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sturionic · 9 months

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Screw spotify wrapped, here's my musical retrospective for the year:

LISTENING

A lot of Jocelyn Morlock - because I miss her very much and her death was really hard, and also because everything she wrote demands repeated listening with the new perspectives each year brings.

Big in my Caroline Shaw era, also got really into some artists that had only been floating in my mental periphery before, like Unsuk Chin and Fazıl Say. Many longtime favourites in the rotation - Pärt, Saariaho, Xenakis, Borodin, Vivaldi, Lyapunov, etc. Bach (quelle surprise.) Gorillaz, Cosmo Sheldrake, The Oh Hellos, Yoko Kanno. I listened to Bone Alphabet about eight million times on repeat, idk man, my brain go BOOM BOOM RATTLE CLICK

As per usual, lots of folk music and bluegrass. Every year my tastes get a little crunchier skewing away from production value and note-perfect-ness. Except Béla Fleck, who can be as note-perfect as he likes without sacrificing an iota of crunch, bless him. SHOWS

Started off this year with HILARY HAHN in January!!! Friends surprised me with tickets ❤️ Held it together through the Sibelius and like IMMEDIATELY cried during the encore lol - she played the Bach E Major Partita, specifically the loure, which I think I've listened to probably at least once a week for the past decade. Honestly I think one of my top favourite concerts of all time.

Other highlights included Danish String Quartet in the spring (tickets were also a Christmas present from different friends, I am a very lucky person 🥺) and then Andrew Bird in the summer.

PLAYING

Took a huge step up for violin this year. My vibrato had seemingly hit a brick wall in terms of expressiveness, and violinist friends encouraged me to keep continually braining myself on that brick wall even if it didn't seem to be producing results, so I did. Then randomly over the summer it just got better!!! Literally felt like it happened overnight. It's not perfect but it feels so good to have vibrato be less of an anxiety/pain point that practice motivation is WAY up.

Ditto viola, although orchestra is out of session and I miss my section grandpas :( Alto clef is less scary than it was last year. Marginally.

Decided to take a break from Chopin this year for piano lol. This was a Bach year. Fugues just felt really good with where my brain was at (aka constant chaos that needed to be settled into some nice form of 3-voiced order.) Also got back in touch with some old friends, soundtracks and the like. My goal for 2024 is to DIG THE FUCK INTO some Lyapunov and finish the Zelda arrangements I'm working on.

Nothing really to say about guitar, alas. I got too lost in the violin sauce and I guess that was enough stringed instruments for my brain in 2023.

I bought a flute this year! Finally have the hang of embouchure - sort of - and now lung capacity will be 2024's challenge.

Probably my big playing goal for 2024 though is to get back into baroque chamber ensembles. IF YOU'RE LOOKING FOR SOMEONE WHO COULD PROBABLY REMEMBER HOW TO PLAY HARPSICHORD WITH JUST A BIT OF NOODLING, HIT ME UP.

#classical music #mostly lol #i'm sorry i am so boring and pretentious 😂#this was a good musical year but a hard one #I hope 2024 is both challenging and kind

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zappak · 8 months

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p.o.p. (psychology of perception) [Alien Stewardess]

Release date: February 01, 2024 Catalog no. zappak-008

[Tracklist]

[Disc 1]

celestial cabaret [09:55]

cosmic concierge [26:27]

intangible vibrations [30:41]

[Disc 2]

galactic grace [20:06]

transdimensional melodies [20:42]

Excerpt: https://soundcloud.com/zappak/zappak-008-1 https://soundcloud.com/zappak/zappak-008-2

Cello: Nora Krahl Electric bass: Hannes Strobl French horn: Elena Kakaliagou Piano: Reinhold Friedl

Recorded, mixed, and mastered by Hannes Strobl in 2023.

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p.o.p. (psychology of perception) is the acronym of the Berliner group by Reinhold Friedl (piano), Elena Kakaliagou (French horn), Nora Krahl (cello), and Hannes Strobl (electric bass) stands for. “Alien Stewardess”, their third album, remains true to the subject, focusing on perceptual psychology and kinetic memory. “Alien Stewardess” is building on and deepening the research topics of the earlier releases: repetition and difference, like tapestry and woven carpet: patterns of similarity, rhythmic twists and varied timbres ("Täbriz", Monotype Records / 2013), and the exploration of sound architecture and the Japanese art of flower arrangement, selectively gathered materials in ever-changing combinations on "Ikebana" (FMR / 2016). “Alien Stewardess” concentrates on the question: What do the musicians' bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…

p.o.p.(psychology of perception/知覚心理学)はベルリン在住のReinhold Friedl(ピアノ)、Elena Kakaliagou(フレンチ・ホルン)、Nora Krahl(チェロ)、Hannes Strobl(エレクトリックベース)によるグループ。彼らの3つ目の作品[Alien Stewardess]は彼らの主題に忠実であり続け、知覚心理学と運動記憶に着目し、これまで作品での研究トピックにもとづいて構成され、さらに深められている。タペストリーや織絨毯(類似性のパターン、リズミカルなひねり、そして多様な音色)のような反復と差異による[Täbriz] (Monotype Records / 2013)、そしてサウンド・アーキテクチャーと日本の華道芸術の探究(常に変化する組み合わせで選択的に収集された素材)による[Ikebana] (FMR / 2016)。 [Alien Stewardess]では以下の問いに着目している。それは、演奏家の身体は何を知っているのか、というもの。4名それぞれの演奏家自身のサウンドや身体記憶は干渉のネットワークを作成し、それによって官能的、三次元的、有機的な音の運動学的視点の掛け算をおこなうというもの。それでは宇宙人のスチュワーデスによるガイドに身をゆだねて、時間と空間の内外を行き交いましょう！素敵な旅をお楽しみください…。

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p.o.p. (psychology of perception) members;

Reinhold Friedl

(Photo by Olya Gluschenko)

Reinhold Friedl, born 1964 in Badeo-Badeo, Germany, is an influential figure io experimental music, a pioneer of new physical sound qualities ranging from precise sensuality to noisy harshness: his Inside-Piano taught the instrument to sing, his internationally acclaimed ensemble zeitkratzer opened up new horizons for ensemble playing, from Xenakis to Lou Reed, from folk music to Stockhausen, not to mention young (non-academic) composers and numerous transdisciplinary collaborations including film projects. Reinhold Friedl's compositions go one better: orgies of sound for orchestra, noise choreographies for string quartet, recorded by Quatueur Diotima, extended techniques worthy of the name turning the solo piano into an orchestra. Friedl studied mathematics, composition (Mario Bertoncini and Witold Szalonek) and piano (Renate Werner, Alan Marks, Alexander von Schlippenbach) and released more than hundred CDs and vinyls. He holds a PHD from Goldsmiths University London and got commissions from international festivals as Wiener Festwochen, BBC London, the French state, Berliner Festspiele, ZKM, etc. and published numerous articles and radio features on electronic music. Touring worldwide. www.reinhold-friedl.de

Nora Krahl

Nora Krahl is literally all over the place: She lives in different parts of the country simultaneously, she plays cello, composes, improvises with electronics, with VR Glasses and motion tracking suits. And she also is a director for experimental contemporary opera. Her abundance of ideas forms the foundation for her art and improvisational music, characterized by multilayered textures and structures. Nora has performed throughout Europe, Middle East, Asia and in the USA with ensembles as Ensemble Resonanz, the Octopus, Reflexion K, Zeitkratzer or She She Pop. Nora premiered her pieces for music and theatre in Cloud City (NYC), Hamburger Bahnhof (Berlin) or Depot Gallery (Istanbul). Nora also loves Theater and worked as a cellist at Schauspielhaus Köln, Deutsches Schauspielhaus and Columbia University New York. She was awarded numerous scholarships and attended artist residencies in Istanbul, New York City and Basel. Ms. Krahl holds a German music diploma from the Folkwang University of the Arts and a Master io Opera directing from Hanns Eisler School of music Berlin. norakrahl.de

Hannes Strobl

Hannes Strobl is a bassist, composer and sound artist based in Berlin. An essential starting point of his music is the sonic potential of the electric bass guitar and the electric double bass. Hannes Strobl expands their characteristic repertoire of expression by using special playing techniques in combination with live electronics. In recent years, Strobl's interest in the instrument and his compositional work has increasingly focused on musical forms of expression against the background of urban sound space, as well as on installations whose starting point is the relationship between sound and architectural space Works io various audio and audiovisual fields, such as electronica, sound installations and music for video and performances. hannesstrobl.de

Elena Kakaliagou

(Photo by Cristina Marx)

Elena Kakaliagou, born in 1979, is a Greek-Austrian French-horn player and performer living in Berlin. Αfter her studies io classical music io Greece, Austria and Finland, and inspired by new, folk and experimental music, Elena developed her own language on the French-horn; lyrical and mellow, angry as a wild animal or a stormy sea, calm as the wind or the soft rain. Elena can be heard on more than 20 musical albums, among others the onces of her duo Nabelóse, her trio Zinc & Copper, a solo, and plenty of collaborations of free, experimental, composed and new music. She is an active member of the free improv scene of Berlin and plays with zeitkratzer and Stefan Schultze Large Ensemble, next to various new music ensembles. For infos about past and current collaborations, concerts, venues, festivals and stage performances of Elena, please visit her website to figure out more. www.elenakakaliagou.com

【Review】

Vital Weekly: p.o.p. (psychology of perception) is preferred in lowercase; I am not sure why you would write between brackets what p.o.p. stands for. Why not use one or the other but not both simultaneously? This is the CD that is not by Japanese musicians, and also to have more than two pieces of music, and is a double CD. I reviewed their ‘Tabriz’ CD in Vital Weekly 888 when p.o.p. was a duo of Reinhold Friedl (piano) and Hannes Strobl (electric bass). With their second release, ‘Ikebana’ (not reviewed in Vital Weekly), they were a quartet, adding Nara Krahl (cello) and Elena Kakaliagou (French horn). The information says, “Alien Stewardess”, concentrates on the question: What do the musicians’ bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, and organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…” This is the sort of text that is too cryptic for me. It reads well, but what does it mean? As with the previous Zappak release, this is all very nicely improvised, albeit of a much different kind, but two discs spanning some 150 minutes of music is a bit much. In their common approach, they like their sounds to be close together, like an acoustic (almost, that is) drone, out of which small sounds pop (pun intended) up. Because their pieces are long, twenty to thirty minutes (except the first ten minutes), playing this music must sometimes be an endurance test, with full-on concentration. Each piece is like a massive and dense cloud; if you look closely, you’ll see the more minor changes. Maybe there is some chaos, too; if you listen closely, it seems as if not much of this makes much sense, and at the same time, there is that tranquil feeling, almost spacious music. Maybe it’s not strange to think of this music as a fruitful meeting of improvisation and modern composition. Great release, but very long. (Reviewed by Frans de Waard)

taz: Neue Musik aus Berlin: :Dunkle Materie, helle Signale Mit Radiovibes und Spieluhr in Richtung Zukunft: „Alien Stewardess“, das neue Album des experimentellen Ensemles P. O. P., ist ein Weckruf im Weltall.

