Whitehouse (William Bennett and Philip Best), since its formation in London
in 1980, have been the leaders of the most extreme, brutal and toxic faction
of the noisy electronic music, of which they have undoubtedly been pioneers
(the same faction who has had later on found in Japan its best followers).
With a long career behind them exposed in 18 albums (compilations aside),
from the seminal "Birthdeath Experience" (1980) to the recent "Asceticists"
released this same year 2006, the sonic/vital career of Whitehouse is
a continuous flirt to the catharsis by the use of extreme noise and manipulation.
They haven't ceased for a moment their pitiless obstinacy towards their
audience's ears. Twenty-six years of shows/performances completed with
provocation and chaos, bursting all limits with tons of white and pink
noise as a subsonic presentation tsunami/card: overamplified terrorism
actions, vocal violence and lethal electronic cacophonies... Who offers
Simply mentioning its name affects the nervous system. That is because
Whitehouse have been responsible for some of the most extreme moments
offered by music (or whatever it is or whatever you call it). While one
allows his/her auditive health to be demolished by the twelve minutes
of electronic coma provoked by "Daddo" (included in their 1998 album "Mummy
And Daddy") or without going so far by the killer frequencies that accompany
William Bennett in "Guru" (from their last record "Asceticists"), you
finish understanding that we are talking about a machinery capable of
destroying Lou Reed's "Metal Machine Music". It goes much further, scaring
the ears with more virulence and capacity to sculpt in the noise's pain
a physical matter that has been used as a model by outstanding investigators
of the matter such as Merzbow or Bruce Gilbert (Wire).
But one would have to start by remembering how this factory of acoustic
transgression lighted up on the first days of the year 1980 from the hand
of William Bennett (age 18). Before, in 1978, Daniel Miller (The Normal
at those times, leader of the label Mute for history) who encouraged Bennett
in his idea of creating a sound/all-powerful capable of conquering the
audience into utter submission. Armed with an old uncontrollable synthesizer,
Bennett would end up creating the sound that would finally shape Whitehouse,
but that first lighted Come as the previous step to what would come later.
Come was the bridge project that Bennett gave birth to in 1979 with the
complicity of Daniel Miller and Peter McKay, giving place not only in
1980 to the start of Whitehouse but before to the creation of Come Organisation
(also in the year 79), label aimed to edit at first Come's material and
later on dedicated to electronic extreme music and specially to Whitehouse.
Come Organisation would stop working on 1985, after the publication of
the legendary album "Great White Death", partly due to the temporal dissolution
of Whitehouse that occurred at the time. Returning to Come, that by the
way never gave a live performance, the group edited the LP "Rampton" in
that 1979 and after its disappearance another album was released, "I'm
Jack", in 1981. But really in 1980 the project had ceased to exist to
allow Bennett's creation of Whitehouse... The name came from a word game:
Whitehouse was both the name of a porn magazine and the surname of Mary,
an English activist in constant war against the emission of "rubbish"
on TV and other media.
Their debut couldn't have been more brutal: "Birthdeath Experience" (LP,
1980, as all their records until 1985 edited by Come Organisation) was
a sonic exorcism exposed in six themes that belong already to the black
legend of electronic noise: "On Top", "Mindphaser", "Rock And Roll", "The
Second Coming", "Coitus" and "Birthdeath Experience"... No truce was offered
after such a statement of objectives, immediately after their continuation
followed with "Total Sex" (in 1980 as well) with other six classics of
noise terror: "Total Sex", "Phaseday", "Dominate You", "Politics", "Roller
Coaster" and "Ultrasadism".
In 1981 Bennett's productivity is exceeded even more. Three new LPs in
one year giving place to a progressive spiral of sonorous tortures parallel
to the level of influence that Whitehouse obtained among the future generations
of noisy musicians: "Erector", "Dedicated to Peter Kürten" and the fifth
album of their career, "Buchenwald"... Today, one could say that "Dedicated
to Peter Kürten", his fourth LP, carries the sound of one of the most
extreme and brutal electronic records ever.
With the edition of "New Britain" in 1982 a first cycle finishes, marked
by these six LPs all produced by William Bennett and Peter McKay. It was
then that Peter Sotos and Philip Best entered the project. Sotos, living
now at Chicago, has achieved certain fame through his underground books
such as, for example, "Index" and "Total Abuse". And Philip Best (Consumer
Electronics), that entered the band when he was only 14 years old, is
nowadays the 50% of the Whitehouse project.
1982 also saw Whitehouse's first live action (at London) and the edition
of a new album: "Psychopathia Sexualis". A year later they published "Right
To Kill", of which less than 300 copies were pressed, being a practically
clandestine edition, previous work to the release on February 1985 of
the classic masterpiece "Great White Death". Recorded on November 1984,
"Great White Death" culminates without a breath, until exhaustion, the
electronic corrosion process started in 1980.
Following the disappearance of Come Organisation in 1985 there's a period
of inactivity until in 1988 the label Susan Lawly is created in Chicago
(at the Steve Albini studio) during the recording sessions of what would
be their next album "Thank Your Lucky Stars" (1990). Susan Lawly's first
reference was the single 7" "Thank Your Lucky Stars / Sadist" (1988; "Thank
Your Lucky Stars" co-written by Bennett and Dave Tibet) followed by the
compilation "Cream Of The Second Coming" already in 1990.
After "Thank Your Lucky Stars" (1990) Whitehouse published five more albums
during the next seven years: "Twice Is Not Enough" (January 1992), "Never
Forget Death" (1992), "Halogen" (1994), this one coproduced again in Chicago
with Steve Albini, the same as the following "Quality Time" (1995)...;
and finally, finishing the nineties' decade, the already mentioned "Mummy
And Daddy" (1998).
The new century keeps them alive and dangerous. "Cruise" (2001, last official
work with Peter Sotos, that leaves Whitehouse towards the end of 2002)
and "Bird Seed" (2003), that presents unsuspected evolution aspects, are
a good example of it. Sotos' participation in the theme that gave title
to "Bird Seed", using external elements, direct recorded testimonies about
gender violence, rapes, etc… it has a devastating effect... In the same
way as "Cut Hands Has The Solution", the following theme, drove Whitehouse
into a minimalism as surprising as the superb use made here of the voices.
And back to the beginning, to the year 2006 and to the recent edition
of their last and unappealable album, "Asceticists", with seven themes
that show us their present real dimension. William Bennett (voices, instruments,
Sony) and Philip Best (voices, instruments, Roland) breaking preconceived
schemes to create the kind of electroterror that one would now expect
from Whitehouse faithful overall to their own sense of being, but also
with a certain progression that opens new dimensions to their sonorous
violence. Subterranean rhythmic sequences, minimalist noise, a latent
complexity in the electronic wall that sweats beneath the voices. "Dans",
"Language Recovery", "Guru", the instrumental "Nzambi Ia Lufua", "Killing
Hurts Give You The Secrets", "Ruthless Babysitting" and "Dumping The Fucking
Rubbish" sound contemporary, chaotically contemporary...
William Bennett: "The wider personal reactions we elicit are undoubtedly
an integral aspect of the art itself. It's designed to create intense
reactions, and is thus extremely revealing. In this way, we look into
a mirror reflecting our own, occasionally troubled, souls".
Saturday 7th October - 22 h Exp'06 Program
The presence of Chris Carter and Cosey Fanni Tutti
(Carter Tutti, before Chris & Cosey) in Experimentaclub'06 immediately
connects us, as it occurred in 2005 with Psychic TV, with the absolutely
necessary name of Throbbing Gristle. Chris Carter, Cosey Fanni Tutti,
Peter Christopherson and Genesis P-Orridge created in 1975 Throbbing Gristle
and changed the experimental and electronic music of the future, assimilating
the techniques of classical groups such as Faust to invent from there
a new sonorous code, toxic and polluting as it had never existed before.
Synthesizers, rhythm boxes, sequencers, tapes, effects…; and bass, guitars,
violins…; everything arranged to perpetrate ultra violent hearing attacks,
sonorous mud close to visionaries such as William S. Burroughs and ultrapsychodelic
diabolical passages linked with Charles Manson… recorded sonorous evidence
of all this barbarism exists in their first two LPs, "The Second Annual
Report" (Industrial Records, 1977) and "D.O.A The Third And Final Report"
(Industrial Records, 1978). And also of the surprising oasis of deceitful
softness exposed in the form of electromuzak in a necessary and influential
album, the unforgettable "20 Jazz Funk Greats" (Industrial Records, 1979).
Throbbing Gristle split in 1981 into Psychic TV (Genesis P-Orridge and
Peter Christopherson next to Alex Fergusson) and the duet formed by Chris
Carter and Cosey Fanni Tutti, who alter signing a contract with Rough
Trade published on that same year their first album as Chris & Cosey,
"Heartbeat" (LP, Rough Trade), starting that way what would be an excellent
and inspiring career already 25 years old. Their music dives in the limit
between the most abrupt techno and a without-labels electronic: darkness,
floating atmospheric mattresses, softly insinuated melodies...; a space
to manipulate and combine, so that from that first moment onwards their
sonorous mosaic feeds fusing in a solid container electronic sequences,
sampling and rhythmic beats with Cosey's voice, cornet and guitars.
Their work, absolutely particular and personal, has allowed Chris & Cosey
to be considered by many artists one of the most relevant groups of the
electronic music scene since the eighties. During that decade the duet
created innovating records like, for example, the legendary "Trance" (LP,
Rough Trade, 1982), the maxi techno-pop classic "October (Love Song)"
(Rough Trade, 1983) or their albums "Songs Of Love & Lust" and "Techno
Primitiv" (Rough Trade, 1984 and 1985 respectively), gold mines of claustrophobic
and obsessive techno combined with breaks of pop lights.
From all this production, authentic black Bible of technopopindustrialists,
the works that have leaved a greater impact over the years have been "Trance"
(with psychoelectro jewels such as "Impulse" and "Lost") and "Techno Primitiv",
this last one including the cover with its electroanalogical fetish and
the addictive themes "Hazey Daze", "Shivers" or the mysterious "Do Or
Die". Both are those kind of records that one would sample from beginning
to end capturing loops with that heavy smell of rhythms boxes and avant-techno
keyboards, and the synth-pop of the mid-80s.
After the edition in 1987 of "Exotika" (CD, Play It Again Sam, 1987),
the change of decade and their following landing in the 90s occurs after
editing "Trust" (CD, Play It Again Sam, 1989): more electro-darkness in
themes such as "Deep Velvet" or "The Ring" -with Cosey's voice changing
plane- and obsessive rhythmic in "Percusex". In 1992 Carter and Tutti
decide to drastically decrease their number of live performances to concentrate
especially on their studio work and on their solo projects, publishing
everything through their label Conspiracy International (CTI), created
previously in 1983 to enable the edition of their most experimental recordings
and parallel projects. CTI, as a project, produced two LPs in 1984: "Elemental
7" and "European Rendezvous", signed as CTI and as Chris & Cosey/CTI (edited
by Doublevision and afterwards re-edited in 1990 in only one CD for CTI/Play
It Again Sam under the name of "Collectiv Three, An Elemental Rendezvous").
The first was used as soundtrack for a video of the same name (with Carter,
Tutti and John Lacey sewing electronic environments) and the second contained
a compilation of live recordings from their 1983 European tour as CTI.
Returning to the 90s, Chris & Cosey's records continue to appear periodically,
independent of the electronic reinventions of the moment. CDs such as
"Pagan Tango" (CD, 1991) and "Muzik Fantastique" (CD, 1993), both still
for Play It Again Sam, emphasise the feeling of this total independence,
concentrated only on the inspiration of their own personal geography.
Taking less risks than in their earlier works, songs such as "Take Control",
from the first, or the total disembarkment in an acid swamp which occurs
in the first themes of the second CD, pure synthetic dancing, connect
immediately thanks to that strange specialness which has made them
unique and impossible to classify. Without any asphyxiating formal corsets,
their music has always obtained benefit from their own personality, that
multicreative character which has made them consider themselves not only
as musicians but also as artists, sound engineers, writers, performers
and active agitators that have collaborated frequently with other artists
and musicians such as Robert Wyatt, Monte Cazazza, Coil, etc. Their most
important collaborations are united in their album "Core" (CD, Play It
Again Sam, 1988). Due to their evident position as main figures of the
80s and 90s most incisive rhythmic electronic music, their works have
been frequently remixed by important names such as Carl Craig ("Fantastique"
in the remix album "Twist", T&B Vinyl, 1995), Andrew Weatherall or Daniel
Miller, to mention only a few of them.
Since the mid-90s Chris Carter and Cosey Fanni Tutti have centered their
work specially on the creation of two thematic series of CDs (all edited
by CTI): "'The Library Of Sound" and "Electronic Ambient Remixes". "Metaphysical"
was in 1993 the first volume of the series "The Library Of Sound". Works
of sonic exploration constructed by dense atmospheric passages. The series
would after continue with "Chronomanic" (1994), "In Continuum" (1995)
and "Point Seven" (1998). Changing to "Electronic Ambient Remixes", this
series has been formed by an alternation of works signed by Chris Carter
("E.A.R. 1", 2000, remix of his first solo LP from 1980 "The Space Between";
"E.A.R. 3", 2002, remix of rhythms and original loops from Throbbing Gristle)
and by Cosey Fanni Tutti ("E.A.R. 2", 2000, remix of her solo 1983 cassette
"Time To Tell"; "E.A.R. 4 - Selflessness", 2004). The music developed
through these two projects has been used in sonorous installations, art
galleries, performances, lives in electronic music festivals or in exclusive
radio programs, such as the piece "E.A.R. 4 - Selflessness", for ResonanceFM
(London) in May 2003.
