Hassan Khan (Egypt)
will be performing "incidence" (60 minutes exactly)
For tonight's evening Khan will present a seamless continuous mixture of older and newer music pieces including: lust, figure and ground, KOMPRESSOR (music based on translating sets of dreams), lamptone, G.R.A.H.A.M., beautiful music and host. The Pieces are accompanied by different video sequences specially shot by the artist (a monochorome Red that slowly shifts color, vertiginous dream-like tracking/crane shots of solitary public lamps at night, a portrait of a photographer, a Lynchian moment where a desk lamp is transformed into something else etc..).?
Khan uses a battery of Feedbacking mixers, filters and processors, laptop manipulation, virtual synthesizer and live mikes in tandem to pre-composed and recorded string sections/tabla beats/ney trills/piano compositions in carefully arranged sequences that mix live improvisation with studio arrangements (this is not fusion / this is not beat with effects on top of it- these are worked out unfolding compositions that work with sound and music..)
Tron Lennon (UK)
As a guitarist and DJ we have spent several years extending our practice through free improvisation and experimentation. Paul’s turntable-centric practice deals exclusively with pre-existing musics, whereby raw, unmediated material coexists alongside more direct causal gestures. This could easily be configured as an attempt to put agency back into that which we have lost through acousmatic listening and recording; an attempt to make recorded music live again. For John, the guitar is one element within a multi-faceted setup which includes assorted pedals, circuit-bent keyboards and other electronic instruments. These instruments foster unpredictability but maintain high levels of tactility, and in offering moments of resistance to direct causal action can embrace both intentional and unintentional activity. Working beyond a paradigm where musicians perform pre-composed works, Tron Lennon celebrate spontaneity and the ephemeral nature of sound. In exploring indeterminate and dysfunctional systems alongside more direct causal gestures, they embrace unpredictability as a strategy to probe, provoke and generate creative response.
In their current live set Paul uses Ms Pinky VJ software to manipulate digital video whilst John uses Max/Jitter and live camera feeds, allowing performance gesture to intervene in pre-recorded and synthetically generated visual materials.
Tetsuya Hori (Japan/Berlin)
My pieces do not have a concept. That is the concept. The concept develops in the head of the listener. I get the feedback, and the feedback influences my music and like I see it.
I compose not only for instruments, but for things. The sound of the things is interesting. Not only the natural sound, but also the processed sound. The sources of sound are not necessarily special, but the sound, which results from the arrangement.
Each piece is different. Every time. It is affected by the atmosphere, which is created the area and the public. The piece mostly consists of article + computer program + space + public.
I want to show the listener nonsense. Interesting nonsense.
For tonights concert Tetsuya will plays 2 pieces totalling 40minutes. One piece he will play sitting down on a chair and the other piece standing up.
Salon Bruit
Friday 25.02.08 at 22.00 in Kastanienallee 77, Berlin-Mitte
U2 Eberswalderstrasse or Rosenthaler Platz, Tram Schwedterstrasse