Vom Webstuhl in das Weltall über den Wiesenklee, so ungefähr könnte man die Laufbahn von P.O.P. umreißen. Auf dem zwischen 2008 und 2013 entstandenen Debütalbum „Täbriz“ bezog sich das experimentelle Ensemble, damals ein Trio aus Reinhold Friedl (Piano), Hannes Strobl (Bass) und Hayden Chisholm (Altosaxophon), auf die Strukturen iranischer Teppiche. 2016 erschien „Ikebana“. Aus P.O.P. war ein Quartett geworden: Nora Krahl (Cello), Elena Kakaliagou (Waldhorn und Stimme), Strobl und Friedl spielten von der japanischen Kunst des Blumensteckens inspiriert. Für „Alien Stewardess“ sind sie unter die Sterngucker gegangen.

Die Doppel-CD umfasst fünf Kompositionen. „Celestial Cabaret“, mit zehn Minuten die kürzeste, macht den Anfang: Dunkle Materie, helle Signale, nach fünf Minuten setzt eine Spieluhrmelodie ein. P.O.P. gönnen sich auf dem Album mehrmals kurze, liedhafte Momente.

„Cosmic Concierge“ klingt in etwa wie die Radiostation, welche die kosmische Hausmeisterin auf Nachtschicht hört. „Intangible Vibrations“, eine ganze halbe Stunde, beginnt mit einem Hab-acht-Moment aus schrillem Piano-Interieur und dunklem Horn. P.O.P. ist ein Ensemble kühner Nuancen. „Galactic Grace“ könnte die große Ruhe nach dem Sternensturm sein; „Transdimensional Melodies“ entpuppt sich als Symphonie mit dem Paukenschlag, nur kommt der Weckruf vom Cello.

Dass jeder Titel auf „Alien Stewardess“ sich wie eine Krautrock-Hommage liest, kann sowenig Zufall sein, wie der Name des Quartetts: P.O.P. steht für Psychology of Perception. Wahrnehmungslehre trifft gut, worum es hier geht. (Reviewed by Robert Miessne)

Salt Peanuts: Alien Stewardess expands and distills p.o.p.’s focus on perceptual psychology and kinetic memory, and asks what the musicians’ bodies know. The quartet searches for labyrinthian, «transdimensional» sonic architectures that rely on subtle and elusive repetitions, idiosyncratic sonic-kinetic perspectives and some disturbing interferences, with brief melodic segments. p.o.p. weaves patiently and methodically these minimalist, almost ethereal architectures like a carpet, with delicate patterns of similarity and swift, rhythmic twists, and great focus on varied timbres, using an imaginative array of extended techniques. It sounds organic but very strange yet, surprisingly, sensual. Like being guided on a mysterious journey by a friendly alien stewardess. (Reviewed by Eyal Hareuveni)

Field Notes: Elena Kakaliagou (French horn), Hannes Strobl (electric bass), Nora Krahl (cello) and Reinhold Friedl (piano) are p.o.p., short for Psychology of Perception, and the album with the pleasantly enigmatic title »Alien Stewardess« for the Japanese label Zappak is only their third in just over a decade. The long wait since »Ikebana« from 2017 and the improv trio's rather sporadic appearances together is made up for by its running time, however: the shortest of the five tracks is ten minutes long, the longest just under 30 and the others clock in at over 20 minutes each. This can be explained by the fact that the four musicians take their project’s name seriously and allow their different perceptual mechanisms to intertwine. Their play is one of constant processing of and reaction to that of the other members, formulated less as answers than as questions: What is this doing to me, to you, to us? (Reviewed by Kristoffer Cornils)

SilenceAndSound: Le quatuor p.o.p (psychology of perception) constitué de Nora Krahl (violoncelle), Hannes Strobl (basse), Elena Kakaliagou (cor d’harmonie) et Reinhold Friedl (piano), compose une musique de croisements et de variations superposées. Alien Stewardess combine l’art de l’étrangeté pour brouiller les interférences constantes qui viennent perturber avec subtilité, la combinaison créatrice des quatre artistes. Les pistes sont un terrain de jeu, où les instruments s’évadent de leur vocation première, pour se transformer en formes singulières, avalanche de péripéties spectrales et d’ombres projetées sur des canevas de couleurs indéfinissables. p.o.p. (psychology of perception) accumule les directions sans chercher à s’éloigner d’une certaine fantaisie grimaçante aux allures hantées. Ici tout est jeu d’ombres, de grincements et de flottements, de temps étirés et de perte de repères. Fascinant. (Reviewed by Roland Torres)

Westzeit: Das dritte Album der Berliner "impro-supergroup" P.O.P. (PSYCHOLOGY OF PERCEPTION) heißt sehr treffend "Alien Stewardess" (Zappak) und erscheint auf dem dritten Label, auf Monotype (Täbriz von 2013) und FMP (Ikebana 2016) folgt nun die japanische Plattform Zappak - Nora Krahl (clo), Hannes Strobl (el.b), Elena Kakaliagou (frh) und Reinhold Friedl (p) verteilen ihre Gaben weitläufig. Was mich an dem auf 2 CDs verteilten 5-Viertelstunden-Monster besonders beeindruckt ist die klangliche und konzeptionelle Dichte, die die Vier mit vergleichsweise einfachen Mitteln erzeugen. Neben hallendem StörSpannungsKnuspern schweben da eigenartig geflochtene CelloSounds zu PianoPräparaten und Kakaliagous unverwechselbaren HornKnurren durch die Gehörgänge. Für den vollen immersiven Genuß erfordert das Ganze allerdings auch ein wenig Konzentration und Kontemplation. 5

#Bandcamp

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elmartillosinmetre · 8 months

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"No son necesarias las transcripciones"

[El percusionista Noé Rodrigo Gisbert (Altea, Alicante, 1992) / ALBERTE PEITEAVEL]

El percusionista valenciano Noé Rodrigo Gisbert publica en IBS Classical su primer álbum en solitario

Nacido en Altea (Alicante) en 1992, Noé Rodrigo Gisbert se formó como percusionista en el Conservatorio Profesional de su ciudad natal y luego pasó por el Superior de Aragón en Zaragoza y por Ámsterdam, donde hizo sus estudios de máster.

–Ámsterdam le permitió tocar con un grupo tan importante como el Asko|Schönberg Ensemble...

–Fui allí buscando por un lado la especialización en música contemporánea, pero también acercarme a los percusionistas de la Orquesta del Concertgebouw: muchos de ellos fueron mis profesores, y eso me ha influido mucho en la producción del sonido y a interpretar la música contemporánea de forma distinta. Este año es mi novena temporada tocando con el Asko|Schönberg, un grupo que hace proyectos muy ambiciosos, he viajado mucho con ellos y he aprendido tanto con los compañeros del ensemble como con directores y solistas de primer nivel, todos ellos muy inspiradores. Una de las cosas que más disfruto son mis actividades como percusionista solista, pero lo que me ha llevado hasta ahí es lo que he aprendido tocando en ensembles y en orquestas sinfónicas.

–¿Y Arxis?

–Arxis es mi último proyecto. Lo creé con el compositor Hugo Gómez-Chao. Quería tener algo más propio y que fuese en España. Para mí era importante que todo eso que hago con Asko|Schönberg en el extranjero pudiera hacerlo también en España.

–¿Cuándo sintió la necesidad de grabar un disco en solitario?

–Casi cualquier artista que se dedica a hacer conciertos llega a un punto en que piensa en dejar lo que hace de forma más permanente. Lo tenía pendiente desde hacía mucho, pero no me arrepiento de haberlo dejado hasta este momento, porque creo que ha sido el momento perfecto por muchas razones, entre ellas la relación con Paco Moya. Si lo hubiese hecho hace 4 o 5 años habría sido más complicado hacerlo así. He hecho muchísimos conciertos con un repertorio ya consolidado como solista y me faltaba llevarlo a un disco. Llegó un momento en que entré en contacto con IBS. Les hice la propuesta y después de algunas conversaciones sobre el concepto del álbum, llegamos a un acuerdo sobre un proyecto que nos interesó a los dos.

–Más allá de los percusionistas de las orquestas sinfónicas, al percusionista solista se lo vincula muy habitualmente con esos ensembles de contemporánea de los que es habitual, un ámbito bastante restringido. ¿El CD es una forma de salir de ese ámbito?

–Fue una de mis motivaciones, la misma que me lleva a hacer conciertos y a programar lo que pienso tocar, modelar detenidamente el concepto de cada programa, el orden de las obras… Esto es igual de importante en el disco. Más allá de mi propio interés artístico es relevante que algunas de las obras estén muy poco grabadas y alguna, como Tiento de Jesús Torres sea primera grabación.

–Psappha de Xenakis sí se ha grabado mucho...