Also among their works and most recent activities, mention the publishing
of "C&C Luchtbal" (CTI, 2003, CD recorded at a live performance at Belgium
with 68 minutes of audio and 3 videos) and the remasterised reeditions
of old Chris & Cosey albums and of solo albums.
In 2003 Chris Carter and Cosey Fanni Tutti start their new era performing,
editing material and DJ'ing, always under the name of Carter Tutti. Their
first performance in the United Kingdom with their new name took place
in the Queen Elizabeth Hall the 9th of October 2003. During 2004 they've
continued performing and working on their solo projects as well, aside
from releasing two remixes ("Hamburger Lady" and "Hot Heels United") in
the Throbbing Gristle compilation "Mutant TG" (Mute). Also during 2004
they edited the excellent "Cabal" (CTI), first album signed by Carter
Tutti: a perfect work of electronic architecture, dense environments,
lazy rhythmic pulses and processed voices and guitars. And finally the
live recorded in Barcelona "Carter Tutti Live At Lem 2003" (CTI, 2004).
To finish, they've been working on the reactivation of Throbbing Gristle
achieving the creation of an album with completely new material: "Part
Two - The Endless Not".
Friday 6th October - 22 h Exp'06 Program
david thomas and pale gagarins
To talk about the North American David Thomas is to talk about one of
the greatest talents that the experimental music has provided, experimental
in the widest and more transgressor sense of the word. And of course,
one has to talk as well of the band which he has led (and still leads)
during decades: Pere Ubu, the quintessence of surreal rock, avant-garde
punk, electronic expressed through minimal touches of synthesizer. Everything
applied to an undecipherable and at the same time eloquent music: threatening
and intelligent. Punk Dadaism.
And to talk about David Thomas + Pere Ubu is also to place oneself in
Cleveland (Ohio) to amazingly realise how a province band broke geographical,
time and, of course, artistic limits, to end up changing the concepts
of art and rock and connecting them both without apparent effort nor pretentiousness.
Born during the earlier seventies, officially founded in 1975, shaken
by the punk tsunami, Devo neighbours (close and far at the same time)
and contemporaries of Suicide and of the New Yorker no-wave, Pere Ubu
walked free always emphasising that apparently involuntary sonorous complexity
that made them unique and very influential.
But also this is a story of continuous extinctions and resurrections,
evolution and changes, of a group that has never ceased to exist although
it only emits life signs from time to time. Vital pills given in the shape
of records, essential to decipher the existence of life outside rock (and
punk and electronic) such as "The Modern Dance" (Blank, 1978), "Dub Housing"
(Rough Trade, 1978), "New Picnic Time" (Rough Trade, 1979), "The Tenement
Year" (Enigma, 1988) or "Raygun Suitcase" (Cooking Vinyl, 1995).
However, in this occasion what occupies us is to talk about David Thomas
specifically. And his next performance in Madrid, in Experimentaclub'06,
leading the trio that includes Keith Moliné (member of Two Pale Boys;
guitars), Graham Dowdall (collaborator of Thomas and also known for his
project Gagarin; synthesizers) and D.T. (vocals, melodeon) under the name
David Thomas and pale gagarins. A unique occasion and a unique concert
as well that according to Thomas it will sound close to Two Pale Boys
but at the same time different as it revolves around Graham Dowdall's
synthesizer. Either way, and with his own words: "I think it would
be a very special show and a very exclusive one, too".
David Thomas and Two Pale Boys have always been defined as a project of
avant-garde folk... performed with technology from the post-dance era.
In fact Thomas has always considered himself (and Pere Ubu as well) a
folk composer and performer (no rock no punk no... nothing). Traditional
music reinventing itself. The use of the melodeon dampened with dark guitar,
wind and electronic passages, mixed with his always peculiar voice, with
wild electricity turmoil and with those passages where all that sound
stream stops and enters a new type of song unknown until now, all that
grand beauty and ugliness, are the magic ingredients that have made of
this project (D.T. and 2pbs) something unique and as necessary as Pere
Ubu. And CDs such as the excellent "18 Monkeys On A Dead Man's Chest"
(Glitterhouse, 2004) one of the best record works published in this decade.
But before landing in this 2pbs period, it is useful to stop for a moment
to analyse the figure of David Lynn Thomas (Miami, 1953; although moving
very early to Cleveland, Ohio), Pere Ubu founder, that machine of found
sounds, analogical synthesizers and concrete music mixed with the spirit
and nerve of a garage band... And responsible, thanks to his multiple
solo projects, of some of the more transgressor and uncomfortable musical
episodes of the last thirty years. Episodes conceived at the same time
as his work with Pere Ubu, sonorous investigations that leave in 1981
their first record legacy his album "The Sound Of The Sand" (Rough Trade),
created next to the British folk-rock guitarist Richard Thompson. Since
then, the record career of David Thomas has been marked by an eclectic
and unpredictable production. In the 80s decade the following works were
released in succession: "Variations On A Theme" (Rough Trade, 1983), "More
Places Forever" (Rough Trade, 1985), "Monster Walks The Winter Lake" (Rough
Trade, 1986) or "Blame The Messenger" (Rough Trade, 1987), published during
one of Pere Ubu's hibernation broken with the edition in 1988 of "The
Back to Two Pale Boys, these were created in 1994 as one of the multiple
projects developed by Thomas aside from Pere Ubu, conceived always as
vehicles with which the role of the voice and the instruments would be
redefined to search for new sonorous expressions. Something that he successfully
managed and with which he has been able to create most of his best works.
This trio formed by David Thomas, Andy Diagram (Diagram Brothers, James,
The Honkies, The Spaceheads; in charge of the trumpet, filtered by all
kinds of echoes, radios and delays, generating layers of overlapping electronic
sounds) and Keith Moliné (They Came From The Stars I Saw Them, Infidel;
polyrhythmic guitars, violin and static electricity), has shaped in this
way during these last ten years some of the most brilliant and supernatural
musical passages that one can imagine. With "Erewhon" (Cooking Vinyl,
1996), their first album, they opened the box of an intense mysterious
sound charged with surprises, exposed later in "Meadville" (live bonus
included in 1997 in the box of 5 CDs "David Thomas, Monster"; Cooking
Vinyl) and in "Mirror Man" (Cooking Vinyl, 1999, another live under the
name of David Thomas and The Pale Orchestra). Later on "Surf's Up!" (Glitterhouse,
2001) they would sow the exact dose of mystery, emotion, nerve and uncertainty
that would reach their peak in "18 Monkeys On A Dead Man's Chest" (Glitterhouse,
2004). From the epilepsy converted into neo-rock that covers "New Orleans
Fuzz" and "Numbers Man", going through the dense darkness enveloped by
"Habeas Corpus" and the surreal folk that inhabits "Brunswick Parking
Lot", until reaching the legendary "Nebraska Alcohol Abuse" and finalising
in "Prepare For The End", all the CD takes place along the edge of a sonorous
knife that leaves no one unaffected.
Now is the moment to let David Thomas and pale gagarins surprise us, in
what is for sure going to be one of the main performances at Experimentaclub'06.
And for that we have to talk about Graham Dowdall: percussionist, creator
and sonorous environments' mixer, collaborator of artists such as Nico
or John Cale both on live performances and on records, music composer
for both theatre and dances... Dowdall, who has previously worked with
David Thomas, has also developed a large career in the electronic music
field under the name of Gagarin.
Wednesday 4th October - 22 h Exp'06 Program
The artistic career of the Japanese Otomo Yoshihide (Yokohama, 1959) is
above all a continuous exploration of the sound's nature, a search through
the different expressive/sonorous media: from free jazz to minimalist
electronic, from electroacoustic to turntabilism, from free improvisation
to sampling (plunderphonics)... A prolific career, risky as few, that
has allowed him to create projects such as Ground Zero (1990-1998), Sampling
Virus Project (1992-1998) or the actual I.S.O., Filament and the Otomo
Yoshihide's New Jazz Orchestra. All of that without forgetting his solo
production, with specific guitar or exclusively with turntables (as will
occur at Experimentaclub'06) projects. An untiring artist, full of ideas
and specially full of fight regarding free appropiation and free sampling,
themes about which he has widely spoken in articles and books.
Early enthusiastic of free jazz and of artists such as Ornette Coleman
and Derek Bailey, Otomo Yoshihide starts as a guitarist in jazz and punk
formations until in 1981 he played free improvisation professionally (using
guitars, tapes, radios, etc) at a Tokyo club. During the following years
he played both in a duet next to the saxophonist Junji Hirose and in a
band called No Problem. Already in 1990 he starts to collaborate frequently
with other musicians of very different styles and he goes on tour through
Japan next to Hirose and the percussionist David Moss. On that same year
he creates his own band, Ground-0 (later on called Ground Zero), with
which he would work intensely until its dissolution in 1998.
In April 1991 he gives with Ground-0 his first concert outside Japan (in
Hong-Kong) and in December he plays for the first time in Europe (Berlin)
with Koichi Makigami (voice), Yuji Katsui (violin), Hiroshi Higo (bass),
David Moss (percussion) and Frank Schulte (turntables). Between 1992 and
1994 he creates two more projects different to his work with Ground Zero.
We are talking about the Double Unit Orchestra (formation made up from
two groups simultaneously directed by Otomo) and Celluloid Machine Gun,
of a cinematographic style based on the films made in Hong Kong. Also
towards the end of 1993 he created Mosquito Paper, active project only
until 1994. Both Celluloid Machine Gun and Mosquito Paper were eventually
absorbed by Ground Zero when the band released its work "Revolutionary
Pekinese Opera" (Trigram, 1995). Before, they had already published "Ground
Zero" (God Mountain, 1993) and "Null & Void" (Tzadik, 1995).
Another of his multiple projects of those years, and in this case without
a doubt one of the most interesting, was Sampling Virus Project (between
1992 and 1998), centered obviously in the possibilities of sampling and
the creative processes derived from its use, capable of acting as an informatic
virus, invading, transforming and multiplying through the other works
by Yoshihide, to finally create something new at a global level. This
project was developed by Otomo through his solo works, his bands, collaborations
with other musicians, etc...
Since the end of Ground Zero the sonorous spectre of Otomo Yoshihide has
evolved largely. During these last few years he has developed a clear
passion for minimalist electronic music and low frequencies. Something
which can be observed in his actual projects: I.S.O., his trio with Yoshimitsu
Ichiraku (drums, electronic) and Sachiko M (sampler); and Filament, his
duet with Sachiko M. The sound here searches for simplicity, minimalism
and textures instead of dynamism and instrumental interpretation. Static
waves, micronoise, silences… "I'm interested in the dichotomy between
silence and noise and the imprecise border that separates one from the
other. The most interesting, in my own opinion, is the subjective view
that each one uses to decide what is music and what is an intrusive sound".
But his creativity has always been multidirectional and so, changing of
direction, in July 1999 he starts a new jazz project with a quartet formed
by Naruyoshi Kikuchi (sax), Kenta Tsugami (sax), Hiroaki Mizutani (bass)
and Yasuhiro Yoshigaki (drums), that interprets themes of legendary jazz
figures such as Charles Mingus and compositions by Otomo Yoshihide himself.
His really large curriculum also includes during the nineties decade his
active participation in other groups and projects such as P53 (next to
Chris Cutler), Novo Tono (Phew), his duet with Tenko under the name MicroCosmos,
collaborations with Jon Rose, etc. Plus his special dedication to the
composition of film, TV and video soundtracks, on which he has always
demonstrated a great talent. In this sense his closeness and the relationship
he has had working with China's and Hong Kong's cinematographic creators
has to be mentioned. He has also been musical director of the theatre
group Rinkogun from 1992 to 1995, creating music for works such as "Bird
Man" or "Hamlet Symbol".
All that enormous activity has been reflected on a huge discography, exposed
in all kinds of formats. Solo works, turntables solos or guitar solos,
with his actual Otomo Yoshihide's New Jazz Orchestra (such as "Out To
Lunch", Doubtmusic, 2005), with his New Jazz Quintet, Filament, I.S.O.,
etc (all his discography can be consulted at http://www.japanimprov.com/yotomo/disco.html).
Finally special attention needs to be paid to his extensive activity as
a writer. Since the 80s Otomo Yoshihide has presented his ideas regarding
subjects as the problem of distribution and the situation of the musical
industry or about considerations referring to matters such as sampling
and free improvisation. All of it in countless articles and essays for
different magazines and books.
Saturday 7th October - 20'30 h - Gramophonia
Chris Cutler is without a doubt one of the most active and prestigious
musicians of the experimental British scene of the last 40 years. His
curriculum is simply impressive: ex-percussionist of the legendary Henry
Cow (1971- 1978), involved in multiple musical avant-garde projects such
as Art Bears, News From Babel, Cassiber, P53, etc, appearing in several
records by Pere Ubu and David Thomas, collaborator of artists such as
Lindsay Cooper, The Residents, Gong, Otomo Yoshihide... And, if this wasn't
enough, Cutler was besides the founder in 1978 of the label Recommended
Records, absolutely necessary in the development of the experimental music
of the last few decades.
