneath. The radios surrounding the antenna are all from my personal collection sheltered from the elements and attached to exterior speakers and antennas. The plinths are all handmade from trash pieces on an old pipe organ. This transmitter is transmitting to 10 radios placed evenly in a configuration loosly based on a Kabalistic diagram found of the 10 Sephirot. Here is a quick-y-wiki explanation: 

Sefirot (/sfɪˈroʊt/, /ˈsfɪroʊt/; Hebrew: סְפִירוֹת‎‎ səphîrôṯ), meaning emanations, are the 10 attributes/emanations in Kabbalah, through which Ein Sof (The Infinite) reveals themself and continuously creates both the physical realm and the chain of higher metaphysical realms (Seder hishtalshelus). The term is alternatively transliterated into English assephirot/sephiroth, singular sefirah/sephirah etc.- wiki 

Each Radio represents a line on the above Kabbalistic chart. This project hopes to redefine these 10 steps that bring us closer to the divine through the act of improvisation. 

My great grandfather, Rabbi Yehudah Yidul Rosenberg who was a writer, a kabalistic scholar, a head Rabbi and spiritualist working in the early 20th century, inspired the use of the Sefirot diagram. Yidul was a controversial figure in the Rabbinical community, criticized for his translation of sections of the Zohar, the foundational Kabbalistic text, from Aramaic into Hebrew at a time when many believed the mystical text should remain only in its original. He was considered to be a rebel, also criticized for writing fiction in a time where Rabbis were to only dedicate themselves to their religious endeavours. Although growing up as a jew my only spiritual activation has truly only existed through art and music, I believe the Rabbi and I would have gotten along. 

Another inspiration for this project was my beloved dog Lucy, who just passed away at 16 years. She couldn’t stop pacing in circles before she died. When I was given the task to create a project for this location I could not help but see everything in circles because of her. She loved music and sat through many of rehearsal and improvisational session.

[andrewwaterloo]

This will be my 4th time attending FIMAV Looking foward to: Linda Sharrock Anthony Braxton Terry Riley

[musikatlach-sachiko]

Aidan Baker LIVE IN JAPAN 2018

アンビエント・ドゥームの旗手NadjaのAidan Baker、4年ぶり来日公演

MUSIK ATLACH PRESENTS Ordovician Flowers Another VOL.3 Aidan Baker LIVE IN JAPAN 2018 11.15.2018(thu)@Ogikubo club DOCTOR Aidan Baker / Cal Lyall x Sachiko / APOCALYPTO x SHOZIN FUKUI / VELTZ open 18:30 start 19:00 adv 2300yen door 2500yen + 1drink

Aidan Baker ギタリストとしてだけでなく、フルート奏者としてもクラシックの教育を受けているマルチプレイヤー。プリペアドや他メソッドを用いてエフェクターと連結するその彼のギターはアンビエントやエクスペリメンタルのジャンルといわれているが、シューゲイズ、ポスト・ロック、現代音楽やジャズの影響をも受けている。ここ１０年程においてはソロやNadjaの活動でAlien8 Recordings、Important Records、Die Stadt Musik、Broken Spine Productions等のレーベルから数々の作品をリリースしている他、彼の詩も出版されている。これまでにTim Hecker、Carla Bozulich、 Jessica Baillif、 Noveller、 OvO、The Jesus LizardやSwansのメンバーと共演。Penderecki Quartet、 The Riga Sifonietta、The Monday Morning Singersなどの現代音楽アンサンブルに楽曲を提供・演奏し、FIMAV, SXSW, Incubate, and Mutekなどのフェスティバル出演など、世界中でツアーをする。カナダ、トロント出身。現在ドイツ、ベルリン在住。 NADJA / Aidan Baker https://brokenspineprods.wordpress.com

Cal lyall x SACHIKO Cal lyall: 即興ギタリスト／サウンド・アーティスト。ジャンク楽器、エレクトロ・パーツ、フィールド・レコーディングやエフェクターなどから音楽的な空間を生み出す。広範な音楽形式に興味を持ち、東南アジアやその周辺地域へ渡航し研究。日本で旺盛なライヴを展開しながら、これまでにタイ、インドネシア、ラオス、中国、韓国などでツアー。また、レーベル「Subvalent」や「Jolt Sonic Arts」（豪）の東京拠点としての活動に加え、西麻布SuperDeluxeで月一回のイベント「Test Tone」を主宰など活動内容は多岐にわたる。 SACHIKO: 光束夜、OVERHANG PARTYのベーシストとして参加する傍ら、ヴォイスとエレクトロニクスによるドローンを主軸としたソロユニットをはじめる。06年ファーストアルバムを発表後、コンスタントにリリースを続ける。他に「VAVA KITORA」「Tangerine Dream Syndicate」「Albedo Fantastica」等で活動。レーベル「Musik Atlach」主宰。