–Sí, la que más, sin duda. Luego, de Schwarze Wolken de Denisov, hay tres o cuatro grabaciones, como de Il legno e la parola de Sciarrino. Pero creo que de Moi, jeu... de Mantovani había solo una, como de Wooden de Silvia Borzelli, que grabó el percusionista al que está dedicada, Simone Beneventi. De Tactus de Polo Vallejo creo que se ha hecho otra grabación, pero no sé si se ha publicado aún.

–El CD se titula Paraules (Palabras) por los vínculos de algunas de las obras contenidas en él con la palabra...

–Sí, más allá de mi faceta como músico, me ha interesado siempre mucho la comunicación. La música en directo es muy importante para mí. En el CD me pierdo la parte de la respuesta del oyente. En el caso de Xenakis y Sciarrino, la influencia de la palabra, de la fonación, es muy evidente. En otras obras del disco también está presente como en Tactus de Polo Vallejo, que parte de un trabalenguas de la tribu africana de los wagogo, a partir del que surgen las variaciones: la idea de la obra es que los bongós y las congas canten. También la obra de Silvia Borzelli, con todos esos glissandi tímbricos, la siento muy unida al hecho de conversar.

–Hay como una tradición en la historia de la música según la cual todos los instrumentos parecen querer ser alguna vez los mejores representantes de la voz humana, ¿también la percusión?

–Parece una ambición histórica, sí. De todos modos, en el caso de mi disco, más que la ambición de simular la voz humana la relación es con la palabra no necesariamente hablada. Hablamos de poesía (Safo en Xenakis) o de un trabalenguas (en Polo Vallejo). Más que el sonido de la palabra es la metafísica de la conversación entre dos partes, las discusiones y el llegar a un acuerdo o no.

–La percusión también se vincula mucho con lo étnico y muy especialmente con África. ¿Se ha convertido en cierta medida en un estereotipo?

–Por un lado es algo atávico, eso es indudable. Cualquier persona puede crear un ritmo con dos manos o incluso con una, golpeando en alguna superficie. Eso está ahí y es ineludible, y muchos compositores han buscado asumir esta realidad y abrazarla, como Polo Vallejo y muchos otros. Pero si pensamos en las obras que he grabado de Mantovani, Torres, Denisov e incluso en Sciarrino no hay nada de eso. La motivación de muchos compositores es la experimentación, y eso hace crecer las posibilidades de los instrumentos y de los instrumentistas. Yo disfruto mucho de la experimentación, de buscar soluciones a lo que plantean los compositores, pero no tiene tampoco por qué ser siempre así. La obra de Sciarrino por ejemplo solo puede funcionar en una marimba. No estaba en su mente hacer algo experimental, algo nuevo; no hay nada raro en ella, sí, en un momento hay un bending, pero tiene que ver con esa idea de la palabra, de intentar hacer hablar a la marimba; no existe la ambición por inventar algo nuevo: es el proceso abstracto de tener una idea e intentar representarla, es el proceso de creación de toda la vida. Esto me interesa mucho. Las siete obras están escritas para percusión y creo que no funcionarían en otro instrumento, y eso para mí es importante. La obra de Denisov está escrita para vibráfono; se podría tocar en un piano, que tiene mucho más registro, pero no funcionaría. Eso se puede extrapolar al resto de piezas del CD y a casi todo lo que toco habitualmente. Muchas veces se hace repertorio adaptado y transcrito, y no es necesario: tenemos mucho repertorio, no son necesarias las transcripciones.

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–En Psappha de Xenakis no está definida la instrumentación, ¿la hace siempre con la misma?

–Hasta la grabación del CD sí lo hacía igual; ahora estoy planteándome hacer algunos cambios, porque las partes de madera se pueden hacer con parches agudos, y me apetece explorar. Es posible que lo pruebe en algún concierto, aunque antes lo probaré en el estudio.

–¿Cómo estudia un percusionista?

–Tengo la suerte de que mi pareja es también percusionista. Entre los dos tenemos muchos instrumentos. Para mí ha sido siempre una inversión importante, pero necesaria. Trato de llevar mis instrumentos a los conciertos siempre que puedo. Partiendo de esa base de tener un instrumental muy amplio, sé que por raro que sea lo que plantee una obra, lo voy a poder preparar, porque además artefactos muy específicos que de repente piden en algunas obras los he ido comprando y he ido juntando no solo los instrumentos más convencionales sino otros extraños.

–Mover sus instrumentos para los conciertos plantea problemas logísticos importantes, ¿no?

–Es una complicación, sin duda. El concierto de presentación del disco lo hice en Altea, y viajé con la furgoneta cargada con todos los instrumentos. Pero si lo puedo hacer, prefiero contar con mis instrumentos. Quiero que mis conciertos suenen como el disco, que la distancia entre un concierto y el disco sea la menor posible. Eso me va a permitir tocar al nivel más alto. Lógicamente me puedo adaptar y lo hago continuamente, cuando voy a Ámsterdam o tengo conciertos como solista en el extranjero o porque voy de un proyecto a otro y no puedo pasar por casa; me adapto y sonará más o menos igual, pero, aunque el público no lo note, yo sí, sobre todo es por la comodidad, mi comodidad cambia.

[Foto promocional del percusionista valenciano / ALBERTE PEITEAVEL]

–¿Se ha encontrado a veces con instrumentos pobres e incluso inaceptables?

–Me ha pasado a veces. Es una situación incómoda. Te dedicas a tocar como solista porque lo disfrutas realmente, si la presión puede contigo lo evitas y tocas en grupo siempre, pero no es mi caso, yo disfruto estando solo en el escenario y necesito estar lo más cómodo posible, así que cuando te ponen un material inapropiado, la sensación cambia y realmente lo pasas mal, ya no tocas para pasarlo bien, sino que tratas de tener una concentración extra para que en la interpretación no se note mucho. En general, luego pregunto al público y no lo han notado, lo cual también es gratificante, por la capacidad de superar estas situaciones que te da la experiencia.

–El disco se presentó en octubre. ¿Ha tenido ya algún retorno de reacciones?

–A nivel de prensa especializada es pronto. Supongo que vendrá en los primeros meses de 2024. Sí muchas reacciones de compañeros, compositores, amigos, que me han escrito, y la acogida ha sido muy buena. Hay además una constante en todos los comentarios que me han llegado de alabanza hacia la grabación tanto por el trabajo de Paco Moya como del recinto, el Auditorio Manuel de Falla, y también por la elección del repertorio, las notas de Paco Yáñez… Todas encajan mucho con el cuidado que he querido tener con este proyecto. Se agradece que la respuesta sea positiva.

–¿Hay ya un segundo disco en mente?

–Tengo varias ideas. De hecho podríamos hablar de dos o tres proyectos diferentes, alguno parecido a este, con obras importantes de los últimos cincuenta años; otro relacionado con la composición actual con obras escritas para mí; y otro más específico de un proyecto más concreto que se llama Alabastre y que es música escrita por Ramón Humet para un instrumento de alabastro creado por mí. Son ideas que espero que en los próximos años vean la luz, primero en concierto y luego en grabaciones. Pero es pronto para hablar. De momento quiero disfrutar con este.

[Diario de Sevilla. 21-01-2024]

PARAULES EN SPOTIFY

#noé rodrigo gisbert #ibs classical #iannis xenakis #salvatore sciarrino #edison denisov #silvia borzelli #bruno mantovani #polo vallejo #jesús rueda #música #music #Youtube

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helenafordproject · 2 years

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(with aura) is a free improvisational, electroacoustic, prepared guitar piece (wow, that's a lot of descriptors) inspired by the electronic and physical architecture of Iannis Xenakis and the prepared instrument techniques of the early 20th century composers. This combined with effects pedals and free improvisational techniques evokes the gamelan ensembles of southeast Asia, creating a massive post-tonal clusterfuck.

As always, maximum volume yields maximum results. Please enjoy with headphones to experience the full range of frequencies presented.

The second piece will be recorded and available soon, as all parties involved are quite busy.

#post-tonal #free improvisation #drone #avant garde #electroacoustic #experimental #music #Bandcamp

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meravigliedappertutto · 5 years

Photo

Iannis Xenakis Phlegra, Jalons, Kern, Nomos Alpha, Thalleïn

youtube

#iannis xenakis #modern #collection #pierre boulez #michel tabachnik #Ensemble InterContemporain #Benny Sluchin #pierre strauch #1960 #70 #80 #90 #1992

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garadinervi · 7 years

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Iannis Xenakis, Atrées / Morsima-Amorsima / ST 4 / Nomos Alpha, La Voix de son Maître / Les industries musicales et électriques Pathé-Marconi (IME Pathé-Marconi), 1968

#graphic design #music #music album #vinyl #pattern #geometry #op art #cover #iannis xenakis #ensemble instrumental de musique contemporaine de paris #konstantin simonovitch #paul boufil #jean claude bernède #georges pludermacher #jacques cazauran #la voix de son maître #les industries musicales et électriques pathé marconi #ime pathé marconi #1960s

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sinceileftyoublog · 4 years

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Wobbly Interview: Going for Happy

BY JORDAN MAINZER

Thurston Moore Ensemble/Negativland band member Jon Leidecker has been releasing electronic music under the moniker Wobbly for over two decades now. In Chicago experimental label Hausu Mountain, he seems to have found kindred spirits, matching his far out idiosyncrasies. 2019′s Monitress and its follow-up, Popular Monitress, which came out earlier this month, are albums about and by machines, as Leidecker ran his music into pitch trackers and synth apps on his phones and tablets, embracing the errors and randomness that were produced along the way. While the source material on Monitress was mostly improvised, the songs on Popular Monitress are more structured and composed, resulting in songs like “Authenticated Krell”, which follows a comparatively clean synth arpeggio before being enveloped by texture, or “Lent Foot”, where the various instruments trail each other. It’s remarkable just how familiar certain sounds are even if not traditionally instrumental ones, like the typewriter clacks of “Illiac Ergodos 7!” or the zooming notes of the thumping title track. Blurring the lines between what’s instrument and what’s not, and even further, what’s composed music and what’s not, Popular Monitress is a defining statement for both Leidecker and Hausu.