On the earlier 60s Chris Cutler started to play the drums on soul and
rhythm'n'blues groups. Later on, in 1967, it will be in psychodelic groups
of similar styles to Soft Machine and the earlier Syd Barrett's Pink Floyd,
performing in the same clubs as they did. But it is not until the year
1971 that he initiates the first of his thousand experimental projects.
It is The Ottawa Music Co., created with Dave Stewart (at that time member
of Egg and main figure of what would be called Canterbury Sound): an orchestra
formed by musicians from the less conventional rock scene created to perform
both its own creations and others from other artists. In its short life,
it only lasted from 1971 to 1972, the orchestra increased its number to
22 musicians. Important names such as Mont Campbell, Steve Hillage, Barbara
Gaskin, both Stewart and Cutler... and also, all the components of Henry
Cow: Fred Frith, Tim Hodgkinson, John Greaves...
Henry Cow is one of those unavoidable references of the earlier 70s (such
as, for example, AMM, Faust, Can or Kraftwerk, each inside its musical
coordinates) whose influence has been decisive in the development of avant-garde
and experimental music. This legendary collective formed by musicians
without creative limits, independent of everything and everyone, broke
during its years of existence all the possible sonorous moulds. Innovating,
antidogmatic, furiously free, Henry Cow took exploration and rupture as
their method: in their hands, terms such as contemporary music, improvisation,
free jazz and progressive rock exploded in the air to create something
completely new, centered exclusively in the totally free inspiration.
Chris Cutler formed part of the band from the year 1971 until its disappearance
in 1978, but the group had been created in 1968 at the Cambridge University
by Fred Frith (guitar) and Tim Hodgkinson (organ, sax), later John Greaves
(bass) would join them. After Cutler's (drums) incorporation, the group
will create in 1972 the first of its two theatre productions (the music
for an adaptation of the classic by Euripides, The Bacchae) and
after some time the group would be joined by a new member Geoff Leigh
(wind instruments). After composing the music for a ballet with the artist
Ray Smith and the Cambridge Contemporary Dance Group, they initiate a
series of concerts under the name of Henry Cow's Cabaret Voltaire, in
which aside from the music, performance and theatre are also included,
inviting other artists to participate in each of these shows. In 1973
they start a new series of performances called The Explorers Club to which
they invite Derek Bailey, Lol Coxhill, Ivor Cutler, Ron Geesin, The Scratch
Orchestra, David Toop, Paul Burwell and Christine Jeffries, plus the writer
D.J. Perry and Ray Smith, who had already participated in the earlier
series. At that same time, they also start the recording of "Leg End"
(Virgin, 1973), their first album. This period of extreme activity will
include as well a legendary two-month tour next to Faust, combining this
with the creation of the music for a new musical-theatre project: an adaptation
of The Tempest (Shakespeare). Later on, Geoff Leigh decides to
leave the group and they find in Lindsay Cooper the perfect substitute,
as she feeds Henry Cow's music with the oboe and her voice. With her in
the group, they record "Unrest" (Virgin, 1974), their second work and
probably the more creative one of their entire career.
Also in 1974 a fortunate meeting occurs with SlappHappy, project by Peter
Blegvad, Dagmar Krause and Anthony Moore, with whom they had collaborated
earlier on, and their integration on the next two albums of Henry Cow:
"Desperate Straights" (Virgin, 1974) and "In Praise Of Learning" (Virgin,
1975). On the concerts following the edition of these works, Dagmar Krause
became part of Henry Cow. And John Greaves would leave the group one year
later to collaborate on new projects with Peter Blegvad. Meanwhile the
new sextet performs in places all across Europe. In April 1975 their concert
next to Robert Wyatt in Paris is an incredible success. In 1976 "Concerts"
(Caroline) is released and one year later (as they had done before with
SlappHappy and Wyatt) they associate again with another group: The Mike
Westbrook Brass Band with Frankie Armstrong (aka The Orckestra).
After a period of multiple comes and goes (Dagmar Krause left due to health
problems, etc) Henry Cow's definite musical legacy arrived with "Western
Culture" (Broadcast Records, 1979) although their last concert had taken
place in the Piazza del Duomo, Milan, the 25th of July 1978.
On that same year Chris Cutler creates, with Nick Hobbs, Recommended Records:
independent label, launching pad for experimental music and without a
doubt, another option for the until then unheard-of promotion of this
type of music outside the common and conventional record companies. At
the same time, Cutler also creates Re Records (exclusively created for
the edition of his own projects), although he will finally fuse both companies
together in 1987 under the name ReR.
In 1978 he performs for the first time in concerts with his improvisation
duet next to Fred Frith and he starts his new project Art Bears also next
to Frith and Dagmar Krause, publishing three splendid albums between 1978
and 1981 (all through Re Records): "Hopes And Fears" (1978), "Winter Songs"
(1979) and "The World As It Is Today" (1981). During this period he collaborates
among others with The Residents, Gong and David Thomas.
During the 80s he works on new projects such as News From Babel (with
Lindsay Cooper, Dagmar Krause and Zeena Parkins) and Cassiber (with Heiner
Goebbels, Alfred Harth and Christoph Anders). He also continues to work
frequently with Fred Frith and also with Tim Hodgkinson and Peter Blegvad
until in 1987 he becomes part of the new group with which David Thomas
restarts Pere Ubu.
Among the many projects and collaborations in which he takes part during
the 90s, a special mention needs to be made of his duet with Zeena Parkins,
his works next to P53 (with Marie Goyette, Zymunt Krauze, Otomo Yoshihide
and Lutz Glandien) and the edition of three live-recorded albums of his
performances with his duet with Fred Frith.
Since 2000 he has frequently worked alone. And it has been in these last
few years that Chris Cutler has published his first two solo albums: "Solo"
(Recommended Records, 2001) and "Twice Around the World" (Recommended
Records, 2005). Aside from this, he has continued to work in many projects
and maintains active his duet with Fred Frith.
During his concert at Experimentaclub'06 he will combine drums, percussion
and electronic sounds.
Saturday 7th October - 19'30 h Exp'06 Program
The British Keith Rowe is a capital figure among the sonorous avant-garde
of the last four decades. Total artist, impossible to typecast due to
the constant search and exploration of his musical career, Rowe exceeded
at his time the free jazz context to revolutionize improvised music (for
example AMM; unforgettable his performance at Experimentaclub'03) and
to later on finish turning into an admired figured in the field of electronic
His own perception of the guitar as a generator source of sound instead
of as an instrument, his treatment of it as a found object, developing
a new language and also putting it to a different use, have always singled-out
Keith Rowe's work. Also using painting as a motor (inspiration, complicity)
capable of feeding contents and ideas to many of his works (Klee, Pollock).
And a good part of that visionary talent to take the instrument out of
context and guide it across sonorous creations thrown into outer space,
across his personal revolutionary view -inherited from precursors such
as John Cage- close to the margins along where musical creation occurs,
he has developed with the legendary collective AMM in the experimentation
and improvisation area.
AMM was created in 1965 due to the meeting of several British free jazz
musicians around the nucleus formed by Keith Rowe, the percussionist Eddie
Prévost, the saxophonist Lou Gare and later on, the composer Cornelius
Cardew (piano and cello). They edited their first album "AMMMusic1966"
in 1966, with which they already broke the usual patterns of the free
jazz to investigate the unstructured improvisation and the exploration
of new sounds.
In 1972 AMM splits into two duets: Prévost and Gare on one side and Cardew
and Rowe on the other, continuing these last ones their association in
projects such as the Scratch Orchestra and People's Liberation Music.
In 1976 they work together again until first Lou Gare and later on Cornelius
Cardew quit the group leaving Prévost and Rowe alone. In 1979, under the
name AMM III, they record "It Had Been An Ordinary Enough Day In Pueblo,
Colorado" (ECM). Some time later AMM, on what would be its final version,
is completed with the incorporation of John Tilbury. Since then, 1980,
they've published a big number of records and participated in many projects,
But aside from this enormous sound generator that has been and still is
AMM, Keith Rowe has taken part in many solo projects and collaborations
with other artists. In 1979 his association with Trevor Watts under the
name Amalgam produced two albums, "Over The Rainbow" (Arc) and "Wipe Out"
(Impetus), clearly influenced by the development of new languages and
codes within the use of the guitar. But it has been from the middle nineties
and onwards that Rowe's activity has been greater and has grown more productive.
Apart from his work in AMM, during these last years he has enlargened
his field of action to new projects, for example, MIMEO and to collaborations
with other artists such as Evan Parker, Jeffrey Morgan, Günter Müller,
Taku Sugimoto, Burkhard Beins, Otomo Yoshihide, Toshimaru Nakamura, Christian
Fennesz, Marcus Schmickler, Kim Cascone, etc.
MIMEO (Music In Movement Electronic Orchestra) is without a doubt one
of the most interesting projects in which the always anxious Keith Rowe
has been involved. This open collective groups a select number of electronic
musicians obsessed with giving a new formal energy to the field of improvisation,
with important names such as Fennesz, Marcus Schmickler, Rafael Toral,
Peter Rehberg, Thomas Lehn, Gert-Jan Prins, Phil Durrant, etc, all of
them grouped around Rowe. They've produced some of the more outstanding
passages of the experimental electronic music of the last ten years. Intense
electroacoustic improvisation whirlpools with abrupt and shaking recorded
evidence, such as "Electric Chair And Table" (2000, GROB).
Between 2002 and 2003 Rowe makes more specific the open connections with
MIMEO in a duet formed with Christian Fennesz ("Live At The LU", Erstwhile
Records), duet that from time to time they make it function again, or
through the trio with Thomas Lehn and Marcus Schmickler ("Rabbit Run",
Erstwhile Records), later on growing into a quartet with the incorporation
of Toshimaru Nakamura (CD in 2004 for Erstwhile Records).
His collaborations with Fennesz include as well the Four Gentlemen Of
The Guitar project, in which they are accompanied by Oren Ambarchi and
Toshimaru Nakamura again, publishing in 2004 "Cloud" (CD, Erstwhile Records).
Wednesday 4th October - 19'30 h Exp'06 Program
The laptop trio from Lille (France) returns with
their brand new album, "Wow Twist" (Chicks On Speed Records, 2006), going
one step forward in their search for the perfect electroparty: paranormal
techno-chewinggum, infectious under the manipulated voices, the bip-bip
from the Nintendo galaxy and the cybernetic punk/pop bursts... Everything
is intelligently arranged with an outstanding imagination stream, delirious
lyrics, science-fiction of the Z-series and the ability to create risky
electroshocks and ultrastatic mystery spaces. Like B-52s that had landed
on the digital era (instead of the analogical), the Dat Politics of 2006
change, irritate, seduce, refresh, itch, amaze, choke, electrocute and
happily transport the audience to an unknown robotic universe.
But first you have to look back and comprehend the curious evolution followed
by the best -and maybe the only- laptop "band" in the world, formed on
October 1998 first as a quintet and then reduced to a trio. Since their
debut in 1999 with the LP "Tracto Flirt" (Ski-pp, their own and exquisite
label, with which they edited for example in 2003 Felix Kubin's CD "The
Tetchy Teenage Tapes Of"), Dat Politics (Claude Pailliot, Gaëtan Collet
and Vincent Thierion) have recooked the base of their sonorous potion
so that little by little they could move it from the instrumental clickminimalism,
made of sequences and micromelodies, to a more or less formal synth-pop
format, creating songs... but subversive songs completed with crazy noisy
emissions. This entire journey has been parallel to their visits to different
record companies such as A-Musik, Mille Plateaux or Tigerbeat6, until
their landing on Chicks On Speed Records, where they have published their
last three albums: the ones that have in some way marked the rhythm of
this change. From "Clicks And Cuts" (in volumes 2 and 3) to the technicolour
digital punk/pop in expansion.
The microelectronic included in the already mentioned "Tracto Flirt" (reedited
later as a CD by Tigerbeat6) and the following "Villiger" (A-Musik, 2000)
and "Sous Hit" (Digital Narcis Corporation, 2001), finds its way in 2002
with the release of "Plugs Plus" (Chicks On Speed Records) to an intelligent
and innovating popsification process. Here the songs have their own identity
(something unheard-of before), vocal ingredients are added and collaborators,
such as Felix Kubin or Jo Zimmermann (Schlammpeitziger) take part producing
very interesting results.
With "Go Pets Go" (Chicks On Speed Records, 2004) the popsification is
completed with hypnotic melodies and improved with complex digital compositions.
The minimal mechanic of their first three records is fused with the freshness
and pop character of the previous one, extracting from the combination
their best ideas and presenting them with a colourful and irritating calmness(?).
Digital folk melodies obtained through collaborations with Nathan Michel
and Kristin Erikson (there is even a banjo!), technonintendo mini-hits,
compositions based on bees and insects in general, etc, etc, etc... A
disco/zoo that can't be missed.
Returning finally to the recent "Wow Twist" (Chicks On Speed Records,
2006), its eleven themes navigate through the cyberspace as a crazy missile
driven by the ultraprocessed voices of Claude and Gaëtan. From "Viper
Eyes" and its anphetaminic technopunk choruses, the song carousel of electroparty
turns and turns inviting the listener to surf the galaxy. "Turn My Brain
Off" connects electrodes to toy Beach Boys, "Gravity" is as if the new
wave had been recycled and reinvented in four minutes to define the next
century's pop, "My Toshiba Is Alive" (great names!) is an hymn of surreal
technochildism and "Roll" is a great song that addicts you completely:
Thursday 5th October - 22 h Exp'06 Program
The Finnish Vladislav Delay comes to Madrid to live present his last record
released under his own name: the very personal "The Four Quarters" (Huume,
2005). Electronic landscapes exposed in long themes in which he retakes
the microclickelectronic of his earlier works for Chain Reaction and Mille
Plateaux, pasting it here in extensive melodic backgrounds, abstract spaces
and minimal dub echoes. Reflection of a moment during which, besides his
other projects such as Luomo, Uusitalo or AGF / Delay, he appears to have
centered only on the search of sound and musical fluidity.