APOCALYPTO x SHOZIN FUKUI △T△R△W（GROUNDCOVER.,VWVW）と三浦モトム（HALBACH,Etica）により結成。モジュラーシンセサイザーによる即興演奏とPCによるトラックがダブワイズ的ミキシングにより楽曲が構築される手法によりライブ活動を展開。 上記の形態に伝説的映画監督である福居ショウジン氏が「演奏動画」というリアルタイムで映像を操作しながら即興であわせる新しい手法で参加。映像と同時に音声もダブワイズ、ミキシングされている。 https://apocalypto.info

VELTZ 08年より実験音楽レーベルVLZ PRODUKTを主宰。 The New Blockaders, Stephen Cornford, 村井啓哲、美川俊治、Radio ensembles Aiida他多数を制作。16〜18年、南青山にてギャラリースペース「Art & Spaceここから」を運営。Edition cococaraとして様々なボックスエディションを制作。12年、Omega PointよりVELTZ名義のソロアルバム「アナログテレビに捧ぐ」をリリース。18年、Stephen  Cornford主宰のconsumer wasteよりCD「Broken TV Audio Report」をリリース。またricercasonoraからリリースされるThe New Blocaders35周年トリビュートコンピレーション3CD参加(Thurston Moore, Jim O'Rourke他)。主に廃棄物の再利用による音楽への昇華をテーマに活動をしている。近年は地上波デジタル完全移行を境に廃棄物と化したアナログテレビによるテクノイズミュージック、インスタレーションに主眼を置いている。あくまで未加工、物自体が発するサウンドを利用した音楽制作を行っている。

Aidan Baker tour information Aidan Baker (ソロ) JAPAN TOUR 2018 11/15 東京 club Doctor 11/16 東京 knock koenji 11/17 奈良 sonihouse 11/18 神戸 space eauuu 11/22 大阪 environment 0g Nadja JAPAN TOUR 2018 11/23 大阪 CONPASS 11/24 東京 下北沢ERA 11/25 東京 下北沢ERA

[somewherecold16]

PRE-ORDER NOW - Aidan Baker: You Are All At Once Out March 25, 2022

PRE-ORDER NOW - Aidan Baker: You Are All At Once Out March 25, 2022 With You Are All At Once, Aidan Baker simultaneously explores song-oriented material and ambient/experimental music, taking simple, minimalist post-rock tunes and extending them into repetitive abstraction through effects and digital manipulation. Simple guitar chord progressions, delicate drums, melodic basslines, and delicate vocals (all performed by Baker) move from spare and spacious to dense and atmospheric. FFO classic slowcore like Low, Red House Painters, and Codeine but also more contempary ambient artists like Grouper, Tiny Vipers, and Mount Eerie. Bio: Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, mostly notable his duo Nadja, on such independent labels as Gizeh Records, Karlrecords, Important Records, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Aidan Baker: You Are All At Once is the second full-length released on Somewherecold from the artist. It will be released on March 25, 2022.

With You Are All At Once, Aidan Baker simultaneously explores song-oriented material and ambient/experimental music, taking simple, minimalist post-rock tunes and extending them into repetitive abstraction through effects and digital manipulation. Simple guitar chord progressions, delicate drums, melodic basslines, and delicate vocals (all performed by Baker) move from spare and spacious to dense…

[newlondondroneorchestra]

More pipe organ. Heard at FIMAV in Victoriaville, Quebec, spring 2017

[skillstopallmedia]

Michel Levasseur leaves the Victoriaville Current Music Festival

A page is turning at the Victoriaville Current Music Festival (FIMAV). After 40 years at the helm of the event, founder and director Michel Levasseur will step down at the end of the next edition, scheduled for May 15-19. Posted at 12:32 p.m. The news was announced Thursday by Platform Productions, which oversees FIMAV. Compared to a “great oak tree” for his resistance and his rigour, Michel…

[andiamoallacasetta]

CASETTA in collaborazione con Associazione Musica Serenissima.