I was able to ask Leidecker about various songs on the album and their inspirations. Read his answers below!

Since I Left You: You chose to write more structured songs this time around before running them through the pitch tracker. Do those nuggets of recognizable structures make the final product all the more disorienting?

Jon Leidecker: Hopefully! On both albums, the main thing is keeping the focus on just how live those pitch trackers are. It’s Monitress as long as you can hear how they’re listening. For years, it was strictly a piece for live performance--I needed to be improvising myself, and able to respond instantly, to really underline just how spontaneous the machine responses are. So the first record tried to keep more of that sense of flow. Large stretches of it are simply baked down from stereo recordings of concerts & radio performances of it. Overdubbing more layers of trackers seemed legal, as long all the voices were following that one original sound.

Of course, when you play a tune, something composed or even quantized, it definitely becomes easier to hear what they’re doing. The exact same code running on each phone will respond in very different ways to the same source audio, and you get a chorus of individual voices. They play a lot of wrong notes, but oddly, if you feed the trackers lots of consonant, major chords, it stops being dissonance, and you can tell they’re going for happy. You hear these weird things, trying to sing in unison, and..the result is just pure delight. Weirdly emotional! What’s a mistake? What’s music?

SILY: How did you come up with the song titles? For instance, is there anything particularly Appalachian about "Appalachian Gendy"?

JL: They’re mostly mashed up references to landmark works in the field of generative & algorithmic composition, from the 50’s up to the early 90’s. The recent push of stories on AI musical tools seems to be about automation and labor-saving, but the field of how to develop tools for more creative ends goes back all the way to Bebe and Louis Barron going to the Macy Conferences on Cybernetics and designing their first self-oscillating feedback circuit.

So while my tracks aren’t really in the musical style of the works they reference--something like “Appalachian Gendy”, which sprung up a fantasy Spiegel/Xenakis tribute, got paired to that stompdown track, and once it did, I added a solo on iGendyn.

SILY: To what extent is your music here inspired by the inner workings of the brain?

JL: Once you get a grip on just how simply neurons and synapses interact, how reassuringly physical thinking is, the electronic music I’ve always found most inspiring often involve feedback systems, self-playing devices, generative music, things that learn rather than settle. Music that helps you model thought. The whole East Coast/West Coast 60’s divide in synth design boiled down to Moog reducing your options until you could easily dial in what you already know you want, and Buchla designing uncertainty machines to be networked together until they approach the complexity of an unknown brain.

SILY: "Synaptic Padberg" and "Every Piano" have moments of recognizable instruments as opposed to alien instruments (strings and piano, respectively). Was that just a product of the errors/randomness of the music-making, or purposeful?

JL: It's supposed to sound orchestral, so I hit my Mellotron and Chamberlin apps pretty hard with this piece. Not like anything remains plausibly real once they're getting hammered by the trackers. That is a real grand piano, however: me playing the tune at SnowGhost Music in Montana. Brett Allen deserves an engineering credit, but I also wanted the first listen to make you wonder.

SILY: There's almost a funky rhythm to "Motown Electronium". Do you envision folks dancing to this record?

JL: Would have been plain wrong to put that title on an unworthy beat. What would a room full of people dancing to this even be like? Maybe in Baltimore.

SILY: Do you think "Training Lullaby" is what a computer trying to write a lullaby would sound like?

JL: Not that relaxing, is it? That’s ten seconds pulled from a five minute live improvisation, just a little burst of fury in the middle. Which I’ve heard enough now that I can sing along to it; so now, for me, it is calming.

I finally had to admit to myself that I’m a fan of the OpenAI Jukebox stuff. It’s right at that stage where their results are still primitive enough to remain a little mysterious. All the context and relationships intrinsic to what humans call music is irrelevant to those GANs. They don’t need culture to make music, they just need waveforms. What does it tell us that simple pattern analysis and brute number crunching on a large enough data set can produce those sounds? They’re training us. I have twelve hours of their Soundcloud dump ripped to my phone, and I play it a lot, though I wouldn’t play it for anyone under four. Can definitely sing along to some of the weirder ones by now.

SILY: How did you approach the order of tracks on the record? I'm struck by, for instance, the chaos of "Grossi Polyphony" following the comparative lull of "Every Piano".

JL: Just trying to show the range, and keep the surprises coming. Perpetual variety becomes monotony so quickly, so there is a very careful balancing act to play between shorter and longer tracks. I like a record where on first listen, any new section that begins, you feel like there are no guarantees how long it’ll last, eight seconds or eight minutes. Even things that sound like they should be songs: no guarantees. I still remember the first time I heard The Faust Tapes as a teenager.

SILY: Did you actually use musical dice to write "Wurfelspiel"?

JL: “Wurfelspiel” is just name-dropping Mozart’s generative piece--again, a real piano, but no musical dice involved.

SILY: The beats towards the end of the album--the pseudo hip-hop of "Cope By Design", techno of "Dusthorn Sawpipe", krautrock of "Help Desk"--seem to me to be far more propulsive than anything else here. Do you see a connection between those tracks?

JL: The album hits you with all these miniatures in the middle to keep things moving, and those three are the last little barrage of them before the shift into the final stretch with the longer, more hypnotic pieces. Can be tough to sequence an album when you’ve got so many short tracks, but it’s also total freedom.

SILY: How did you like getting the Hausu Mountain album art treatment?

JL: Totally family. All the Monitress packaging has always been iPhone panorama mode artifacts, visual glitches not entirely unlike what my phone’s trackers do to what they hear. I gave one of those images to [Hausu Mountain co-founder Max Allison] to work with the cover of the first Monitress, and he sent back this image, saying, “Here’s the initial stage: Your photo reduced to color blocks I’ll carefully render out later.” So when the second hyper-detailed one came back in a more proper Hausu style, they already seemed like a sequence, and this second one was already in place, so it all clicked. Any version of Monitress, the music is different, but it’s always the same piece. I’m really happy they asked me for something. [Label co-founder Doug Kaplan] and Max are just coming from the good place.

SILY: Are you doing any live streams or socially distant shows any time soon?

JL: Multi-location live streams are a blast. The time modulation inherent in all streaming is deeply psychedelic. The kind of listening you have to do when you know that the relationship of sounds together in time is different for each musician involved? I’m learning utterly new tricks, and it’s astonishing just how live the result is. I sat in on a live stream with Thurston Moore Group a few months ago, the four of them in London, and me hooked up to an amp not far from where I normally am when I play with them. And everyone agreed: It felt like I was there, right up until the instant I quit the app.

I’ve been pre-recording some home live sets for Hausu, Curious Music and High Zero Foundation. Negativland is putting together an hour long performance with Sue-C for the Ann Arbor Film Festival in late March. I finished an album mostly recorded outdoors with my old friend Cheryl E. Leonard for Gilgongo, and we’re going to try to a few outdoor concerts, too.

SILY: What else are you currently working on/what's next?

JL: The second album with Sagan, with Blevin Blectum & J Lesser, is coming out in late April. That one took 14 years to finish. There’s a trio record with Thomas Dimuzio and Anla Courtis coming out on Oscarson. Doing a revision of the last episode of my podcast on sampling music, Variations, to incorporate that OpenAI music. Some Negativland releases tying together the last two albums. There are about four of five other albums that might be done, though it takes time to be sure.

SILY: Anything you've been listening to, reading, or watching lately?

JL: This month has been Maryanne Amacher’s collected writings, Keeping Together in Time by William H. McNeill, Ministry For The Future by Kim Stanley Robinson, important even with happy ending. Interview with Karl Friston - Of Woodlice And Men. Listening to a lot of “Blue” Gene Tyranny, Xenakis & Lang Elliott, and last week every Ghédalia Tazartès album in reverse chronological order. I don’t care what anybody says: That guy’s immortal.

SILY: Anything I didn't ask about you want to say?

JL: Thank you for your questions!

Popular Monitress by Wobbly

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trevorbarre · 4 years

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Alexander Hawkins: ‘Music for 16 Musicians’, the Latest Instalment of a Long Debate?

Alexander Hawkins’ new, large-scale work, Music for Sixteen Musicians provides a capacious alembic for the pianist’s alchemy, and has been given a very comprehensive review by Daniel Spicer in this month’s Wire (February 2021). These comments are therefore merely a few extra thoughts to add to Daniel’s.

I’m a massive fan of Hawkins, and he must now surely be our most distinguished keyboard player? (Tracey and Tippett having passed, and with Howard Riley now sadly largely incapacitated) This latest (along with his other recent solo, duet and quartet recordings) is released on the Swiss Intakt label, which was initially set up to provide an outlet for another distinguished pianist, Irene Schweizer, but is probably best known for it’s cataloguing of Barry Guy’s London Jazz Composers Orchestra (LJCO) records. Guy’s interest in, and love of, classical music (of all stripes, especially Baroque, and apart from 19th century Romanticism) is well known, and the LJCO’s use of symphonic structures reflects this, so I was interested to note the label’s turning towards Hawkins, whose versatility and open-minded musical catholicism match Guy’s. (Intakt and the LJCO have now parted company, just to say.) I also noted the album’s similar typography to that of ECM Records, whose version of Steve Reich’s Music for 18 Musicians is particularly resonant here. Another ECM recording that I am drawn back to, as a point of comparison, is Roscoe Mitchell’s Composition/Improvisation Nos. 1, 2 & 3 (ECM 1872), another extended work that co-situates jazz/free improvisation with what Martin Davidson called ‘European non-improvised art music’ (ENIAM), in John Wickes’ history of British modern jazz.