Vladislav Delay is one of the pseudonyms of Sasu Ripatti (born in 1976).
His artist career has been marked, from each of the sonorous fronts on
which he has moved (under the names of Luomo, Sistol, Uusitalo and Conoco,
apart from Vladislav Delay), frequently extremely different between them,
by a continuous progression, a search for new dimensions, that coincides
with a certain critic dissatisfaction towards the general electronic music
panorama. Initially marked by jazz and by African and Brazilian music,
Delay landed on electronic music towards the mid-nineties with records
in which he already experimented with abstract sounds, ambient and dub.
Some of these works saw the light under the alias Conoco in the 12" "Kemikoshi"
(Sigma Editions, 2000). His debut as Vladislav Delay occurred with "The
Kind Of Blue EP" (1997). Already in 1999 his first album would arrive,
"Ele" (Sigma Editions), and two of its themes ("Kohde" y "Ele") would
also be included (in different versions) in his applauded CD "Entain"
(Mille Plateuax, 2000). This is a period during which his activity is
so intense that he publishes one more album, "Multila" (this time for
Chain Reaction), following the line of minimal dub and ambient, without
forgetting the previous release of "Sistol" (project of the same name,
CD edited in 1999 with the label Phthalo).
Still in the year 2000 he has his debut with the projects Uusitalo ("Vapaa
Muurari", Force Inc.) and Luomo, that slippery vehicle that walks on the
rough tracks of minimal house, whose first album "Vocalcity" (Force Tracks)
became a great hit.
Already in 2001 he retakes the records with his own name in "Anima" (Mille
Plateaux, 2001), continued in 2002 by its live version "Naima" (Staubgold).
After releasing in 2003 a second chapter of his house incarnation as Luomo
("The Present Lover", BMG, directed to a wider audience), he returns in
2004 to his facet as Vladislav Delay with the publishing of his first
record with Huume, his own label. "Demo(N)Tracks" is a collage with thirteen
themes, more influenced by urban life than by any style or merely musical
concept. It is really his more literal ambient work, a minimalist and
sonorous frame that shows thirteen audiopanoramas with an absolutely personal
musical instinct. Assuming new ideas and including acoustic recordings,
real drums, etc.
Going back to his concept of electronic music to listen to in his
last album, "The Four Quarters" (Huume, 2005), an introspective composition
exercise that in some way connects with part of his earlier works' essence,
placing him today in one of the most interesting steps of his complex
career. After his collaborations with AGF ("Explode", Agf Producktion,
2005) and his participation in The Dolls (Craig Armstrong, AGF and Delay,
with a record of equal name edited by Huume in 2005), the four extense
themes of "The Four Quarters" show his new creative dimensions in his
facet as Vladislav Delay. Meanwhile, and already in 2006, his last work,
now as Uusitalo, has been "Tulenkantaja" (Huume, 2006).
Thursday 5th October - 19'30 h Exp'06 Program
The British Philip Jeck (1952) is specially known for his crushing and
subversive work "Vinyl Requiem" (work done in collaboration with Lol Sargent):
a performance for 180 record players of the 50s and the 60s, 9 slide projectors
and 2 more 16mm film projectors, with which he won in 1993 the Time Out
Performance Award. A sonorous galaxy of old machines, buzzes and vinyls
colliding against each other in between grandness, error, chaos and harmony…
A complex nonsense that has sense from its own confusion.
Philip Jeck's work, with seven published albums, is like a wide treaty
of investigation and exploration, a showcase/catalogue of the infinite
possibilities that the old record players and vinyls offer as sonorous
tools (and also visual, of course), to transform into a different musical
machinery capable of creating something totally new and unknown. In order
to do so, Jeck has always played with the improvisation as an element
of efficient perturbation: the method of luck, of error or of chance has
played in that way the main role in many of his creations. But apart from
this the majority of the loops, samples and scratches he uses, proceeding
from his arsenal of old vinyl records, are altered by delays, connected
and fused with the sounds generated by a Casio, manipulated with the turntables
through the velocity control, etc...; a sonic labyrinth that creates a
personal confrontation between the old, the analogical in the origin of
the sonorous source he uses, and the highly innovating result that he
achieves after manipulating the same (reaching in that way much further
than the nostalgic fetish of a mere sonorous archaeologist).
During his performances, Jeck uses old vinyls and record players as real
music instruments, creating with the sound accumulation that these produce
a personal language constructed layer over layer, rhythm over rhythm,
noise over noise. The result generates a sonorous architecture full of
covering toxicity. But really what can be observed behind that language
is how inseparables are the creation process (machines, materials, method)
and the sonorous result he achieves: as conceptual as directly emotional.
Philip Jeck studied Visual Arts at the Darlington College Of Arts. He
started to work with record players and electronic elements during the
earlier 80s, working on both the creation of soundtracks and tours next
to dancing and theatre companies and on his own concerts. After the release
of the already mentioned "Vinyl Requiem" in 1993, Jeck had developed his
musical career at the same time as he centered his attention again on
the visual arts, creating countless sonorous installations and performances
(between 6 and 80 machines). And also offering concerts for record players
or for these combined with other instruments: Casio keyboards, violin,
In 1999 he presents "Vinyl Coda I & II" (13 turntables) for the Munich
Radio Bavaria, series continued on that same year with "Vinyl Coda III"
and already in 2000 with "Vinyl Coda IV". In that same year he does an
installation and performance "Off The Record" for 72 record players as
part of Sonic Boom exhibition in the Hayward Gallery of London. And he
also performed in the Saalfelden Jazz Festival at Austria with a duet
next to Christian Fennesz (3 record players and powerbook). Between 2003
and 2004 he has worked on several occasions with Jah Wobble, highlighting
a trio with him and the great Jaki Liebezeit (ex-drummer of Can) for a
concert in Belgium.
Regarding Philip Jeck's work with Slant he edited two CDs: "Slant" (Sound
& Language, 1993) and "The Canning Toen Chronicle" (Sound & Language,
1994). But it is in 1995 when he starts recording solo with the publication
of "Loopholes" (CD, Touch). Later on would come works as interesting as
"Surf" (CD, Touch, 1999), where Jeck gives a new twist to his sonorous
exploration through the loops and the scratching. Already in the 2000
appears "Live At ICC, Tokyo" (CD, Touch) and the double CD "Vinyl Coda
I-III" (Intermedium), editing the next year the definitive "Vinyl Coda
IV" (doubleCD, Intermedium, 2001).
His last albums are two outstanding talent, imagination and search exercises.
In 2002 "Stoke" (CD, Touch) is released containing seven themes edited
from live recordings from their performances in Liverpool, Manchester,
Osaka, Tokyo and Vienna, with the exception of "Lambing", track recorded
for a Lucy Baldwyn film. "Stoke" was recorded using Bush, Fidelity and
Philips record players, plus a Casio keyboard and a portable CD player.
Finally in 2005 Philip Jeck publishes his seventh and last record until
now: the magnificent "7" (CD, Touch), presenting material created from
home-made recordings and concerts in the United Kingdom, Germany and Belgium,
using in this occasion Bush, Ferguson, Fidelity and Philips record players,
a portable mini-disc and the usual Casio keyboards. The theme "Bush Hum",
created from the amplification of the buzzing of a Bush record player
manipulated with a delay pedal, is one of the most brilliant moments of
this mysterious and surprising album: a harmonic sonorous swarm full of
tiny tones. In "7" a certain control sensation stands out, very different
from the rest of his works such as the previous "Stoke", where chance
was the driving force of the themes. Here however he plans a certain predetermination,
or at least that's what it seems, that makes the noises, scratches, repetitions,
buzzes and all the rhythmic non-symmetry that compresses his sonorous
speech, finish having a practically baffling sense until they generate
something similar (although only slightly similar) to the form of a song.
In that way they end up constructing pieces as stimulating as the opening
theme, "Wholesome", or passages with soft static atmospheric noise such
as "Wipe" (originally conceived for a Marisa Zanotti video) and the one
that ends the CD: "Veil".
Wednesday 4th october - 20'30 h - Gramophonia
rag-time (grimo +
Grimo (Dominique Grimaud) and Pierre Bastien, two of the most relevant
artists of the experimental scene not only the French one but also the
European, propose a concert specially conceived for Experimentaclub'06
from the "Rag-Time" project, created by the first of them. Several 78
r.p.m. records, turntables and all kinds of mechanic machines manipulated
until generating a complex rhythmic meccano full of magic and surprising
textures, fusing with minimal synthesizer notes, sonorous effects, guitar
and other traditional instruments. Fox-trots and waltzes dislocate, loop
on a thousand scratches and their reproduction velocities disarrange until
creating a sonorous unheard-of poetry.
Grimo, whose real name is Dominique Grimaud (Chartres, France), is a self-taught
multiinstrumentist: guitar, mandolin, banjo, analogical synthesizers (Moog,
AKS), sax, sampler, old vinyls and record players...; all of them form
part of his particular instrumental arsenal. Grimo has worked during more
than 30 years in the field of innovating music: free-jazz or free-rock,
sonorous experimentation, electronic or improvised music, all conveniently
used with the objective of creating his own musical language.
Grimo's long musical career starts in 1970 with the Camizole group (happenings,
improvisations: psychedelia, krautrock, jazz). In 1978 he creates with
Monique Alba the duet Video Adventures, project on which he works until
1990 with musicians such as Gilbert Artman, Cyril Lefebvre or Jac Berrocal.
Already in the nineties he is co-founder of the Franco-American quartet
Peach Cobbler, centered in providing an original revision of the Delta
blues of the 30s. In his facet as musical chronist, Dominique Grimaud
has made the two book/collages "Un Certain Rock (?) Français", after having
collaborated during ten years with the musical magazine Revue & Corrigée.
During the last years Grimo has presented the audiovisual installation
"Slide" at many places all around France. This work is again inspired
by the blues, improvised music and native American Indian culture: shaman-like
improvisations that invoke the natural elements, all of it done with the
collaboration of musicians such as Pascal Comelade, Dominique Répécaud,
Guigou Chenevier, etc. "Slide" was recorded on CD in 1999 for the label
Aside from directing the collection "Zut-o-pistes", produced and distributed
by Muséa Gazul, Grimo has created other three ambitious projects: the
audiovisual installation "Les Discônes", the performance "Les quatre directions"
and the concert "Rag-Time", whose recorded version saw the light in 2003
with the label In Polysons, the one that served as a basis and inspiration
for this joint performance with Pierre Bastien at Experimentaclub'06.
Pierre Bastien (Paris, 1953), artist with capital letters, John Cage's
follower, is a passionate fan of the universe of Jules Verne's creations.
With a doctorate on 18th century French literature from the Sorbonne University,
he wrote his thesis about the pre-surrealist Raymond Roussel. The literary
influence in his work extends to Dadaism, Alfred Jarry or Raymond Queneau.
Artistically Bastien starts from a simple, but poetic idea: to combine
traditional instruments and mechanical machines of his own invention.
Something that has characterised him since he was only a child. The first
instrument created by Bastien dates from when he was only ten years old:
a two-string guitar constructed with the elements of the toy "Le Petit
Physicien". When he was 15 he elaborates his first machine made up from
a metronome flanked on the right by a cymbal and on the left by a small
Since then and during twenty years Bastien has constructed his own orchestra
(Mecanium), formed by clever musical machinery constructed from meccano
pieces and percussion instruments (drumsticks, bows, etc) that using temporisers
and small electric motors they make musical instruments (percussion, string
and wind) sound in a repetitive manner, as a loop ad infinitum. Hybrid
sculptures, presented as sonorous installations that interpret series
of small hypnotic musical compositions. Over this musical support, Bastien
incorporates melodies with traditional instruments such as the trumpet
or ethnic as the harp-lute dousso'n gouni from Mali, the rubab mandolin
from Uzbekistan or the angklung from Indonesia.
But aside from being an unusual inventor, Pierre Bastien is a musician
and a composer of enormous talent that has written music for string quartets
or ballets. Aside from his solo works, he has always worked with great
artists such as Dominique Bagouet (ballet), Pascal Comelade, Jac Berrocal,
Jaki Liebezeit (Can), Robert Wyatt, Pierrick Sorin or Issey Miyake.
In the nineties, while the mechanic orchestra continued to grow until
reaching the number of 80 elements, the Bastien+Mecanium tandem participated
in music festivals and art exhibitions in Norway (World Music Days, 1990),
Australia (Tisea, 1992), Japan (Artec, 1995), Canada (Fimav, 1995; Sound
Symposium, 1998), Poland (Warsaw Autumn, 1995), USA (Flea Festival, 1996),
Among his many works, records as brilliant as "Mecanium" (1988), "Musiques
Machinales" (1993), "Musiques Paralloïdres" (Lowlands, 1998), "Mecanoid"
(Rephlex, 2001) and the more recent "Sé Verla al Revés" (G3G, 2005), "Téléconcerts"
(Signature, 2005) and "POP" (Rephlex, 2005) need to be highlighted.
