Wednesday Jan 7th 2015 Doors 19:30 Concert 20:30
HASWELL + PAINJERK / RASHAD BECKER
52 2.HH 2.Etage
a restlessly forward-thinking, multi-disciplinary
and curator born in Coventry and currently based in
With a background steeped in computer music, black
techno, free-stye and solo improvisation, his practice
for broaching the extremities of visual and sonic arts.
performed in noted live and HDJ [hard disc jockey]
actions with Aphex
Twin, Gescom, Pan Sonic and Masami Akita (Merzbow),
among others, and
worked with Florian Hecker on Iannis Xenakisâ UPIC
system in their
Haswell & Hecker duo, whose âBlackest Ever Blackâ
Classics) LP is widely considered a milestone of modern
music composition. Russellâs recorded work has also been
by a wide number of esteemed imprints, most notably the
8 track CD
catalogue âLive Salvage 1997 â 2000â (Honorable Mention,
Digital Musicâs, Prix Ars Electronica) for Editions
Mego, but also
for Warp, Downwards, and his OR label, home to worldâs
MiniDisc release. Most recently Russell collaborated
with Regis as
Concrete Fence on the combustible âNew Releaseâ EP for
Records, and is currently prepping a forthcoming release
Diagonal Records and a forthcoming âhyper editâ
with PAIN JERK.
one-man sonic project runs by Kohei Gomi (b.1963).
began home-recordings of the experiment of the sound in the
when Tascam (Teac) just released 4 multi-tracks cassette
called âPorta One Studioâ for the beginers of
mixed influence of the punk art (and primitives) and
method of psychosomatic surrealist. The recorded / performed
does not have each with the independent meanings and is the
assemblage. And it is also the pieces produced by obsession.
is one of the more prolific and influential sound artists of
and is one of the leading figures in the sound of dynamics /
brutality as electro-acoustic outsider. He covers a lot of
various noise-sounds, the experimental /electro-acoustic
concrete, techno, rave, electronica, sampling culture,
methods and mixing them all through his filter.
is not the improvisation. This is not the composition. This
of the automatic-act by the encoded sound. It becomes the
and is beauty beyond extreme music.
has collaborated with artists like, Zbigniew Karkowski,
Haswell, Jackie Oblivia (aka Smegma), John Wiese & etc
contributed to various festivals like, No Fun Festival (the
Avanto Film & Music Festival (Finland), Avant Fesival
All Ears (Norway), LUFF (Swizerland), London Contemporary
Festival (the UK), Multipletap London edition (Japanese
avant-garde show-case event) and toured in Poland, Spain,
Sweden, Norway, Denmark, the UK, Germany, Swizerland, France
Belguim in the past.
he has shared same stage with lots artists like, Brutal
Vainio, Mark Fell, Kim Gordon, Jim Oârourke, Norbert
NHKâKoyxen (aka Kouhei Matsunaga) etc etc.
It has been well
known some of are mentioned PAINJERK name in their
Aphex Twin, Russell Haswell, Pan Sonic, etc in the past.
born in 1970 owing to unprotected coition.
was admitted to the fortress europe at age 12.
grew up to be a certified emergency medical technician and
blacksmith but went on dedicating his professional life to
about 2000 he eats miso for itâs delicious taste and
about 2002 he started losing his hair.
his live sets evolve around the angle of `traditional music
notional species`, a semiabstract synthetic narrative that
appealing to a surprisingly wide audience.
name will be known to a lot of people â indeed it
appears on many,
many records â but his music wonât be. His day job is as
mastering and cutting engineer in Berlinâs world-famous
and Mastering, where his role involves entering into a
dialogue with the music of others, helping them to
achieve what they
set out to with their compositions in the final product.
got the D&M gig, he was originally a musician in his
and he continues with this as an irregular sideline,
manipulating loops and electronic sounds.
wasnât a surprise about his performance was how precise it
looked and sounded as he carefully twisted dials to produce
sequence of very crisp and discrete tones, sparse and
(if you had to pick something from Beckerâs other work to
this to, it sounded like an early, experimental, Mego, a
Pita or Hecker). What was more unexpected was just how
it all sounded. Most of the
frequencies used were within the range
of the human voice â it sounded like a long
sentence made up short syllables, electronic oohs and wahs,
of muttering, and occasionally bickering. Whatever he does,
Becker has the knack of giving sound its voice.â The Liminal