Daniel Spicer describes the similarity of the first track to Gyorgy Ligeti’s ‘Lontano’, and James Fei, who writes the notes for the record sleeve, cites Luciano Berio’s ‘Sequences’’ as a reference point that should be familiar to the ‘Hawkins generation’ (my own expression). Now, ENIAM is not really my field, but from what I can gather, Berio’s compositions give room for ‘extended techniques’ for various instruments (connecting it directly to the free improvisation grid?) Barry Guy has recorded an interpretation for double bass on ‘Sequenza XIV’ (originally intended for the cello),’’Sequenza VII’, originally aimed at the oboe, has been reworked for soprano saxophone. (Not by Evan Parker, incidentally, but you get the point.) Barry Guy has expressed his love of Krzysztof Penderecki (to whom parts of the recording under discussion bear some comparison to) and Iannis Xenakis (whose work for solo double bass, ‘Theraps’, he has performed successfully, even to the high standards demanded by it’s composer). Derek Bailey and John Stevens regularly cited Anton Webern as an admired influence. Although both John Cage and Karlheinz Stockhausen claimed to despise improvisation as an informing influence, the latter’s Aus Dem Sieben Tagen was improvisation by a different name, and the former’s ‘prepared piano’, have provided generations of free improvisers with a methodology. To return to the theme of one of my recent blogs. Eddie Prevost’s latest book, ‘An Uncommon Music for the Common Man’ explored potential overlaps between free improv and ‘modern’ classical music. (much of which is now nearly 100 years old!)

To my under-qualified ears, Music for16 Musicians demonstrates a more seamless syncretism (if we have to use such a word) than Roscoe Mitchell’s ‘improvisation’, meaning no disrespect to the latter’s axis of some of London and Chicago’s finest improvisers. 16 Musicians uses the talents of the Riot Ensemble, who generally, as far as I can ascertain, are one of several string quartets who mainly perform ‘contemporary classical’ as a living, but are also very flexible and polymorphic when they want to be. It also employs Evan Parker, who very neatly acts as a link to Mitchell’s Transatlantic Art Ensemble. (Parker performs, along with Barry Guy and Paul Lytton, on Composition/Improvisation 1,2 & 3.) Both of these two works are significant achievements, but for me (at least initially, I only got the album a few days back), Hawkins’ work feels like the ‘jazz/improv’ side hasn’t been essentially rinsed out. (As it has, for example, in Ornette’s string-driven things?). Roscoe’s work, on the other hand, apart from the free jazz ‘blowout’ that is the 18-minute ‘III’, tends to veer towards ENIAM. But then again, with artists of this calibre, the listener is often unable to distinguish between ‘Composition//Improvisation’. (Hence the ‘slash’?)

And so the age-old ‘false binaries’ debate continues...

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jgthirlwell · 5 years

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2019 year in review

This year I also invited some friends and colleagues to reflect on 2019

JG Thirlwell

Composer Foetus Xordox Manorexia Steroid Maximus Venture Bros Archer

www.foetus.org

30 Albums of 2019 (although not all of them came out in 2019) Damon Locks & Black Monument Ensemble Where Future Unfolds (International Anthem) Le Grand Sbam Vaisseau Monde (Dur et Doux Caravaggio Caravaggio 2 & Turn Up (La Buissonne) Swans Leaving Meaning (Young God Records) 13 Million Year Old Ghost (Chaykin) Ben Frost Dark Cycles 1 & 2 (Invada) Sote Parallel Persia / Sacred Horror In Design (Diagonal) 33EMYBW Arthropods (SVBKVLT) Anna Meredith Fibs (Moshi Moshi) Kelly Moran Ultraviolet (Warp) Thom Yorke Anima (XL) Hildur Guðnadóttir Joker Soundtrack (Water Tower Music) Lingua Ignota Caligula (Profound Lore) Igorr Savage Synusoid (Metal Blade) Oli XL Rogue intruder Soul Enhancer (Blo-onm) Red Fang Murder The Mountains (Relapse) Michael Kiwanuka Kiwanuka (Polydor) Richard Dawson 2020 (Weird World) Idiot Flesh Fancy / The Nothing Show / Tales Of Instant Knowledge and Sure Death (YouTube) Ikarus Echo / Mosaiasmic (Ronin Rhythm Records) Poil Sus / Mula Poil (Dur et Doux) Orange Goblin A Eulogy For The Damned (Candlelight) Nivhek After its own death / Walking in a spiral towards the house (Yellow Electric) Ni Pantophobie (Due et Doux) Andrew WK You’re Not Alone (Sony) Rustin Man Drift Code (Domino) Kishi Bashi Omoiyari (Joful Noise) Liturgy HAQQ (YLYLCYN) Croatian Amor Isa (Posh Isolation) Schnellertollermeier Rights / X / Zorn einen ehmer üttert stem!! (Cuneiform) Scandinavian Star Solas (Posh Isolation) Synth Sisters Euphoria (EM records) JPEGMAFIA Veteran + All My Heroes Are Cornballs (EQT)

Notable Concerts I went to dozens of concerts and events in 2019. Here are some of the most notable. All in NYC except where noted.

Jan 8 Matt Marks Tribute at Protoype Festival. Roulette Jan 19 Lemon Twigs MHOW Jan 26 Julia Wolfe / NY Philharmonic Fire In My Mouth Lincoln Center Feb 16 Lucretia Dalt Issue Project Room Feb 23 Willliam Basinski Ambient Church Mar 13 Lou Reed Drones St John The Divine Mar 18 This Heat LPR + July 31 at Elsewhere Mar 20 Oran Ambarchi Fridman Gallery Mar 28 Fire! at Zurcher April 11 Aphex Twin Avant Gardner May 4 Zombi El Cortez May 11 Lawrence English Knockdown Center May 13 The Who + Orchestra Madison Square Garedn May 15 Alva Noto Metropolitan Museum June 11 Andrew Cyrille Marathon Roulette June 13 Christeene / Nastie Band Brooklyn Bazaar June 26 Simon Hanes National Sawdust July 27 Nick Zinner 41 Strings Rockefeller Center July 30 Flaming Lips / Lennon Claypool Delirium Capitol Theater Portchester Aug 2-4 Bang On A Can LOUD Festival Mass MOCA Notth Adams Aug 27 Pharmakon St Vitus Sep 5 JD Emmanuel Issue / First Unitarian Church Sep 18 Lingua Ignota St Vitus Set 21 King Crimson Radio City Oct 10 Melvins Warsaw Oct 19 Helm Cafe Oto Nov 1 Marc Almond Brooklyn Bazaar Nov 6 JPEGMAFIA Bowery Ballroom Nov 23 Caterina Barbieri Unsound Fest, Knockdown Center Nov 30 Knower Bowery Ballroom

Film & TV These films were flawed but resonated with me.

Chernobyl Ozark Once Upon A Time In Hollywood Joker Midsommar The Irishman Uncut Gems

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Matt Johnson

The The https://www.thethe.com/

Looking back on 2019 I decided to list a handful of political / alternative news websites rather than films, albums or books. In the UK the corporate media stooped to shocking new lows during our recent General Election campaign. Such dirty tactics are to be expected of conglomerates owned by the likes of Rupert Murdoch and his fellow right wing billionaires but this time around, previously ‘liberal’ outlets such as the BBC and Guardian also fully participated in the outrageous lies, smears and character assassination against the leader of the opposition Labour Party. The British population were now being forced fed the Establishment’s propaganda du jour from every possible direction. Personally I try to gather my information from as many alternative outlets as possible to contrast with the 24 hour corporate brainwashing we’re subjected to these days. I’ve listed just five sites from the dozens I regularly visit and although I certainly don’t agree with everything expressed on these sites I do feel that it essential that in supposed free and democratic societies we are at least exposed to a variety of viewpoints and opinions - rather than being trapped inside social media echo chambers in an Internet that is increasingly controlled and censored by sophisticated algorithms and where politically correct digital lynch mobs accuse anyone with an opinion that contradicts the official narrative of being a Russian agent! Anyway, a Happy New Year to you all and here’s hoping 2020 sets the new decade off in roaring style!

https://www.medialens.org/

https://www.truthdig.com/author/chris_hedges/

https://www.corbettreport.com/

https://thesaker.is/

https://thoughtmaybe.com/about/

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Tristan Perich

Composer www.tristanperich.com

Here is a rather random selection of 10 of my favorite tracks of 2019, mostly courtesy Spotify recommendations over the year...

Full playlist: https://open.spotify.com/playlist/6OUSFLqLsAwhRQRF44yxWN?si=r33XRUuGR_iIOZHg4thuyA

Lechuga Zafiro: Para Abajo feat Matmos & Seba TC https://open.spotify.com/track/2xMnSTIBNZ8AT6w6TdZyU9

Kelpe: A Year and a Day https://open.spotify.com/track/4ANoLzEjtGOBl5qCvEiLov

Shida Shahabi: All In Circles https://open.spotify.com/track/5qMnq88JPMJQ81x5szpN3t

The Vernon Spring: Strength of a Young Man https://open.spotify.com/track/0zQUqR1UcXoPRSrTt0WuPs

Dessert: Thunderbird https://open.spotify.com/track/5rAguSvXxyo5zBq9a5RQWd

Yves V w/ Icona Pop: We Got That Cool (Robert Falcon & Jordan Jay Remix) https://open.spotify.com/track/1lEtudJvZNiibWzXc5m4mh

Selena Gomez: Look At Her Now https://open.spotify.com/track/4yI3HpbSFSgFZtJP2kDe5m

Masahiro Sugaya: Umi No Sunatsubu https://open.spotify.com/track/43egCanD1UNNvoCo2K4veC

Konradsen: Baby Hallelujah https://open.spotify.com/track/6TBnYhxTzSiiVmMBjpZ3gH

Slow Magic: Girls (DJ Clap Remix) https://open.spotify.com/track/31Sdj7aF1h4emCJtkxdy1A

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James Ilgenfritz

Composer https://infrequentseams.com/

James Ilgenfritz's favorite witnessed events, by month:

Hilma af Klint: Paintings for the Future (January, Guggenheim) Anaïs Maviel: who is this ritual for and from? (February, Roulette) Roscoe MItchell, SPACE, Wavefield Ensemble (March, Park Avenue Armory) Blank Forms: Nadah El Shazly (April, Brooklyn Music School) Barre Phillips Solo (May, Zurcher Gallery) Heiner Goebbels: Everything That Happened And Would Happen (June, Park Avenue Armory) Zodiac Saxophone Quartet: Charles Waters, Ras Moshe Burnett, Claire Daly, Lee Odom (July, Scholes St) Tie: Judith Berkson: Partial Memories & Juho Laitinen: Robert Ashley's The Wolfman (August, Ostrava Days, Czech Republic) Zeena Parkins / William Winant / Ikue Mori (September, The Stone) Vinnie Golia / Bobby Bradford Quartet (October, Edgefest in Ann Arbor) LA Philharmonic: Wubbels, Macklay, Sabat, Smith, Perich (Los Angeles, November) Art Ensemble Of Chicago (December, Washington, DC)

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Carl Michael Von Hausswolff

Artist / Composer

https://cmvonhausswolff.net/

10 special artists of 2019 in no specific order: • Hildur Guðnadóttir - her film music • sunn o))) - their Life Metal and Pyroclasts albums • Ilpo Väisänen - his concert in Stockholm • Cindy van Acker - her choreographic work • Jónsi & Alex - their old Riceboy Sleeps album and 2019 tour • Swans - their leaving meaning album • Flowers Must Die - their Där Blommor Dör album • Bigert & Bergström - their climate awareness art • Vanessa Sinclair & Carl Abrahamsson - all their work during 2019 • Hans-Joachim Roedelius and Tim Story - their Lunz 3 album

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Ryan Martin

Label Boss, Dais Records

www.daisrecords.com

Richard Youngs & Raül Refree "All Hands Around the Monument" Sarah Davachi "Pale Bloom" James Hoff "HOBO UFO (v. Chernobyl)" Wojciech Rusin ‎"The Funnel" Caterina Barbieri "Ecstatic Computation" Solange "When I Get Home" Kali Malone "The Sacrificial Code" Deathprod "Occulting Disk" Vatican Shadow "Kuwaiti Airforce" Ben Vida "Reducing The Tempo To Zero" JPEGMAFIA "All My Heroes Are Cornballs" Dean Hurley "Anthology Resource Vol. II: Philosophy of Beyond" Sean McCann "Puck" Oren Ambarchi "Simian Angel" Tyler, The Creator "IGOR" Helm "Chemical Flowers" JAB "Erg Herbe" Emptyset "Blossoms" E-Saggila "My World, My Way" Jacob Kirkegaard "Black Metal Square" Boy Harsher "Careful"

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Weasel Walter

Composer/performer / label head https://weaselwalter.bandcamp.com/

2019 was far from my favorite year. Regardless, I managed to release not one, but two new double albums by The Flying Luttenbachers (as well as two European tours with the unit) in addition to the usual slew of improvised music gigs and releases, and co-ordinating and producing an archival release of vintage NYC weirdness (Ozone). I also rocked Mexico City with Lydia Lunch Retrovirus, played a ridiculous gig with Encenathrakh, and disbanded Cellular Chaos (for now, at least).

When I become obsessed (or re-obsessed with something), it usually leads to a ton of proselytizing Facebook status posts. Combing my 2019 posts, it seems that my musical obsessions this year weren't very highbrow. Ha ha ha. Yes, I'm super into Xenakis, Cecil Taylor and whatever else, but dumber music can supply great creature comfort, and I guess I needed that in large amounts, so that's what it was. Sometimes badass modernists have to take time out to stay in bed all day and read comics because it's a hard cold world out there.

Weasel Walter top 10 musical obsessions of 2019 1. Kid Creole and the Coconuts (1980-1985 era) 2. Redd Kross 3. The Saints "I'm Stranded" 4. Jane Aire and the Belvederes 5. Miles Davis 1972-1975 6. Khanate "Things Viral 7. Mandy Zone & Ozone "Live at Max's Kansas City 1981" 8. Mayhem "Grand Declaration of War" 9. Comedy Bang Bang Episode #554 w/ Middleditch, Sanz 10. Weezer "Pinkerton"

Weasel Walter worst thing about 2019

1. Windows 10

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C.Spencer Yeh

Composer / Performer https://twitter.com/cspenceryeh?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

Ten live music highlights of 2019 - The Brandon Lopez Trio (Lopez/Steve Baczkowski/Gerald Cleaver) at Fridman Gallery, June 18 - DeForrest Brown Jr., Pennies From Heaven series at CONTROL, January 15 - Charmaine Lee, Nothing Changes at Saint Vitus, January 30 - Bloodyminded at Apartment 202, December 14 - Longmont Potion Castle live QnA, Spectacle Theater, March 23 - Joshua Abrams & Natural Information Society, Roulette, July 1 - Helm, Elsewhere, September 21 - Korn, Radiohead, Red Light District, October 26 - Mdou Moctar, Max Fish, September 1 - Mayo Thompson plays "Corky's Debt to His Father," Le Poisson Rouge, December 8

Speed round – five various still on the mind at the end of 2019 - Charlotte Moorman / Nam June Paik long sleeve t-shirt, Boot Boyz - Acacia leaf omelet and shrimp in sour curry, Jitlada, Los Angeles - Lynnée Denise, presentation for Omniaudience (Side Two) presented by Triple Canopy/Nikita Gale/Hammer Museum at Coaxial Arts, May 4 - PARASITE (2019) - ANIARA (2018)

Also, Spectacle Theater turns ten in 2020 and you should really come visit us.

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DJ Food

Artist / composer / DJ / curator

www.djfood.org

Music / podcasts: Pye Corner Audio - Hollow Earth LP (Ghost Box) Various - Corroded Circuits EP 12" (Downfall Recordings) Chris Moss Acid - Heavy Machine 12" (Balkan Vinyl) King Gizzard & The Lizard Wizard - Fishing For Fishes LP (Flightless) Pictogram - Trace Elements cassette (Miracle Pond) Vanishing Twin - The Age of Immunology LP (Fire Records) Big Mouth podcast (various) (Acast) Beans - Triptych LP (Gamma Proforma) Roisin Murphy - Incapable single (Skint) Ebony Steel Band - Pan Machine LP (Om Swagger) People Like Us - The Mirror LP (Discrepant) Coastal County - Coastal County LP (Lomas) Adam Buxton podcast (various) (Acast) Ghost Funk Orchestra - A Song For Paul LP (Karma Chief) Jon Brooks - Emotional Freedom Techniques LP (Cafe Kaput) King Gizzard & The Lizard Wizard - Organ Farmer (from Infest the Rat's Nest LP) (Flightless) Jane Weaver - Fenella LP (Fire Records) Polypores - Brainflowers cassette (Miracle Pond)

Design / packaging: Pepe Deluxé - The Surrealist Woman lathe cut 7" (Catskills) Various - Science & Technology ERR Rec Library Vol.2 (ERR Records) DJ Pierre presents ACID 88 vol. III LP (Afro Acid) Mark Ayres plays Wendy Carlos - Kubrick 7" (Silva Screen) Tomorrow Syndicate - Citizen Input 10" (Polytechnic Youth) The Utopia Strong - S/T LP (Rocket Recordings) Jarvis - Sunday Service LP (ACE records) Andy Votel - Histoire D'Horreur cassette (Hypocrite?) Sculpture - Projected Music 5" zoetrope picture disc (Psyché Tropes) Lapalux - Amnioverse LP (Brainfeeder) Hieroglyphic Being - Synth Expressionism / Rhythmic Cubism LP (On The Corner Records)

Film / TV: Sculpture - Meeting Our Associates (Plastic Infinite) This Time with Alan Partridge (BBC) Avengers: Endgame (Disney/Marvel) Imaginary Landscapes - Sam Campbell (Vinyl Factory) What We Do In The Shadows (BBC2) The Mandalorian (Disney+)

Books / Comics / Magazines: Beastie Boys Book - Mike Diamond & Adam Horowitz (Spiegel & Grau) Cosmic Comics - A Kevin O'Neill Miscellany (Hibernia Books) Electronic Sound magazine (Pam Com. Ltd) Moebius - 40 Days In The Desert (expanded edition) (Moebius Productions) Rock Graphic Originals - Peter Golding w. Barry Miles (Thames & Hudson) 2000AD / Judge Dredd Megazine (Rebellion) Silver Surfer Black - Donny Cates/Tradd Moore (Marvel) Help - Simon Amstell (Square Peg) The Scarfolk Annual - Richard Littler (William Collins) Wrappers Delight - Jonny Trunk (Fuel)

Gigs / Events: Vanishing Twin @ Prince of Wales Pub, Brighton Stereolab @ Concorde 2, Brighton People's Vote March 23rd March, London Wobbly Sounds book launch @ Spiritland, London Confidence Man @ The Electric, Brixton, London Mostly Jazz Funk & Soul Festival, Moseley, Birmingham Bluedot Festival, Jodrell Bank, Manchester HaHa Sounds Collective play David Axelrod's Earth Rot @ Tate Exchange, London School of Hypnosis play In C @ Cafe Oto, London Palace Electrics, Antenna Studios, London The Delaware Road, New Zealand Farm, Salisbury Breaking Convention closing party, Greenwich, London Jonny Trunk & Martin Green's Hidden Library @ Spiritland, Southbank, London Negativland / People Like Us @ Cafe Oto, London HaHa Sound Collective plays the David Axelrod songbook @ The Church of Sound, London, Sculpture, Janek Schaefer, Mariam Rezaei + the 26 turntable ensemble @ The Old Baths, Hackney, London Vanishing Twin & Jane Weaver's Fenella @ Studio 9294, Hackney Wick, London

Exhibitions: Sister Corita Kent @ House of Illustration, London, Augustinbe Kofie @ Stolen Space, London, Victor Vasarely @ Pompidou Centre, Paris, Mary Quant @ V&A Museum, London, Stanley Kubrick @ The Design Museum, London, Tim Hunkin's Novelty Automation Museum, London, Keith Haring retrospective @Tate, Liverpool, Nam June Paik, Tate Modern, London, Takis @ Tate Modern, London, Shepard Fairy @ Stolen Space, London, Damien Hirst 'Mandalas' at the White Cube, London, Bridget Riley @ The Hayward, London, Museum of Neo-liberalism, Lewisham, London.