Finally, it's necessary to mention the unforgettable performance that
Pierre Bastien offered us at Experimentaclub'02, turning without a doubt
into one of the best moments of the festival: surprising, unique and magical...
Links Grimo: http://perso.wanadoo.fr/grimo/index.html
Links Pierre Bastien: www.pierrebastien.com
Thursday 5th October - 20'30 h - Gramophonia Exp'06 Program
Audiovisual German trio formed in Hamburg in 2002
by Jyrgen Hall, Sebastian Reier and baronesseA, three genuine representatives
of this unique German electronic music that oscillates between the most
radical experimentation and a pop-surreal-dada "attitude" (or something
like that). The city of Hamburg is the main centre of operations: a city
that will enter the history of the freakiest electronic music for having
this crazy microscene of shaken sonorous experimentation created through
characters as unique as Felix Kubin, Günter 'Nova Huta' Reznicek, the
visual artist Mariola Brillowska, Tim Buhre, the members of Augsburger
Tafelconfect or record companies such as Gagarin, Edition Stora or Nneon
The oxidised sonorous turmoil of disarticulated melodies and noises that
shapes Augsburger Tafelconfect's music forms part of the artistic panorama
mentioned before. Their particular rhythms take the audience on a journey
across a very special electroacoustic improvisation where both analogical
and digital electronics mix with noise, concrete music and rhythmical
disintegrations, all very far away from classics.
Jyrgen Hall (laptop, electronics, synthesizer, drum machine, bass) is
known as well for the works he signs as Gunter Adler and for those by
his project Groenland Orchester next to Günter Reznicek. Complementing
the digital swarm provoked by Hall, Sebastian Reier (processed guitar
, drum machine) converts the guitar sound into a permanent
collapse of undistinguishable sounds: scratches, collisions, electric
wails. To summarise, constant oscillations connected over backgrounds
sometimes occupied by atmospheric effects and field recordings. Finally
the process is completed on the live performance with the strong and atmospheric
colour downloads obtained from the visual creations of baronesseA, designer
of the label Nneon (directed by Sebastian Reier).
The debut in their discography of Augsburger Tafelconfect occurred in
2004 with "Fusion In The Slaughterhaus" (CD, Nneon, contains a video track
with the magnetic visuals created by baronesseA). A carousel CD in which
violent passages are followed by microspaces of apparent calmness, high
sounds and backgrounds designed from those ambient recordings mentioned
before. Twelve themes shown as chapters of a nearly cinematographic narrative
in which the visual work creates the final dimension and the sense of
argument unity found on the sounds originated by Hall and Reier. "Franz
Müntefering"'s rhythmic short-circuit, cut abruptly from time to time
by Reier's guitar, "Bahrenfeld Ausradieren"'s obsessive loop or the melodic
subterranean notes submerged under five long minutes of atmospheres and
circular noises that make up "ConfectHymne" (the longest theme in the
CD), are some of the moments that turn this first album by Augsburger
Tafelconfect into one of the most brilliant surprises inside the electronic
experimental panorama of the last years.
Also from 2004 are the CDR (an edition of only 150 copies) "Hamburger
8 e.p." (Ultra Eczema), radiophonic session for Radio Centraal Antwerp
containing four themes recorded live, among them "ConfectHymne" (mentioned
before), and the live single on MP3 format for the netlabel Plakatif.net
including the themes "Glitschko Bros. / Täglich Sechs Tassen Muscheltee".
And in 2005 a new CDR is released with a live radiophonic session recorded
for the Dutch radio: "Radio Worm #58" (CDR, Worm).
Wednesday 4th October - 21'15 h Exp'06 Program
A*Class is one of the multiple projects undertaken
by two of the most subversive and anxious artists of the German electronic
scene: Patric Catani (Candie Hank) and Gina V. D'Orio (50% of Cobra Killer).
Although they had already worked together in an earlier project, EC80R,
both their careers have been unstoppable and also quite different until
they have found each other again in this electro-sabotage-without-compassion
Patric Catani has created Candie Hank (a unipersonal Project in which
surf waves, disco, mutant rock'n'roll, punk and synthesizers moog collide
in an schizoid collage), with which he edited the 12" "Kimouchi" with
the record label of Felix Kubin, Gagarin Records, and the CD "A Fistful
Of Sweets" (Solnze Records, 2005). For this year's autumn he has planned
the release of a new work of Candie Hank: "Groucho Running" (Sonig). He
has also collaborated with other artists such as Gonzales, Angie Reed
Gina V. D'Orio forms part of Cobra Killer next to Annika Line Trost. This
savage and explosive electronic-punk generator duo has published records
as fierce as their debut CD released in 1998 by Digital Hardcore, the
10" "Heavy Rotation" (Monika Enterprise, 2002) or the "76/77" album (Monika
Enterprise, 2004). Aside from the Cobra Killer works, Gina V. D'Orio has
published "Sailor Songs" (CD, Dualplover.com, 2003) and as Like a Tim
+ Gina V. D'Orio "Bass Girl" (CD, Dub Rec/Clone.nl, 2004).
For the moment, as A*Class they've only had time to release the fantastic
EP-CD "Ain't No Future But Our Future" edited by Nneon in 2004. Dadaist
electropop soup served at high speeds in order to incite lecture at 160
bpm, to avoid wasting time doing nothing and to intellectually develop
mind and spirit... although at the end it will be managed by fiesta and
compulsive dancing self-whips on a perversely childish disco..; they are
sadists with premeditation, and there's no doubt about it. All their message
is amplified and served in technominimal pieces with names as emphatic
as the sound that mechanically shapes them: "Let's Read A Book" (definitively
the best of the lot), "I Don't Like The Prom" (eloquent), "Ain't No Teacher
Like Our Teacher" (subnormalising until reaching delirium) and "You Smashed
My Glasses" (no, maybe this is the best...; or no, well, really the best
is to listen to the four themes in succession and experiment on oneself
the secondary effects...). Summarising: discipline, education, learning,
high school… and a provocative vanille sexytechnopunk milkshake flowing
from your ears… right down to your toes.
Thursday 5th October - 21'15 h Exp'06 Program
Jorge Haro (Buenos Aires, 1963), composer, sound
and audiovisual artist, has behind him a long career dedicated to investigation
in the fields of experimental music, audiovisual pieces, digital art and
sound installations. The path he has followed and the quality of his internationally
acclaimed works, place Jorge Haro as the most relevant name of that highly
imaginative experimental electronic music that has found in Argentina
during these last few years one of the most active and interesting scenes.
Until the present date he has edited four CDs: "Fin de siècle" (CD extra,
Fin del mundo, 1999), "Música 200(0)" (CD extra, Fin del mundo, 2001),
"u_2003" (CDR extra + net-disc, Fin del mundo, 2003) and finally "u_xy"
(audio CD, fin del mundo, 2005), a specially outstanding work based on
real time electronic sound construction, done by collecting recordings
made in concerts at different European cities.
Jorge Haro also has musical pieces in different compilations published
in Argentina, Canada, USA, Spain and Poland. He has made audiovisual concerts
and installations at Argentina, Uruguay, Brazil, Peru, USA, Spain, Portugal,
France, Switzerland, Germany, Poland and Holland.
He has composed musical pieces in collaboration with Francisco López/Absolute
Noise Ensamble, Zbigniew Karkowski and Mitchell Akiyama, among other artists.
Besides he has participated in international festivals such as Sonar,
LEM, Observatori, Ertz, Confluencias, Jornadas de Arte Digital (Argentina),
Interfaces_02 (Uruguay), Ares y Pensares (Brazil), 5hype (Brazil), Contacto
(Peru), Sound Site (USA), 5ta. Bienal de Video y Nuevos Medios de Santiago
(Chile), Champ Libre (Canada), Internationale Filmmusik Biennale (Germany),
He is co-director of the site Fin del mundo (www.findelmundo.com.ar) and
the LIMb0 project (Laboratory of Multidisciplinary Investigations buenos
aires ø) (www.limb0.org).
Finally he is professor in courses of Audiovisual Design in the Palermo
University (Buenos Aires) and in courses of Cultural Management and Electronic
Arts in the Tres de Febrero University (Buenos Aires Province).
Friday 6th October - 19'30 h Exp'06 Program
pap a rappper
Pap A Rappper is a duo formed by the Japanese MissHawaii
(Teppei Ozawa, one of the most singular characters of the bizarre electronic
music of labels such as Edition Stora or 19-t Records, with recommended
records such as "Hotel New Hawaii") and E-da (The Boredoms' ex-drummer,
percussion turned into a real firing squad). Together they guide this
crazy vehicle that is devised for live performances, with improvisation
as its method: madness, rhythmic earthquakes, toy electronic, screams,
cacophonic rap, electrofunk, chaos and noise combine inside the ¿pop?
mixer of MissHawaii to turn everything upside-down. From Japanese noise
to the new wave, from no-wave to free-rock. A sonic jungle anchored in
the E-da drums and propelled by the sequences and melodies weakly drawn
by the thousand and one machines that MissHawaii shoots whilst...he howls,
screams and twists...
MissHawaii, as a sonorous concept and artist that leaks out over the character
itself, the already mentioned Teppei Ozawa, as an electronic vehicle of
pop redefinition through microsounds, infected by disco music hangovers,
noise, lounge and minimal techno, is really the result of the more than
ten years of Teppei Ozawa's musical experimentation. Initially as the
drummer of a hardcore group and specially interested in the extreme noise
and its Japanese faction represented by artists such Merzbow and groups
such as The Boredoms. Later on, already centered on electronic manipulations,
what would lead him to associate with the label 19-t Records and to achieve
in parallel with it his electrosubversion manoeuvres marked by his own
personal background and by the use of accessible melodies and 100%pop
influences. Although really, under the varnish of that accessibility,
beats a more toxic product...
MissHawaii has published until now two works with 19-t Records: "Untitled"
(2001) and his brilliant "Hotel New Hawaii" (2003). The first is the result
of five years of thick soup digestion made up of noise, Latin sounds,
country, hardcore and electronic, until obtaining a unique and minimal
synthesis of complex definition. The second is shown already as a multishaped
sound explosion with enough space to play with the lounge-moog in "LastSong",
with the elevator and waiting-room lounge in "Poronno", with the chemical
and melodic pop in "Zen Nature" or the rhythmic collision in "I Want Do".
Seductive bizarrelectronic. In between the publishing of both records,
MissHawaii contributed with a theme ("Pyramid") to the 19-t Records compilation
"Apa" (2002), accurately defined as Nintendo krautrock...
The other component of Pap A Rappper, E-da, percussionist full of imaginative
resorts, ex-drummer since the mid-90s of the legendary The Boredoms (main
activists of the extreme Japanese experimentation with the leadership
of Yamatsuka Eye), who he met thanks to Mark Ibold (Pavement), lives at
present in Brighton (United Kingdom). E-da has also worked with Hilah
(who played the bass with Boredoms) under the name AOA and has been collaborator
for, among others, Damo Suzuki (ex-Can) or CEK, Mark Clifford's project
Links MissHawaii: www.19-t.com/misshawaii
Links The Boredoms: www.boredoms.co.uk
Friday 6th October - 21'15 h Exp'06 Program
Incite/ (Hamburg) is an audiovisual electronic duo formed in 2002 by Kera
Nagel (who also has her own solo project called Axiomatic Integration:
www.a.i.radylon.com) and André Aspelmeier (who also works as GradCom:
Electrominimalism, digital fragmentation and broken rhythms synchronized
with abstract videos of cold and grey environments. The sonorous field
of Incite/ appears from a rhythmic subterranean punch, austere and at
the same time rich in an enormous variety of shades, that acts as a mattress
over which they create a musical spectre (multifrequencies) of wide registers
and tones, served in the form of layers of a minimal character that progress
gradually through loops and patterns that break constantly. All of it
with the additional incentive of the conciseness of their compositions:
not very long themes, schematic and direct to the nervous centre of the
With the release of their last album (split-CDR, Authorised Version, 2005),
shared with the Dutch Staplerfaher, Incite/ have become one of the most
solid proposals of the European microelectronic scene of the last few
years. Before they had already published "Minimal Listening" (CDR self-edited,
2003, all tracks performed live) and a 7" containing the themes "Neop"
/ "Procedure" (Fragmented Media, 2004). Sonorous works that adjusted during
performances to the video images obtain their definite dimension. And
besides Incite/ is a project that has paid since the very beginning a
special attention to performances, making them so intense that it contrasts
with the rational coldness of the sound.
Aside from their work as musicians and videoartists, Incite/ organize
concerts of improvised music in the so-called Audiounit Series (www.audiounit.gradcom.org)
and as part of the Hörbar collective (www.hoerbar-ev.de), meeting point
for musicians and audience of the electronic, electroacoustic and industrial
music scene at Hamburg.
Saturday 7th October - 21'15 h Exp'06 Program
alfredo costa monteiro
The Portuguese Alfredo Costa Monteiro (Oporto, 1964), who has lived since
1992 in Barcelona, has developed a multiple activity based on plastic
arts, sonorous/visual poetry and sound.
Since finishing his studies of Sculpture/Multimedia at the Fine Arts School
(Paris), he has already presented several individual exhibitions (from
"Sobre las Ruinas" in 1995 to "Linia de fuga" in 2005), participating
as well in a wide number of collective exhibitions and being resident
at Hangar (Barcelona, 2001-2003), Astérides (Marseille, 2000) and Batofar
Since 1998, he is a member of 22a, an independent collective for contemporary
art. Besides, since 2001 he belongs as well to IBA Col.lectiu D'improvisació.