22-06-2019 h 21.30 - Padiglione 9 Forte Marghera con i liveset di : Nadja The Star Pillow qqqØqqq

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Nadja Nadja sono il duo del polistrumentista Aidan Baker e della bassista Leah Buckareff formato nel 2003. Originali di Toronto, Canada, risiedono ora a Belino, Germania. La musica dei Nadja è un insieme di ambient doom, dreamsludge e metalgaze che combina le atmosfere del shoegaze e della musica ambient con la pesantezza del metal e della noise music. I Nadja hanno pubblicato diversi album per etichette come Alien8 Recordings, Hydrahead Records, Important Records, Essence Music e per la propria Broken Spine Productions. Il duo si è esibito a livello internazionale apparendo in diversi festival tra cui SXSW, FIMAV, Roadburn e l’Unsound.

The Star Pillow The Star Pillow è il progetto sperimentale drone-ambient del chitarrista e compositore Paolo Monti, nato nel 2007 e principalmente basato sulla ricerca di espressione e relazione tra suono, spazio ed emozioni umane. The Star Pillow attualmente ha pubblicato 16 album su etichette come Boring Machines, Midira Records, Time Released Sound, Paradigms Recordings. E' costantemente in tour in tutta Europa con intense ed estreme performance.

qqq∅qqq qqq∅qqq è un progetto musicale composto da Tommaso Busatto e Carlo Mantione. Le improvvisazioni del duo, minimaliste e malinconiche, sfociano in sonorità ambient e rituali fortemente caratterizzate da una onnipresente componente ipnotica. Il risultato che ne scaturisce è un assordante silenzio che isola l'ascoltatore fino a condurlo ad uno stato semionirico. Hanno pubblicato il loro ultimo album nel 2017 “Burning Stones of Consciousness” per la propria etichetta Casetta in collaborazione con DreaminGorilla Records, E’ Un Brutto Posto Dove Vivere, Insonnia Lunare Records e Contemplatio.

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Ingresso riservato ai soci.

[exclaimdotca]

Quebec's FIMAV Reveals Full 2017 Lineup with Terry Riley, Colin Stetson, Nels Cline - (via Exclaim.ca http://ift.tt/2kcs9qv)

[tmnotizie]

ASCOLI PICENO – Traguardo raggiunto per il ponte di Cerreto – Monsampietro. Stamane si è infatti svolta presso gli uffici della Stazione Unica Appaltante della Provincia la procedura negoziata per l’aggiudicazione dei lavori dell’opera. Come annunciato nella riunione tenutasi recentemente con la comunità interessata dal Presidente della Provincia Fabiani e dal Consigliere Tonelli, si è compiuta questa tappa decisiva tanto attesa dal territorio e fortemente perseguita dall’Amministrazione Provinciale.

Con un importo di circa 263 mila euro i lavori sono stati appaltati alla ditta “Rti Porcinari Srl – Fimav Srl – Mazzaferri Srl”. A breve, acquisiti gli ulteriori documenti necessari previsti dalla normativa, potranno cominciare i lavori per la costruzione del nuovo ponte in sostituzione di quello esistente.

“Da sempre strade, scuole e infrastrutture costituiscono una priorità assoluta per l’Amministrazione Provinciale e con soddisfazione si è compiuto oggi il passo fondamentale per la realizzazione di un’opera strategica per il sistema della mobilità locale del comprensorio – dichiara il presidente della Provincia Fabiani – per il finanziamento del ponte, abbiamo trovato le risorse all’interno del Bilancio Provinciale con il piano delle alienazioni approvato dal Consiglio Provinciale. Ringrazio tutti i soggetti che hanno lavorato in sinergia per conseguire questo risultato“.

 Entrando nello specifico dell’opera, il nuovo ponte sarà costruito in modo tale da armonizzarsi con il ponte in muratura sottostante e i carichi dovuti al transito dei veicoli saranno sopportati interamente dalla nuova struttura mentre il ponte esistente sarà soggetto solo al proprio peso.

[mauricehissink]

Tweeted

Konus Quartett and Tomas Korber FIMAV, Victoriaville QC, May 18 https://t.co/9IoM8Wu0yu

— Music-Mindset (@_Music_MindSet) June 2, 2019