#playlist #DJ Food #JG Thirlwell #C.Spencer Yeh #Weasel Walter #Ryan Martin #dais records #Carl Michael Von Hausswolff #James Ilgenfritz #Matt Johnson #The THe #Tristan Perich #2019 year in review

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uneminuteparseconde · 5 years

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Des concerts à Paris et alentour en gras : les derniers ajouts :-: in bold: the last news Mars 02. DIIV – La Gaîté lyrique ||COMPLET|| 03. Napalm Death + EYEHATEGOD + Misery Index + Rotten Sound – La Machine 03. Scorpion Violente + Air LQD – Quai de Bourbon 03. Handle + CIA Debutante + David Fenech – Espace B 03/04. The Mission – Petit Bain 04. David Fenech & Laurent Perrier + Phanes – Quai de Bourbon 05. Dorian Pimpernel + Mooon – Supersonic (gratuit) 05. TZII + Sacrifice Seul – Quai de Bourbon 05. Instant Voodoo + Laurence Wasser – Le Zorba 05. Orange Blossom : “Sharing” avec les machines de François Delarozière – Élysée Montmartre 05. King Dude + Biere noire – La Boule noire 06. Frustration + Italia 90 – Le Trianon 06. Electric Fire + Fantazio et les Turbulents (Sonic Protest) – Les Voûtes 06. UVB76 + Gaël Segalen – Café de Paris 06. France + Autrenoir + Aho Ssan + Astrid Sonne + Keki + Janomax – La Station 06. Violent quand on aime + Officium + Matière danse – Espace B 06. Chris Liebing + AZF – Dehors Brut 07. Sourdure – La Lingerie|Les Grands Voisins (gratuit) 07. L’atelier d’éveil musical du centre social Raymond-Poulidor + Foudre rockeur (Sonic Protest) – Les Voûtes 07. Substencia + Eastel + MZA – tba 07. Dave Clarke + Kuss + Murd + Toscan Haas – Dehors Brut 07. ABSL + Mind Matter + NN aka Primitive Tribe – Caves Lechapelais 07. Alcest + Birds In Row + Kælan Mikla – La Machine ||COMPLET|| 07. Ensemble intercontemporain joue Steve Reich : cinéconcert sur un film de Gerhard Richter – Salle Pierre Boulez|Philharmonie ||COMPLET|| 10. Tempers + Alessio Peck + Josee Laïka – Supersonic (gratuit) 10. Jerusalem in my Heart + Méryll Ampe et les élèves de l’Ensapc + Lucretia Dalt (Sonic Protest) – La Dynamo (Pantin) 10. Arnaud Rebotini : live pour “Fix Me” d’Alban Richard – Centre des Arts (Enghien-les-Bains) 11. Mopcut + F-Space + We Use Cookies + Astra Zenecan (Sonic Protest) – La Station 11. Morrissey – Salle Pleyel 11. Nada Surf + John Vanderslice – La Cigale ||COMPLET|| 12 Thomas Bégin + JD Zazie (Sonic Protest) – La Muse en circuit (Alfortville) 13. Russian Circle + Torche – Bataclan 13. Jean Jean + All Caps + Quadrupède – Quai de Bourbon 13. Bernardino Femminielli – Le Zorba 13. Emptyset + Hair Stylistics + Méryll Ampe (Sonic Protest) – L’Échangeur (Bagnolet) 13. Ballaké Sissoko & Vincent Segal – Le Colombier (Ville d’Avray) 14. Panico Panico + Tabatha Crash + Cosse – ESS’pace 14. Lonely Walk + Tamara Goukassova + Shock – Espace B 14. Why The Eye + WAqWAq Kingdom + Maria Violenza + Fleuves noirs + Jean-Marc Foussat + Julia Hanadi Al Abed + Pierre Gordeeff (Sonic Protest) – L’Échangeur (Bagnolet) 15. Nosfell (Mondial du tatouage) – Grand Halle de La Villette 15. Das Synthetische Mischgewebe & Anla Courtis + Ricardo Dias Gomes & Loïc Ponceau + Seijiro Murayama & Florian Tositti + Phanes – Les Pianos (Montreuil) 16. Hällas + La Secte du Futur + Meurtrières – La Maroquinerie 17. Chelsea Wolf – La Gaîté lyrique ||COMPLET|| 18. Pelada + Eye + Fiesta En El Vacio (Ideal Trouble) – Petit Bain 18. Lee Scratch Perry & Adrian Sherwood + 2Decks + Zaraz Wam Zagram (Sonic Protest) – Église Saint-Merry 18. This Quiet Army & Tom Malmendier + John Robin-Bold – Quai de Bourbon 19. HP (Haswell & Powell) + Inga Huld Hakonadrottir & Yann Legay + Asmus Tietchens + Regreb “2 Cymbals” (Sonic Protest) – Église Saint-Merry 19. Boubacar Cissokho (Paris Music) – Bibliothèque historique de la Ville de Paris 19. Maulwürfe – Musée d’Orsay 20. Bleib Modern + Order 89 + Blind Delon + IV Horsemen + Paulie Jan + Codex Empire + Opale + Panzer + DJ Varsovie (fest. des souvenirs brisés) – Petit Bain 20. Jon Hopkins – Salle Pleyel 20. Martin Kohlstedt + Manu le Malin joue Barbara (Paris Music) – Musée des Arts et Métiers 20. Yan Wagner + Madben (Paris Music) – Cathédrale américaine 20. Monolithe noir + Paulie Jan – Quai de Bourbon 20. Senyawa + Bonne humeur provisoire + Black Trumpets (Sonic Protest) – La Marbrerie (Montreuil) 20. Paula Temple + 16H07 b2b Ket Robinson + Ma Čka – Yoyo|Palais de Tokyo 20. Ellen Allien + Shlømo – Dehors brut 20. Ensemble Dedalus : "Occam Ocean" d'Éliane Radigue – Le Studio|Philharmonie ||COMPLET|| 21. Stephen O’Malley – Médiathèque musicale de Paris (gratuit) 21. Mind/Matter + Die Orangen + Mitra Mitra + Qual + Rendered + Verset Zero + Years of Denial (fest. des souvenirs brisés) – Petit Bain 21. Container + Muqata’a + OD Bongo + Diatribes & Horns + Jealousy Party + Urge + Wirklich Pipit + Me Donner + Cancelled + FLF + 2Mo (Sonic Protest) – Le Générateur (Gentilly) 21. GZA – La Marbrerie (Montreuil) 21. ABSL + Anetha + Hektos Oaks + High Future + Randomer + Sugar – tba 21. Front 242 + She Past Away – Élysée Montmartre ||COMPLET|| 21/22. Laurie Anderson : "The Art of Falling" – Cité de la musique|Philharmonie ||COMPLET|| 22. Mike Cooper + Yann Legay + Will Guthrie & Ensemble Nist-Nah + Cheb Gero (Sonic Protest) – théâtre Berthelot (Montreuil) 24. Skemer + IV Horsemen + Silly Joy – Supersonic (gratuit) 24. Joe Gideon – Espace B 24. I’d M Theft Able + Teenage God + Suicide Motorhead + Notre Travail bénéfique – Le Balto Otlab (Montreuil) 25. Low House (Eugene S. Robinson & Putan Club) + Moodie Black – Petit Bain 25. Wrekmeister Harmonies – Espace B 25. Buzzkull + Kontravoid + Crystal Geometry – Badaboum 25. Kumusta + Crash Normal – L’International 25. Li Li-Chin + Onceim & Li Li-Chin – Église Saint-Merry 25>28. Èlg + Vincent Epplay & Timo Van Luijk + Dominique Petitgand… (Fest. Interférences) – Centre Wallonie-Bruxelles (gratuit) 27. Lebanon Hanover – La Gaîté lyrique 27. Baston – L’International 27. Maggy Payne : « Crystal » (diff.) + 9T Antiope + John Wiese + Matthias Puech + Nihvak (fest. Présences électronique) – Studio 104|Maison de la Radio 27. Mongolito + Biere Noire + Bisous De Saddam + Léa Jacta Est + Club Passion (Croux fest.) – Café de Paris 28. Ensemble Links : "Drumming" de Steve Reich + Cabaret contemporain joue Kraftwerk – théâtre de la Cité internationale 28. Iannis Xenakis : « Mycenae Alpha » (diff.) + Marja Ahti + Rashad Becker + Nina Garcia + Kode9 (fest. Présences électronique) – Studio 104|Maison de la Radio 28. Cut Hands + NAH + Shit&Shine + France Sauvage + Burris Meyer + UVB76 (dj) – Petit Bain 28. Satan + Noyades + S.O.L.A.N + Traitors + Accès de faiblesse (Croux fest.) – Espace B 28. Denis Frajerman + David Fenech – Plateforme 28. Balladur + Bracco + Coeval + Bajram Bili (dj) – La Boule noire 28. 14anger + Brecc + Oguz + Fuerr + Draugr + Atim – tba 29. Ivo Malec : « Recitativio » + Eve Aboulkheir + Richard Chartier + Lee Gamble + Will Guthrie & Mark Fell (fest. Présences électronique) – Studio 104|Maison de la Radio 31. M!R!M – Espace B 31. Leandro Barzabal + AVC + Vulcanizadora – Instants Chavirés (Montreuil) Avril 01. Lea Bertucci – tbc 02. The Futurians + CIA Debutante – Instants Chavirés (Montreuil) 02. Shannon Wright + Melaine Dalibert (Piano Day) – La Marbrerie (Montreuil) 03. Kuniyuki Takahashi & Henrik Schwarz + Hugo LX & DJ Nori + Akiko Nakayama (Japan Connection fest.) – La Gaîté lyrique 03. Tamara Goukassova + Constance Chlore – Le Zorba 03. Victoria Shen + Meryll Ampe + Golem mécanique – Instants Chavirés (Montreuil) 03. CocoRosie – Le Trianon ||COMPLET|| 04. Hiroaki Umeda + Nonotak + Aalko + Make It Deep Soundsystem (Japan Connection fest.) – La Gaîté lyrique 04. Satoshi Tomiie & Kuniyuki + Hiroshi Watanabe + DJ Masda + Akiko Kiyama + Daisuke Tanabe + Intercity-Express (Japan Connection fest.) – La Gaîté lyrique 04. Ash Code – Espace B 04. 