In the sonorous poetry field, he usually collaborates with the French
poet Léos Ator, writing and reading during live performances in Portuguese,
French and Spanish. He also has several published works, for example,
"Axiomáticas" (F30km/s, Barcelona, 2005).
Alfredo Costa Monteiro plays the accordion, the electric guitar and the
turntables. Aside from having taken part in Superelvis next to Anki Toner
(until he left), Raimon Aymerich and Meteo Giráldez, he has worked with
many national and international improvisators (musicians or dancers).
He is at the moment member of the following goups: Cremaster (with Ferran
Fages), i treni inerti (with Ruth Barberán), Neumatica (with Pablo Rega)
and Mut (with Pablo Rega, Ferran Fages, Avelino Saavedra and Artur Fernández).
He has published five solo albums: "Rubber Music" (Hazard Records, 1999),
"Les silences de la BnF" (Labofar, 1999), "Paper Music" (Hazard Records,
2001), "Rumeur (for solo accordion)" (Creative Sources, 2004) and "Stylt"
(Absurd, 2005). Besides this he has a large discography shared between
all his different projects. With Cremaster he has edited five works that
go from "Oomfsquawk" (2001) to "32,41 n/m2" (Absurd, 2003). And with i
treni inerti two more CDs: "Ura" (Creative Sources, 2003, with Matt Davis)
and "Aérea" (Creative Sources, 2005).
Another work which needs to be mentioned is "Small Damage Under Appearance"
(Thin Ice, 2002), by the Margarida Garcia / Manuel Mota / Alfredo Costa
Monteiro trio. Also his participation in "Atami" (Taku Unami, Masahiko
Okura, Ruth Barberán, Ferran Fages, Masafumi Ezaki, Alfredo Costa Monteiro;
Hibari Music, 2003), "Atolón" (Ruth Barberán, Ferran Fages, Alfredo Costa
Monteiro; Rossbin, 2004), "Cesura" (Ernesto Rodrigues, Guilherme Rodrigues,
Margarida Garcia, Alfredo Costa Monteiro; Creative Sources, 2004), "Octante"
(Ruth Barberán, Ferran Fages, Margarida Garcia, Alfredo Costa Monteiro;
L'inommable, 2004), "Istmo" (Ruth Barberán, Ferran Fages, Alfredo Costa
Monteiro; Creative Sources, 2005) and "Diafon" (Ernesto Rodrigues, Barry
Weisblat, Alfredo Costa Monteiro; Creative Sources, 2005).
He has also taken part in several compilations from the electropoetry
French label L'Ovni Tendre, among which we can highlight "Doggy Style.
Poèmes électroniques" (L'Ovni Tendre, 2004).
Currently at work is his next edition of "Z=78 (pt:195,09)" (turntables
solo, Audiobot) and "Barcelona" (Cremaster + Mattin, Audiobot).
Friday 6th October - 20'30 h - Gramophonia Exp'06 Program
nista nije nista
Nista Nije Nista is a quartet that comes from Vienna and is formed entirely
by women of diverse nationalities such as Croatia, Australia, Germany
and Austria. Rebecca Harris (Australia; voice), Ute Marie Paul (Germany;
sax), Hemma Pototschnig (Austria; computer and organ) and Natalija Ribovic
(Croatia; voice), all with experience in the artistic field (dance, theatre,
installations, performances), they coincided in Vienna's University on
the year 2000. They rapidly decided to create a performance and experimental
music group. Nista Nije Nista was born with the objective of creating
an ambitious game of counterpoints between sound and language, a construction
full of overlapped layers: atmospheric distortions, tension, sculpted
atmospheres as sonorous weightless sculptures, sensual music fused with
vocal passages, both talking and singing, both in English and in German
(harmonious from Rebecca Harris and abrupt from Natalija Ribovic).
Their encounter with Hans-Joachim Irmler (Faust) will be decisive for
the evolution of Nista Nije Nista. His influence and ideas, apart from
his labour as producer, will mark the personality of this project, in
constant movement between the performance and the strictly musical. During
three years they firmly work with Irmler on sessions and more sessions
previous to the recording of what would finally be their first record:
"Nee Niemals Nicht" (CD, Klangbad, 2004). A complex and thorough creative
process, with a big part as well of studio work, directed in the production
by Irmler, shown as a puzzle that contains diverse artistic shapes. The
international character of Nista Nije Nista is reflected as well in that
hybrid character of their compositions. The technique used to finally
give a compact structure is the collage (in some way the "Faust" method
is present here). Ambient recordings, all kinds of noise, extracts from
sax improvisations and fragments of voice, in between melody and cacophony,
cut and pasted once and another time, overlap one another until the collage
obtains that sonic sculpture character. Everything is constructed step
by step by the whole band, sharing all kinds of sounds and sonorous sources
with the mixture (for example, the sound of a sewing machine). The result
is fascinating, a personal exercise of style that is always capable of
being enriched by new contributions.
Sunday 8th October - 19 h Exp'06 Program
bruno & michel are smiling
An atypical close for an atypical festival… Experimentaclub specialises
on exploring among the least conventional underground in a constant search
for surprising projects, so why not finish Experimentaclub'06 with a live
electrokaraokepunk show served by a couple of absolutely crazy singers/dancers/trash-stars?
So, yes, this will take place when this impossible-name duo, formed by
Oliver Bulas and Charlotte Arnhold (Hamburg again in Experimentaclub)
turn on the electricity of their horror machine and honour us with their
incredible microshow of electronoise trash and howling gameboys.
Bruno & Michel Are Smiling With Skipperrr is above everything a mixer.
Or to be more exact, a shredder. They feed on a thousand references that
include from philosophy and the socialist theory to contemporary music
(Ligeti, Xenakis, Cage...), from Japanese noise to digital hardcore via
the first Atari Teenage Riot, from the Gameboy and videogames to screams
and after-after-afterpunk. After chewing this entire information avalanche,
they vomit through music their electronic/vocal mixture, leaving you exhausted
and at the same time totally addicted to this madness…; served, besides,
with a surprising sense of (anti)performance: poses, costumes and trash
But there's more. Their peculiar crossroad in between, for example, crazy
trash punk in Jason Forrest's style, the extraterrestrial Dadaism like
Felix Kubin and the retro sampling similar to People Like Us, is so personal
and so them that, far from turning them into a mere mixture, makes them
purely unique. Addictive. There's absolutely no doubt that they are special.
Very. To start with, they themselves consider their music as a pure contradiction:
on one hand they have spontaneity, gut reactions and improvisation; on
the other, the abstraction exposed on their mathematical composition techniques
via laptop, the same that provide as a result a complex collage of extracted
samples (from where? impossible to know for sure), abrupt and extreme
changes of rhythm in collision (mutant hardcore vs. childhood melodies
vs. technotronic loops) and all the artillery of noises that one can imagine.
All this mixture gets even more complicated by the fact that this duet
is really formed by two unipersonal projects: Bruno & Michel Are Smiling
(Oliver Bulas) and Skipperrr (Charlotte Arnhold).
The sonorous chronic of Bruno & Michel Are Smiling starts in 2002 with
his participation in the CD sampler "Nanoloop 1.0" (Disco-Bruit), a compilation
formed by material exclusively created in the Game Boy with Nanoloop (synthesizer
/ sequencer developed for the Game Boy), with the participation among
others of Merzbow, Felix Kubin, AGF/Delay, Dat Politics, Pita, Pyrolator,
etc. On this same year he includes the track "Oh, Look At All These Lovely
Colorful Bubbles" in the 12" "Bio(Me)Tricks" (v.a., Sozialistischer Plattenbau).
Already in 2003, now as Bruno & Michel Are Smiling With Skipper, they
include the theme "Faith" in the double 7" EP "$kill$ Music" (2003, v.a.,
Sozialistischer Plattenbau). "Faith" is a 2 minute chaos full of the best
ingredients of the couple: screams, howls and shouting, indiscriminate
sampling, electrobeat, several varied distortions and madness without
Also in 2003 "Living-Room Music" is released, a 3" miniCD self-edited
by Bruno & Michel Are Smiling, compiling material from between the year
1998 to the 2002: 14 microthemes in total combining pieces (electrodadapunk)
and interludes (sampling delirium).
As Bruno & Michel Are Smiling With Skipperrr they are included in 2005
in the compilation "Tsunbosajiki" published by the Japanese Renda Records.
And this year 2006 they enter the music panorama dressed as Fred Astaire
and Ginger Rogers in the cover of their new exquisitively wild record,
the 7" EP "The Beach Of Ruined Spirits" (Adaadat), with three new epileptic
themes, close to the nintendoapocalypse. "The Beach Of Ruined Spirits",
"How Do You Want To Pay For A Weekend Of Truth On The Countryside" and
"The Great Millipede" are the three poisonous pills that make up the record
and which will be on an electrocuting live karaoke at the Experimentaclub'06
Sunday 8th october - 22'15 h Exp'06 Program
peeesseye is a trio from Brooklyn (New York)
formed by Jaime Fennelly (electronics), Chris Forsyth (guitar) and Fritz
Welch (drums, percussion and objects). Its music, electroacoustic as regards
the media used, is executed (in the literal sense of the word) from a
radical personal attitude, breaking preconceived schemes to finish connecting
in some way with the roughest and more experimental passages of no-wave.
Bursting in a spiralling noise catharsis, hermetic and covering, sometimes
similar to a static electricity mattress and others hammering in as a
punch of extreme violence.
The three peeesseye's members have always been covered in multitude
of parallel projects. The electronicist Jaime Fennelly has worked with
Nicolas Field, Chris Heenan, Sean Meehan or Chris Peck. Chris Forsyth,
guitarist whose work has always been directed towards the exploration
of the limits and the uses of sound as a musical element and of the guitar
as a generator appliance, has kept a long collaboration with Ernesto Diaz-Infante
(with who he has published several records), Chris Heenan (with who he
works in duet format), the Phantom Limb & Bison quartet (where Fennelly
is also present) and the collective All Time Present. Finally, Fritz Welch
gallops between the sonic and visual fields, working on sound installations,
performances, live improvisations, etc, both in the United States and
The first record of peeesseye was edited in 2003: "The ___ who
had begun his career as a useful ___ of the ___ court later became the
___ of ___ and the ___ of ___." (CD, Evolving Ear). An "impossible" title
for an impetuous freely-personal electroacoustic session. Already in 2004
they edited "Black American Flag", second CD, published as all their work
through the Evolving Ear label, where the instruments appear to act as
ultrasharp scalpels that cut the static microsounds with accurate blows,
noise earthquakes of the highest intensity.
After publishing the single "Golden Showers / Catastrophe Of The Infinite
Regress" (7", 2004), peeesseye edit halfway through the year 2005
a new CD: "Artificially Retarded Soul Care Operators". Both live and studio
recorded, this is its most definite treaty about the encounter of the
silence's voluptuousity, the static tension and the improvised fury. Eight
themes and fifty minutes of sonic expressionism that in long pieces such
as "We Broke The Sun" reach their maximum emphasise. A so "excessive"
work that in some way marks a new start in the group's evolution. Something
very visible in their next album, recorded live in October 2005 and finally
edited in February 2006. We are talking about "oo-ee-oo (burnt offering)"
(Evolving Ear), one surprising theme that lasts 31 minutes, improvised,
and with which the trio offers a formal change of their sound (instrumentally
reconverted here into a harmonium, a not-amplified guitar, percussion
and voice) that with ceremonial progression produces much more devastating
tension effects than those that inhabited their earlier records. A bridge-work
waiting for what will be their new album, "Commuting Between The Surface
& The Underworld" (Evolving Ear), whose edition is announced for this
2006 September coinciding with the presentation of peeesseye at
Sunday 8th October - 20 h Exp'06 Program
William Bennett is twice present at Experimentaclub'06, not only live
performing with Whitehouse but also making one of those esoteric-style
sessions (as he himself describes them) that he regularly does as a DJ.
Whitehouse's founder and extreme electronic music pioneer, Bennett changes
in his facet as DJ to mix without any problem Wendy Carlos with Yoko Ono,
Esplendor Geométrico with Michel Polnareff or Current 93 with the Russian
Red Army Choir.
Friday 6th October - DJ - 19 to 22 h
The Portuguese Tra$h Converters (Miguel Sá and Fernando Fadigas) represent
the playful and more effervescent facet of the record label Variz, of
which both of them are in charge.
In their transformation to DJs behind this eloquent name Tra$h Converters,
Sá and Fadigas turn their sessions into rubbish shredders, unstoppable
manoeuvres of electrobeat-coded recycling... with some constant space
for surprising with the unusual and with the moments of retro archaeology.
DJ sets where their proposal of electro-noise-techno-pop-acid-house gives
place to DJ battles between sale-pop pills and minimal techno and sexy
beat shots... impossible to stand still...
Their sessions are frequent at Lisbon, Leiria and Oporto and they have
also participated in international festivals such as Hertzoscópio, Cosmopolis,
SuperStereo Demonstration, Finnfest, Blue Spot, Boom, Experimenta Design,
Belfast Festival at Queens, etc.
Sunday 8th October - DJs - 20'15 h Exp'06 Program
Oriol Rossell (Barcelona, 1972) is a musician, journalist and independent
music programmer. In his facet as critic, nowadays he shares his time
among the magazines Ruta 66 and Trax, the journal La Vanguardia and his
collaborations for RNE-Ràdio 4. Earlier on he worked for Rock de Lux,
Factory or Voice, to name some of them. He has also been responsible of
the magazine Hz, a publication specialized in experimental music with
unforgettable articles about Japanese noise or about extreme sounds.
