BOOKING OFFERS: KYOKA, EMPTYSET, ERIC HOLM

Dear all,

 

I am booking some dates for KYOKA, EMPTYSET, ERIC HOLM.

 

 

KYOKA (Japan)

http://www.youtube.com/watch?v=TSAZxps2XwY

http://www.youtube.com/watch?v=7S2hsrJ2dsI

Availability: On request

Territories: Belgium, France, UK

 

 

EMPTYSET (UK)

http://www.youtube.com/watch?v=2FpxKRu9bko

Availabiliy: On request

Territories: Benelux, France

 

ERIC HOLM (USA)

http://www.youtube.com/watch?v=LDKv8oLEXOg

http://www.youtube.com/watch?v=hq2dO8RnT2w

Availabiliy: On request

Territories: Benelux, France

 

 

KYOKA

Kyoka works as a musician/composer in Berlin and Tokyo and is known for her chaotic and direct musical approach and a heavy-rough sound, resulting in a broken pop-beat with experimental yet danceable rhythms.

She grew up in Japan, having piano, flute and syamisen lessons during her childhood. While listening and recording radio shows to tape, she became attracted by the possibilities of scratching tapes back and forth and soon she begun to use the tape recorder as her toy, cutting, editing and producing first rough sounds.

In 1999 she started to explore the potential of synthesizers/computers and during her stay in Los Angeles from 2004 to 2008, she enjoyed some first success when her songs charted at local radio stations.

In 2008 she released her first album and we are happy that she joined raster-noton collective in 2012.

 

 

EMPTYSET

Emptyset boze some proper mechanical muscle on their debut full length for European electronica powerhouse, Raster Noton. ‘Recur’ is a clinical exploration of the colossal/crushed aesthetic they’ve explored to increasingly noisy degrees over the last few years, systematically pushing every element to its limits of ductility with canny use of « compression and rarefaction and the forcing of signal thresholds to their critical point. » Operating at the stress point between experimental sonic architecture and corporeal club music, ‘Recur’ recycles similar ideas until they buckle in ever pleasing, dynamic and powerful forms over its nine tracks. With ‘Origin’ the album’s central sound seems to oxidise from thick, heavy air, attracting and diffusing shuddering clouds of iron filings which take on ever more fascinating, complex geometries, from the convulsive glitches and slamming door kicks of ‘Disperse’ to the sustained menace of ‘Order’ to the retching, hyperventilating wave shapes of ‘Recur’. The effect is pleasurably visceral and strangely hypnotic, especially when played loud.

 

 

 

 

ERIC HOLM

Developed entirely from a single contact mic recording from a remote telegraph pole that carries high voltage lines that connect the island’s array of military listening stations, Holm crafts a detailed expansion of this solitary sonic moment, shaping the sound into an immersive meditation on man, nature and isolation. The telegraph pole connected to a seemingly endless network of traversing lines harnesses the dense ambiance of the landscape, both absorbing and distilling the essence of Andøya’s harsh beatific character, and considers the position of microphone as witness within a vast cycle of physical transition and terrestrial flux.

 

 

Thanks for reading.

 

I hope to hear from you asap.

 

 

All the best.

 

 

Alain

 

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