2kilos &More & Black Sifichi + Plurals – Le vent se lève 04. OOIOO – Lafayette Anticipations 04. Katie Gately – Sacré 04. Wow + Laura Palmer – L’International 06. Julie Doiron – Espace B 06. Bauhaus – Grand Rex 08. Föllakzoid + UVB76 – Espace B 09. Will Samson + Northwest + Lyson Leclercq – Le vent se lève 09. The Chap + Rubin Steiner Live Band – Badaboum 10. Ventre de biche + Badaboum + Videodrome + A Ten Year Later + Paolo Tecon + Le Compas dans l’œil – La Station 10. Manu Le Malin + Popof + Nout Heretik + Noisebuilder + Electrobugz + Krïs Heretik + Broke Heretik + Aness Heretik + Split Heretik + Tom Buld'r.Heretik + Limka + Le Jall + Boubou Antinorm17 – tba 11. Infecticide + Astaffort Mods + Mono Siren – Supersonic (gratuit) 11. IAMX – Café de la danse 12. VTSS + Hadone – tba 14. Lucy Railton & Joe Houston jouent "Patterns in a chromatic field" de Morton Feldman – Instants chavirés (Montreuil) 14/15. Metronomy – La Cigale 16/17. Metronomy – La Cigale ||COMPLET|| 17. Facs + ISaAC – Petit Bain 18. Siglo XX – La Boule noire 19. Rome + Primordial + Moonsorrow – La Machine 20. Big ‡ Brave + Jessica Moss – La Boule Noire 23. Volkor X + ToutEstBeau + Aphélie – Supersonic (gratuit) 23. Health + Pencey Sloe + Dead – Petit Bain 24. Parade Ground – L’International 25. Selofan + Jupiter Jane – Supersonic (gratuit) 25. Tim Tama + Vladimir Dubyshkin + Trym + Regal + Parfait – tba 26. Pharmakon + Deeat Palace + Unas (Ideal Trouble) – Petit Bain 26. Igorrr + Author & Punisher + Otto Von Schirach – La Cigale 27. Dean Wareham joue "On Fire" de Galaxie 500 – Petit Bain 27. Caribou – L’Olympia 27. The Foals + The Murder Capital – Zénith 28. Ulver – L’Alhambra 29. Protomartyr – La Boule Noire 29. Movie Star Junkies + Sam Fleisch + Tibia – Gibus 30. Conflict + The Filaments – Gibus Mai 02. Richie Hawtin – T7 05. The Sonics + Messer Chups – Trabendo 06. hackedepicciotto + Laurence Wasser – Espace B 07. Laurent Perrier & David Fenech – Souffle Continu (gratuit) 07. Trrmà – Le Zorba 08. Max Richter : "Infra" + Jlin + Ian William Craig – Cité de la musique|Philharmonie ||COMPLET|| 09. Max Richter : "Voices" – Salle Pierre Boulez|Philharmonie 09. Jonas Gruska + Leila Bordreuil + Jean-Philippe Gross + Kali Malone (fest. Focus) – Le 104 09. Extrawelt + Oxia + Popof + Wuza + O'Tawa – Le Kilowatt (Ivry/Seine) 10. Iannis Xenakis : « La Légende d’Eer » + Folke Rabe : « Cyclone » et « What ??? » (fest. Focus) – Le 104 10. Max Richter : "Recomposed" & "Three Worlds" – Salle Pierre Boulez|Philharmonie ||COMPLET|| 11. Cannibale + Frankie and the Witch Fingers + Euromilliard – La Maroquinerie 11. The Electric Soft Parade + Tim Keegan – Petit Bain 13. Wire – La Maroquinerie 13. Austra – Badaboum ||COMPLET|| 14. Aksak Maboul + JFDR + Powerdove (Le Beau festival) – La Boule noire 15. Palberta + Michelle Blades + Good Morning TV (Le Beau festival) – La Boule noire 16. Tops + Corridor + Polycool + Myriam Stamoulis + La Veillée Pop (Le Beau festival) – La Station 16. Black Midi – Carreau du Temple 19. Swans + Norman Westberg – Le Trabendo 16. Hermann Kopp & Lorenzo Abattoir + Fusiller + Sang-Foutre – Quai de Bourbon 20>24. Giant Swan + Otoboke Beaver + Sinead O’Brien + Kills Birds + Vanishing Twin + Kit Sebastian + Jardin + Rouge Gorge + Derya Yildirim & Grup Şimşek + Holy Fuck + Gabber Modus Operandi + Balladur + Crystallmess (dj) + Squid + Glitter + Black Country, New Road + Murman Tsuladze + Tôle froide + Sorry + Donny Benet + La Créole + La Récré + Lewsberg + Lido Pimienta + Moesha 13... (Villette sonique) – La Villette 20. The Jesus & Mary Chain jouent “Darklands” + Carla Del Forno (Villette sonique) – Grande Halle de La Villette 21. Yves Tumor + Pottery + Disq (Villette sonique) – Trabendo 22. Robert Aiki Aubrey Lowe + Kristin Anna (Carte blanche Stephen O’Malley/Villette sonique) – Grande Halle de La Villette 22. Kim Gordon (Villette sonique) – Cabaret sauvage 22. François Bayle : « Le Projet Ouïr » + Marco Parini : « De Parmegiani Sonorum » + Yan Maresz (fest. Akousma) – Studio 104|Maison de la Radio 23. Tout Est Beau (Villette sonique) – parc de La Villette 23. Julien Négrier + Hans Tutschku : « Provenance-émergence » + Félicia Atkinson : « For Georgia O’Keefe » + Warren Burt + Michèle Bokanowski (fest. Akousma) – Studio 104|Maison de la Radio 24. Philippe Mion + Pierre-Yves Macé : « Contre-flux II » + Daniel Teruggi : « Nova Puppis » + Adam Stanovitch + Gilles Racot : « Noir lumière » (fest. Akousma) – Studio 104|Maison de la Radio 23/24. Damon Albarn – Salle Pierre Boulez|Philharmonie ||COMPLET|| 25. The Church – Petit Bain 26. Minimal Compact – La Machine 30/31. Paula Temple + Dave Clarke + Ben Klock + Len Faki + 999999999 + VTSS b2b Shlomo + DVS1 + François X… (Marvellous Island) – île de loisirs de Vaires-Torcy Juin 01/02. The Dead C – Instants Chavirés (Montreuil) 03. Bambara – Espace B 04. Phill Niblock + Tim Shaw – Instants Chavirés (Montreuil) 05. And Also The Trees – La Maroquinerie 06/07. Four Tet + Nils Frahm + Park Hie Jin + Modeselektor… (fest. We Love Green) – Bois de Vincennes 12. The Breath of Life + Box and the Twins – Gibus 13. Flat Worms (Ideal Trouble) – Gibus 14. Nick Cave & The Bad Seeds – Bercy Arena 18. Acid Mothers Temple – Espace B 27. Meryem Aboulouafa + Nicolas Godin (Days Off) – Cité de la musique 28. Ensemble Social Silence joue “Music for Airport” de Brian Eno (Days Off) – Studio|Philharmonie 28. Wooden Elephant joue “Kid A” de Radiohead (Days Off) – Amphithéâtre|Cité de la musique 29. Alva Noto & Ryuichi Sakamoto + Echo Collective joue “12 Conversations with Thilo Heinzmann” de Jóhann Jóhansson (Days Off) – Salle Boulez|Philharmonie 30. Emilíana Torrini & The Colorist Orchestra + Agnes Obel (Days Off) – Salle Boulez|Philharmonie Juillet 01. Apparat – Le Trianon 01. Arandel : “InBach” (Days Off) – Amphithéâtre|Cité de la musique 02. Orchestre de Paris : “Symphony No. 1 "Low"” de Philip Glass + “Music for Ensemble and Orchestra” de Steve Reich (Days Off) – Salle Boulez|Philharmonie 03. Perfume Genius + Anna Calvi (Days Off) – Cité de la musique 04. Nicolás Jaar : musique pour la pièce chorégraphique “¡miércoles!” de Stéphanie Janaina (Days Off) – Studio|Philharmonie 04. Kevin Morby + Andrew Bird Symphonique (Days Off) – Salle Boulez|Philharmonie 04. Boy Harsher + Partiboi69 + Otim Alpha + Jonny Rock + La Famille Maraboutage + Catu Diosis… (Macki Music) – Parc de la Mairie (Carrières/Seine) ||COMPLET|| 05. Ben UFO + Jamie Tiller b2b Orpheu The Wizard + Murman Tsuladze + The Pilotwings + Flegon… (Macki Music) – Parc de la Mairie (Carrières/Seine) 05/06. Suzanne Vega, Ensemble Ictus & Collegium Vocale Gent : “Einstein on the Beach” de Philip Glass (Days Off) – Cité de la musique 07. The Rapture + Sons of Raphael (Days Off) – Salle Boulez|Philharmonie 17. Björk – Seine Musicale (Boulogne-Billancourt) 17/18. Grim + Galerie Schallschutz + Am Not + Linekraft + Deathpanel + Detrimental Effect + African Imperial Wizard – Les Voûtes 18. Oh Sees – Cabaret sauvage 20. Björk – Seine Musicale (Boulogne-Billancourt) Août 29. Massive Attack (Rock en Seine) – parc de Saint-Cloud Septembre 27. Mudhoney – La Maroquinerie 30. Peter Hook & The Light : Joy Division. A Celebration – Bataclan

#agenda concerts #concerts à Paris #gigs in paris #Paris music #paris gigs #live music

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