Aside from his work as DJ, with sessions in Madrid at clubs such as Radar,
Oriol Rossell is also a composer, having collaborated on these last times
on contemporary dancing and theatre spectacles for companies such as Teatre
Lliure, Àngels Margarit/Mudances, Ballet Gulbenkian and Derivat (www.derivat.org).
As commissary, he participates in the preparation of the programs of festivals
as important as Sonar and Offf.
In Experimentaclub'06 Oriol Rossell will prologuize Whitehouse's live
act with a devastating punk session (pre1980), without neither concessions
nor artys alibis...
Saturday 7th October - DJ - 19 to 22 h
Jesús Brotons defined, analysed and X-rayed by himself:
During a strange display of sincerity, Jesús Brotons (San Sebastián,
1971) defined himself on a certain occasion as "a non-recommendable fellow".
According to those who know him, he continues being one. We are talking
about a smoking and carnivorous individual, who knows nothing about football
and rarely watches the television; who likes to listen (and create!) at
untimely hours to music that has nothing in common with what the majority
understands as such; he hoards records and, what is worse, he writes his
own impressions on several publications.
The first signs of his doubtful moral came with the formation during the
mid-nineties of Honcho, electronic duo that, according to the magazine
Rock de Lux, "reminds us of the Residents and DAF". Three cassettes later,
Honcho will be transformed into Popular 66. Three more cassettes, several
performances (Sonar, LEM, G3G) and the end. Already as a soloist, Brotons
works both as a musical journalist (Self, Dinamo, Transversal, Ruta 66,
Rock & Clàssic, Rock Sound / Rock Zone, Very Metal, etc) and as a musician
with a sonorous production in progression, a constant delirium under the
name Música Veneno: five CDs until now, cooked by himself and which, thanks
to Hazard Records (Barcelona), are available by mail and also as files
that can be downloaded for free from the internet. Camouflaged behind
the Musica Veneno screen, Brotons gives free rein to his permanent influences
(Residents, Faust, Negativland, Superelvis...), and his presence has been
tolerated, sometimes even applauded, at festivals such as LEM, BAM and
Zeppelin from Barcelona and the Freestyle from Terrassa, plus at different
spaces of Barcelona's area such as Sidecar, CCCB and Teatreneu.
If this wasn't enough, lately Brotons is also a member of Sons Of Bronson,
a noise group that mixes through the sampler the Japanese style of noise,
the guttural spasms of the death metal, seventies rock'n'roll and the
squeaks and buzzes of the craziest experimental music. Sons Of Bronson
have performed several times, edited one CD and a half and conspired to
make Barcelona a less modern, affected and correct place.
Thursday 5th October - DJ - 19 to 22 h
lost in heaven
Lost In Heaven is a secret organization that plays with the codes of communication
and language. Its objective is to creep into your ordinary world, your
mind, your fantasies and your dreams to take you away from the world of
common places and to install ghosts at your different perception levels.
Although you never see them, they only want you to be very happy.
The only known contact, for the moment, is an individual named Javier
The Anglo-Saxon press has called killing celebs, to the different
terrorist actions that have started to occur against the world of the
celebrities. The attacks take place with an absolute precision, they demonstrate
a total lack of empathy towards the victims and they don't appear to follow
any logical relation between them. It is a blurred authorship.
Lost In Heaven's session will collect aspects from the biological, mental
and imaginary landscape, both from collective environments and from particular
individuals, during the months before the killing celebs explodes
a phenomenon that will transform the worlds of communication and our relationship
with images. It is a sonic science-fiction real-life experiment.
Javier Montero is a conceptual artist and a writer. Nowadays, at the same
time as he works in a new novel which he is about to finish, he does many
experimentations, both visible and invisible.
Wednesday 4th October - DJ - 19 to 22 h
With her own words, her raw biography:
On the summer of the year 2006 I'm 31 years old and I'm still little.
When I was a little girl I played journalism with my friends and with my
family I played giving conferences. But, when I was alone, I entertained
myself with non-confessable games. Amongst them, the imitations in front
of the mirror of my most admired personages. In a chronological order, as
far as my memory can remember and until now I've believed myself to be:
Olivia Newton-John, Katherine Hepburn, Alaska, Lydia Lunch, Siouxsie and
As an adolescent I still believed that -aside from my fantasies- the only
world that existed was that of the television news and the only music the
one of the radio Los 40. When I was 15, I discovered the independent free
radios and everything changed. When I was 17, I already had my own radio
program and Joy Division had become my favourite group. (With permission
of Depeche Mode, my head group).
Since then, I've made and collaborated in fanzines, journals, magazines
and televisions. I've directed two magazines (Fiber and Trama). I've worked
in festivals (Festimad, FIB and Experimentaclub). I've formed a record company
(Autoreverse) and a concert promoter (Music Non-Stop). I've had a group
of ephemeral success (Sukiyaki). I've written stories, plenty of articles
and interviews and two musical monographies (one of them of Depeche Mode).
I am a DJ since 1999, since the moment they let me grab some turntables
in Barcelona. Between 1999 and 2000 I assaulted clubs of the city with solo
performances: Hanging Elena (Mond Bar, Olivia/Benidorm…) or in a trio with
Las Perras (Mond Bar, Mond Club…) waking up the sexuality of the indies
with German techno, eighties techno-pop revival, synth-pop, cold-wave, euro-pop,
In Madrid the scandal continued with sessions at La Palmera, Nasti, Barbarella,
Tupperware, Luke Soy Tu Padre and Transmission. Sets with the coldness of
the sexy capable of walking from the isolationism to the EBM...
If you are wondering what I'm going to do for Experimentaclub'06 I'll tell
you that I can't satisfy your curiosity completely but only that I wish
to create an atmosphere that won't please the majority, that will provoke
curiosity, indignation and emotion. Some will dance with the light of the
first hour of the afternoon, others will move as rushes, others will walk
by and raise their head. The electronic will be the mattress of the driving
thread ruled by the mystery and the darkness of the songs. More passages
than landscapes will be narrated and tributes will take place as the closure
day of this very special festival deserves.
Sunday 8th October - DJ - 18 h Exp'06 Program
Rafaël (film director, videoartist, photographer, videojockey), lived
in Belgium until a few months ago when he decided to move to Madrid. He
works with elements from his daily environment to develop his very personal
visual language. Photographic and video images are captured, processed
and transformed in rhythmic sequences, all of it done under the view of
the experimental photographer, differing him from the usual VJ stereotypes,
and using humour as a definitive element in his visual universe.
In between 1993 and 2002, Rafaël created a great variety of photographic
series and installations to after center himself in the videocreation
field. His first short film was "Morning Storm" (2002). Since then he
has done "Denis" (2003, short film + installation), "Le rêve de Baptiste"
(2003), "The Witch" (2004), "El hijo & el libro" (2004), "Cricket" (2005,
short film + installation) and "1+1=3" (2006).
His works have been exhibited at the ICA (Institute For Contemporary Arts)
in London and at many international festivals such as the International
Film Festival of Rotterdam, Avit UK (United Kingdom), Outvideo (Russia),
Green Film Festival (Seoul, Korea), Vidéoformes (France), Bochumer Videofestival
As a VJ he has worked next to musicians and DJs such as Adam Butler (Vert),
DJ Elephant Power, Something J, Duplo Remote, etc.
In Experimentaclub'06 Rafaël will make two sessions, accompanied by Tektun
on the first one (4th of October, Lost In Heaven in charge of the audio).
Wednesday 4th (+ Tektun) and Friday 6th October
- Visuals - 19 to 22 h Exp'06 Program
Tektun Visual (Kuko Sáinz) is a creative station used for the development
of actions connected with images, visual installations and live processing
and manipulating video sessions (videoplayers). His visuals have shared
stage with artists such as Plastikman and he has done sessions at the
Sonar, Estación Futura, Avit (Birmingham), Bruselas, Eólica (Tenerife),
Madrid REC, etc. At present he codirects REC next to Nak, he designs and
makes the visual coordination for Magma Tenerife, he is responsible of
the visual installation and commissary of Eólica (Tenerife) and visual
coordinator of Electrosonic (Burgos).
His last installation "Electro Natura" is a coexistence exercise between
electronic and nature.
Wednesday 4th october (+ Rafaël) - Visuals
- 19 to 22 h Exp'06 Program
Fernando Martín de la Hoz
Iván Gómez-España (Madrid, 1979) returns to Experimentaclub
after surprising everyone with his imaginative and extremely personal
visual creations, in the past 2005 edition.
Iván Gómez-España has deepened his work in the area of audiovisual languages
through different means that go from photography to video up to sound.
Under this multidisciplinary education he has developed several projects
where video and interactivity merge with the space and time they illustrate.
This interest in real time processes guided him to the creation of videos
during his live performances to which he applies different multimedia
tools developed by himself, and which he can use to elaborate new techniques
when showing an image with movement.
His work has been shown internationally in Munich, Kiel, Cologne, Helsinki
and New York and at a national level, in Madrid and Barcelona.
As in all his works, on this occasion reality and fiction combine to describe
an inner tempo where references, experiences and knowledge with an ambiguous
symbolism will be collected, offering stories made up of the contrast
Thursday 5th and Saturday 7th October - Visuals
- 19 to 22 h Exp'06 Program
The multimedia artist Nikky Schiller (Madrid) returns to Experimentaclub
to visually close, as she already did in the 2004 edition, the festival's
last day with her particular sexelectropop cocktail...
Nikky Schiller has experimented with the quicktime since her first laptop.
Pioneer of the DV home-made culture, of the low-cost eroticism and the
Spanish post cyberpunk, her particular view of the electronic post techno
culture has guided her career. She isn't interested neither in infography
nor in flash. She combines video and photographic animation. Her electronic
images combine with the music in a synchronized rhythm. Form and content
mix, expressing an uncomfortable, but plastic attitude.
After a long career creating live visual backgrounds, she has participated
in varied events (museums, discos, specialised fairs and art galleries).
As a VJ she has performed for techno clubs sharing session with DJs of
acknowledged international prestige, such as Luke Slater, Green Velvet,
Max (Tresor), Pacow and in the national scene with Hd Substance, Leandro
Gámez, Pilas, Xpansul, Mendoza, Elesbaan, Muerto, Pelacha, etc. She has
taken part in festivals and events, as the Festival de Cortos de Majadahonda,
Festival de Arte Electrónico de Cáceres, Festival de Cine de Sevilla,
Experimentaclub'04, Festival Decibelio...
She has done visual montages for Big Toxic with his last drum&bass CD
"Moneyland", Fangoria, César Saldivar, etc. She has also worked with publicity,
short movies, video installations...; this has enabled her to be in contact
with the world of images from different perspectives.
Regarding the videoart format, her career started at the Festival Pronóstica,
whose commissary is Pistolo. The opposition of the conscious pathological
diary of the human being and its unconscious destroyer marks a more philosophical
line as regards the human behaviour that she herself defines as totally
She has had fun in front of the camera by participating in gore films,
"Beneath Still Waters" (Brian Yuzna), "Segundo Episodio" (the Bogliano
She occupies the rest of her time by producing live visuals and music
videos for Dirty Princess, exposed in contemporary art festivals such
as "Festival Standard", "PhotoNY".
Sunday 8th October - Visuals - from 19 h
festival minúsculo <tiny festival>
The Tiny Festival is a microfestival dedicated
to the small and intimate formats with irony and delicacy as the predominant
notes, proposing a series of improvised musical miniatures in which in
this second edition video will be used as a new element.
As in the earlier edition, the aim is to reduce the distance between the
audience and the musician, recovering the ability to interpret gestures
thanks to the proximity. To make each concert a complicity space of singular
dimensions, each improvisation will last between 5 and 15 minutes and
will be limited to a maximum of six spectators that will listen to the
performance with earphones.
The novelty of this second edition of the Tiny Festival is in the introduction
of a third element in this intimate meeting: short-duration videos will
serve as a reference to the improvisation and will control the role of
the improvisator. Each improvisation will have the same duration as each
video. At the same time as the spectator, the improvisator will discover
the images and will associate his music to the fluidity of these. The
image will be used in that way as the improvisation witness.
Besides, if the image stands out over the improvisation, a symmetric compulsion
will be produced as each of these videos is dedicated to improvisation.
Each video is an omission's plot -a protovideo- that will complete the
Wednesday 4th to Saturday 7th October - 20 to 21'30
Concept and Program: Lionel Stora (L'Ovni Tendre)
- Coordination: Pablo Rega.
Guitarist and electronic musician. He has participated in theatre projects
both as musician and as performer in companies such as La Danaus (street
theatre, León), Chévere (Santiago de Compostela) or Sociedad Dr. Alonso
(theatre-dancing, Barcelona). He formed the music-theatre group Kozmic
Muffin making diverse records and performances: "Construcción de un tinglado
desmontable" (2000), "Pretérito" (2001).
He centers his activity in improvised music, being member of the collective
Música Libre of Madrid and the orchestra FOCO, he has participated in
many concerts with Peter Kowald, Le Quan Ninh, Günter Heinz, Butch Morris,
etc. With the sonorous experimentation group Parto (Luis A. Rodriguez
and Patxi Valera) he makes in 2001 the piece for balloons and metronomes
in the Laboratorio de Electroacústica de Cuenca, in the electroacoustic
sessions directed by Gabriel Brncic. He also works in diverse projects
next to Iñaki Ríos and Nilo Gallego (Trío Merendilla), with Nilo Gallego
(Piensan los pies), with Markus Breuss and Nilo Gallego (Dexidrina 32)
and with Fernando Oyaguez.
