Dear all, I am booking some dates for ELI KESZLER, ROBERT PIOTROWICZ , FATHER MURPHY. ELI KESZLER (USA) Availability: Between 2nd Januray and 28th February 2014 Territory: Europe ROBERT PIOTROWICZ (Poland) FATHER MURPHY (Italy) Availabilities: 23rd February, 5th/6th/7th March 2014 Territory:These dates are for Belgium. Still some open dates in the tour. Just ask. ELI KESZLER Born in Brookline, Massachusetts, and currently based in New York City, Eli Keszler began playing drums at eight, and composing at twelve. He played in rock and hardcore bands; his work retains an intense physicality and churning, often ferocious energy. Keszler’s installations employ piano wires of varying lengths; these are struck, scraped, and vibrated by microprocessor-controlled motorized arms, giving rise to harmonically complex tones that are percussive yet resonant. These installations are heard on their own and with accompanying ensemble scores, or solo performances with Keszler’s aggressive jarringly rhythmic and propulsive drumming. His most recent project used 16 wires ranging from 100 to 800 feet long, all of which were mounted off the Manhattan Bridge and accompanied by a performance commissioned by NPR in New York City. Said Keszler in a NPR All Songs Considered interview, “I like to work with raw material, simple sounds, primitive or very old sounds; sounds that won’t get dated in any way.” In addition, the patterns formed by the overlapping piano wires allow Keszler to create visual components that relate directly to the music, without having to use projections or other electronic equipment, all of the material tying into itself. His visual work was recently compiled in a collection ‘NEUM’, a large body of drawings, diagrams and screen prints often featuring dense, fine detailed drawing which use a variety of sources, from the surfaces of objects to large scale spaces, and intuitive design similar in intensity, sharing the mass quality of his sound work. He has collaborated with Christian Wolff, Oren Ambarchi, Phill Niblock, Roscoe Mitchell, Tony Conrad, Joe McPhee, Loren Connors, Geoff Mullen, Ashley Paul, Jandek, and many others, and has recorded more than a dozen CDs and LPs for PAN, ESP-DISK and his own REL. His installations and visual work have appeared at the South London Gallery where his NEUM installation is currently showing, Archway Dumbo – Manhattan Bridge, Tectonics Festival (Harpa Hall) Reykjavik, Centraal Museum in Utrecht, AP News in Zurich, Boston Center for the Arts, and at Barbican – St. Lukes, Nuit Blanche NYC and the Shreveport MSPC New Music Festival. ROBERT PIOTROWICZ Robert Piotrowicz’s LP from earlier this year, When Snakeboy is Dying, found the Polish composer stepping out of his comfort zone and working with a variety of traditional instruments with exceptional results. Lincoln Sea, however, sees him going back to his modular synthesizer array that has appeared on so many of his records. But rather than the chaos and noise that previous work was based, the sense of structure and composition here is significantly deeper and manages to touch upon rock and orchestral approaches. Piotrowicz’s return to the world of oscillators and patch cables is obvious the second the first side begins with its sustained, just slightly off kilter tones and electronics that lean more into the upper end of the sonic spectrum. Even though at first the sound seems static, ever so subtle variations are present, as are some understated low frequency undertones. Soon it begins to change and evolve: multilayered sounds build upon each other into a stuttering, disjointed mass. FATHER MURPHY Father Murphy is an Italian trio comprised of Reverend freddie Murphy (vocals, guitar), Chiara Lee (vocals, keyboards, chinese percussions) and Vittorio Demarin (drums, viola, vocals). Born in Treviso, northern Italy, from the ashes of freddie’s several previous musical projects, Father Murphy with just one album and a plethora of ep’s and limited releases became one of the most mysterious and enigmatic musical entities coming out of Italy. If their first album Six Musicians getting unknown was still somewhat rooted in twisted psychedelic pop and sounded vaguely related to Os Mutantes and Italian psych pop masters Jennifer Gentle, the new record is a bold statement and a significant step ahead – out of every familiar musical genre and right into the darkness. Recorded in San Crisostomo in Bombanella church between the end of 2007 and the beginning of 2008, And He told us to turn to the sun maybe was born like a rather weird attempt to a concept album about religion, but surely sounds like a collection of dark, foreboding songs that crawl and twist and hiss like that old biblical serpent. Think of Gnostic masses, kabbalistic chanting, chiming little bells, tinny Gregorian-like drones played on toy-keyboards and the subtle but inescapable influence of 70’s Italian horror rock acts like Jacula and you will have some of the ingredients that make Father Murphy’s music. Add a good deal of lunacy and enough humour to keep the gloom away (just because you cannot take yourself that seriously) and the album is here, in all its strangely beguiling simplicity. Song after song, from the initial semi-pop outburst of “We were colonists” to ascetic, almost medieval atmospheres of Go Sinister, the entire lp feels like a truly different, warped experience. Think of Alan Sparhawk’s Low doing versions of Twilight furniture from This Heat or Milk it from Nirvana. When the final, 10-minutes mastodon “In their graves” creeps in with all the agility of a primordial doom-metal beast slowly sucked in a prehistoric swamp, everything comes full circle: an uneasy, compelling, furiously heretic yet sandblasted in Catholicism little album that could come only out of Italy. Thanks for reading. I hope to hear from you asap. Regards. Alain


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