At les Ateliers Claus on 14th March 2012



Tashi Wada wrote ‘Revenant‘, a piece for Virginals and electromagnets in 2011 for Stephan’s ‘Virginals’ project which connects the sound of early instruments, the application of historical media in the context of composing and performing contemporary music, as well as the act of paraphrasing a written score. For this occasion Wada and Mathieu will present for the first time a duo version adding a second voice played on ebowed Phonoharp, a table top zither from the late 1800s.

STEPHAN MATHIEU is a self taught composer and performer of his own music, working in the fields of electroacoustics and abstract digitala. His sound is largely based on early instruments, environmental sound and obsolete media, which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution; it has been compared to the landscape paintings of Caspar David Friedrich, the work of Colorfield artists Mark Rothko, Barnett Newman and Ellsworth Kelly.  During the last decade Mathieu’s music has been released on 30 CDs and vinyl records. Apart from refining his solo work, he currently collaborates with Sylvain Chauveau, Robert Hampson/Main, Taylor Deupree, Jozef van Wissem and David Sylvian in live and studio projects. He’s also a devote collector of 78rpm records from the 1910s and 20s, the era of acoustic and early electronic audio recording. 

TASHI WADA is a composer and performer based in San Francisco. His recent work focuses on sound perception as a basis for direct listening experiences. Wada’s music can be hypnotic, inviting the kind of contemplation that is too often reserved for quasi-religious experiences. But it also has a certain dryness that brings you into the present rather than pushing you away from it. Wada’s work has been performed throughout the United States and Europe, and for several years now he has performed alongside his father Yoshi Wada. « To make an exact reference point Tony Conrad’s Fantastic Glissando matches similar aesthetic and conceptual moves. This may be an easy comparison due to both pieces utilizing the distinct sound of the violin, but beyond mere instrumentation each hold at their core slowly gliding pitch’s and perceptional experiments. But unlike Conrad’s abrasive pre-noise take Wada brings a more accessible and dare I say engaging take to such concepts. »

JASON VAN GULICK / A self-taught drummer who has travelled far from the beaten path, arrived in Brusels in 2009. From his origins in rock and HxC, he now finds has way evolving towards improvisation and experimentation with his drum kit and percussion elements.  Drummer for Carla BOZULICH /EVANGELISTA for a number of European tours, he now collaborates in Belgium with the project YERMO (with Yannick FRANK and Xavier DUBOIS), the group MUEROS, the project SHEEP THONG OF MAYATHANS with Phil MAGGI (idiosincratics), Aymeric DE TAPOL and Frederic ALSTADT, the project BOTO BOTO with Arno PAQUOTTE (Cheresse) and Fabrice Cesario. At Lille he just joigned the doom/sludge band THE LUMBERJACK FEED BACK and continuous to perform for the theater compagnie la MANIVELLE théâtre & VACHE BLEU.


FR / Une préparation idéale pour le concert de Stephan Mathieu, artisan d’une musique électronique abstraite et colorée, qui suscite la comparaison avec les paysages de Caspar David Friedrich, ou les oeuvres de Mark Rothko, Barnett Newman et Ellsworth Kelly. Avec le projet Virginals, il initiait en 2008 une passionnante entreprise de collusion temporelle : une relecture de classiques du minimalisme (La Monte Young, Phill Niblock, Alvin Lucier, Charlemagne Palestine) au moyen d’un virginal (ancêtre du clavecin) amplifié et de quatre grammophones. Revenant, du Japonais Tashi Wada, est la première pièce spécialement composée pour ce dispositif. Un dispositif aux allures d’installation, à l’intérieur duquel l’auditeur est libre de déambuler.




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