Besides this, Pablo Rega has collaborated with Chus Domínguez and Enrique
Otero in audiovisual projects. Also with the sculptor Oscar de Paz in
He lives at present in Barcelona and he works in different improvised
music projects such as MUT (noise quintet with Alfredo Costa Monteiro,
Ferran Fages, Avelino Saavedra and Artur Fernández) and Neumatica (electroacoustic
duet with Alfredo Costa Monteiro). He has participated in the festival
Hurta Cordel 2006 (Madrid) and coordinated as well the Festival Minúsculo
for Experimentaclub'05 and this year's edition (Madrid). He also takes
part in other activities such as listening and sonorous landscape studios
for children or in his personal projects of electroacoustic, making sonorous
devices and installations.
Wednesday 4th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <sound> Exp'06 Program
riccardo massari spiritini
Riccardo Massari Spiritini (Verona, 1966; at present living in Barcelona)
is composer, sound artist and performer. His work is connected to a continuous
transformation and is always related to the other arts: poetry, theatre,
movement-dancing, space-architecture and video-image.
Among his most recent activities we can highlight the multimedia work
"Tiro al Fantoccio" (2004: performance, electronic, piano and video, created
with the collaboration of Oriol Vilapuig and Mim Juncá) and "Escalarpa"
(2004): both sound installation and musical instrument simultaneously,
formed by a series of metallic strings stretched across the space provided
by a staircase, with each string amplified by a microphone and processing
the sound with a computer; inside this installation/instrument one can
walk, touch, compose...
In the strictly sonorous field, Spiritini uses for his compositions and
improvisations electronic elements, turntables, theremin, computer...
He has performed with artists such as Andrea Centazzo, Zeno de Rossi,
Butch Morris, Steve Heather, Peter Horowiz, Anne la Berge, Richard Barret,
Cor Fuhler, Myra Melford, Daní Kouiaté, Zeena Parkins, Luisiana Red, Cleo
Palacio, Marko Ciciliani, Xu Fengxia, Christaan de Jong, Harry Sparnaay,
Wiek Hijmans, Luc Houtkamp, Gert-Jan Prins and many others.
Thursday 5th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <sound> Exp'06 Program
Ingar Zach, Norwegian improvisator and percussionist,
creator in 2000 of the label SOFA next to the guitarist Ivar Grydeland.
As percussionist, Zach is known specially for the varied sonorous scale
that he manages and for his style, both dynamic and energic. He uses home-made
percussion, gongs, objects, etc. Dedicated to improvised and contemporary
music, he is member of projects such as Ingar Zach/Ivar Grydeland Duo
or Muta (with the British Rhodri Davies and the Italian Alessandra Rombolá).
He has worked with other musicians and composers such as Derek Bailey,
Jim O'Rourke, Barry Guy, Evan Parker, Kevin Drumm, Thomas Lehn, Jaap Blonk,
Mats Gustafsson, Phil Minton, Wade Matthews, etc.
During his career, Ingar Zach has participated, either actively or as
a collaborator, in the recording of more than 30 records, including his
solo debut album: "Percussion Music" (SOFA, 2004).
Friday 6th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <sound> Exp'06 Program
The North American composer and improvisator Wade Matthews (winds, electroacoustic
elements), lives in Madrid since 1989, he is Doctor in Musical Arts by
the Columbia University of New York, where he wrote a thesis about the
musical improvisation guided by electronic sounds. It is in the field
of electroacoustic where Matthews finds the pleasure of directly working
with noise as an expressive material. In the same way as through free
improvisation he discovers the freedom that allows him to assume the responsibility
and the necessary compromise to elaborate such a personal music open to
collaborations with other musicians and other arts, as dancing, poetry
Once he was installed in Madrid he centered particularly on free improvisation.
Towards the end of the 80s Matthews (wind) creates the trio Zyklus (name
borrowed from a work by Stockhausen) with the double bass player Baldo
Martínez and the drummer and percussionist Pedro López. In 1990 they record
a first album with the title "Interface", fusing in it jazz and improvised
music with elecroacoustic elements.
He has done plenty of concerts both solo (London, Madrid, Barcelona, New
York, Berlin, Tenerife, Palma de Mallorca, etc) and with his different
groups, including among these his duets with the British violin-player
Phil Durrant, with whom he has performed in London and Madrid, the Spanish
dancer Elena Alonso, with whom he has performed in Berlin, Madrid, Santiago
de Compostela and Girona; and the North American flute-player Jane Rigler.
He has also worked sometimes with European improvisators like Burkhard
Beins, Michael Renkel and Peter Kowald (Germany), John Butcher, John Edwards
or Steve Noble (United Kingdom), Butch Morris (USA), Agustí Fernández
(Spain), etc. And also with plastic artists such as Eva Lootz, Manolo
Quejido or Evaristo Bellotti.
Wade Matthews has taken part in several festivals such as Experimental
Intermedia Foundation (New York), Musique et Quotidien Sonore (Albi, France),
Drodessera (Italy), Experimentaclub'02, Hurta Cordel, Puntos de Encuentro,
La Alternativa and Madrid en Danza/Espacios Insólitos (Madrid), Nuevas
Propuestas Sonoras (Huelva, Spain), Grec, Improvisa and Música Experimental
en Metronom (Barcelona), Actual (Logroño, Spain), Música Española del
Siglo XX (León, Spain), Ressò (Palma de Mallorca, Spain), Música Trece
(Girona, Spain) or Em Pe de Pedra (Santiago de Compostela, Spain). He
has also performed in cycles of concerts such as K-77 and Loplop (Berlin),
London Musician's Collective, Moppomosso and Civilization West (London),
La Flibuste (Toulouse), Gràcia Territori Sonor, I.B.A. and Transformadors
(Barcelona), Paralelo Madrid and Música en Cruce (Madrid)...
Matthews has recorded many sessions for the BBC in his studio at London;
for the ORTF/France Culture in Paris and for the RTVE and RNE in Madrid.
Besides, he has also published two albums with Zyklus, one with his duet
Fases (with Pedro López, 1997) and some recordings with Butch Morris,
Steve Noble, Markus Breuss, the Symphonic Orchestra of Madrid and others.
Saturday 7th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <sound> Exp'06 Program
Fernando Martín de la Hoz
Ruth Barberán (Barcelona, 1966), audiovisual artist,
combines her sonorous works (using trumpet and amplified objects) with
those in the videocreation area. She started to centre her work in the
free improvisation since her integration in 1999 in the IBA collective
of Barcelona. At present she has two stable groups inside this field:
i treni inerti (with Alfredo Costa Monteiro) and a trio with Ferran Fages
and Alfredo Costa Monteiro. Besides this she collaborates frequently with
other musicians such as Pablo Rega, Dorothee Schmitz, Guillermo Torres
and Margarida García.
Ruth Barberán has participated in a great number of national and international
festivals. She has also performed in the Tiny Festival of Barcelona in
2004, amplifying with contact microphones different objects (cardboard,
wood, metal, bass strings, etc), and also in the Tiny Festival of the
last Experimentaclub'05. Now in this 2006 she contributes with the making
of a video piece from which the musician Pablo Rega will develop his sonorous
Wednesday 4th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <video> Exp'06 Program
elois s. +
Elois S. (France): anonymous in society (also known
as Léos Ator in his electropoetic facet or as Lionel Stora). Mainly he
uses the support of audio like tools for his poetic/sonic work with a
(dis)articulation of the relation text-sound by obstruction and (de)construction
of modules, loops, etc. To the way of sonorous Lego. Through the label
L'Ovni Tendre, he has published several works of electropoetry like "Doggy
Style" (2005). Also he is "inventor" of new sonorous and visual formats
like this Tiny Festival, presented with great success in Madrid in the
past Experimentaclub'05 and now growing with the incorporation of video
as a new creative element.
Nicolas Ferrier: born in Toulon (France) in 1969, studies philosophy and
receives theatre formation in Paris during 3 years. He fills the stage
with Beckett, Olivier Py and he adapts Corneille before starting a cycle
of sonorous and video work with Elois S. (mythogramme 1 and 2). During
several years he works as set assistant with other French artists for
shows and installations in France and in other countries. At present he
is writing a French literature thesis, centered in the relationships between
the theatre and the situationists. And besides he is occupied with a photographic
and sonorous work that tries to give representations which are sensitive
with ethical concepts elaborated from the history of philosophy.
Thursday 5th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <video> Exp'06 Program
Olivier Zol (Marseille, France) is a sonorous and visual artist besides
the main responsible for the Bourbaki label (www.bourbaki-rec.com), created
in 1999 and specialized on sonorous poetry.
Parallel to his CD editions, Zol works as well as a visual artist and
he makes video and sonorous poetry performances. As a sonorous artist
his works move around the fields of improvisation and minimalism. His
productions show a series of intimate passages. The cinema is one of his
biggest influences. In his works he plays with environments and resonances
more than with what is merely figurative. He has collaborated, both in
records and in performances, with artists such as Alfredo Costa Monteiro,
Emmanuelle Grangier, Léos Ator, Nico Dick, Jm Montera, Mr K, M2, Thierry
Payet, Meyhiel, Danton Eeprom, Stuart Wyatt, Sylvie Aujas, Takeshi Sato,
etc... He has also taken part in many international festivals and he has
published CDs such as "Do You Love The Church?" (Bourbaki, 2000) or "L'Homme
Canon" (Bourbaki, 2002).
In the Tiny Festival of Experimentaclub'06, Zol will show fragments of
his videos "Nuages/Larsen" (2005, visual centered on the light with fixed
shots of skies and clouds) and "JUXT" (2005, centered on the sonorous
correspendence between light and darkness).
Friday 6th October - 20 to 21'30 h - Festival
Minúsculo <Tiny Festival> <video> Exp'06 Program
Adolf Alcañiz (Barcelona), creator and videoartist
of conceptual tendency.
He has worked in live visual creations next to musicians such as the flute
player Barbara Held (Northamerican who lives in Barcelona with who he
has worked on several occasions). Also in sonorous installations such
as "Canten les pedres" (2001), next to Matthew Davis (trumpet), Barbara
Held (flute), Àngel Pereira (percussion) and Anne Wellmer (voice).
In the videopoetry field Adolf Alcañiz has created pieces such as "S'intitula
títol" (1998), with text and voice by Carles Hac Mor, included in the
CDR "Paraparèmies, Desplaçaments, Cosificacions" (1999) by Alcañiz, Hac
Mor, Barbara Held and Ester Xargay.
Saturday 7th october
- 20 to 21'30 h - Festival Minúsculo <Tiny Festival> <video>
ideas <ideas - conversations
about musical alternatives>
Interchange of ideas and discussion forum divided
into four thematic chats around musical matters linked, this year, to
the field of the possible uses of the music and the recording. With the
participation of musicians, journalists, etc.
Wednesday 4th to Saturday 7th October - 18 to 19
Concept and Coordination: Anki Toner.
Wednesday 4th October - 18 to 19 h - Ideas
RECORDED MUSIC - How recording affects the music
Since Edison invented the gramophone in 1877, fixing and materialising
the sound, the recording has had secondary effects on the music. The composition,
interpretation and even the improvisation have been affected by the recording
phenomenon. Three musicians will explain to us the difference between
the music and the recorded music.
Thursday 5th October - 18 to 19 h - Ideas
MISEXPLAINED MUSIC - The critics, criticised
Three musicians give their opinion about the musical
critics, moderated by a considered critic. They will not only search for
easy morbid pleasure (if musical critics have a use or if the critics
know what they are writing about) but they will also analyse how the critics
have affected, both positive and negatively, their careers.
Friday 6th October - 18 to 19 h - Ideas
APPLIED MUSIC - Sonorous contributions and peripheral
uses of the music
Frequently we consider the creator (in this particular case, the musician)
as an artist locked in his own ivory tower, only answering to his own
inspiration. However, usually the inspiration presents itself in the form
of a collaboration, a contribution to the work of others, even pure and
simple assignments for others. Of this we will talk with musicians that
have made remixes, soundtracks and/or collaborations with other arts.
Saturday 7th October - 18 to 19 h - Ideas
MATERIALIZED MUSIC - How recording affects the listening
We retake the theme of the first day, but from a
different angle. Since Edison invented the gramophone in 1877, fixing
and materialising the sound, the recording has had secondary effects not
only on the music, but also on its perception (and also, logically, on
its consumption). Three persons, who aren't musicians, but are music fanatics
will explain their relationship with the recorded music.
Mummy, why do all records sound differently
if they all seem the same?
It isn't true that all records seem the same. During history there
have been records of different sizes, shapes and colours. Really there
have been records of all thinkable sizes, shapes and colours. Some formats
have been so unusual, so extraordinary, that one could say that it is
impossible that they can be played. But there has always been someone
ready to try it. (And, naturally, we could say the same thing for the
At a time where the dominant format (the mp3 file) has no physical presence,
we propose a playful journey to some of the craziest formats that have
contained or reproduced sound.
Wednesday 4th to Saturday 7th October - from 20'15
h - Gramophonia
Exhibition Commissary: Anki Toner.
|| Web design: TagMagic (Esther Berdión / Jaime Munárriz)