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M. HENRITZI + IKURO TAKAHASHI
IGNATZ & STERVENDE HONDEN
MARIO RUSPOLI





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28 MAY. 2018









































La Cheminée.

Concert : Mon. Lun. 28 May

Av. du Bempt 1190 Forest. Brussels
Doors — 19:30 / 5 €


 

























 





M. HENRITZI + IKURO TAKAHASHI
Lapsteel, Drums



Fr : Duo né d'une rencontre impromptu au Japon en accompagnant la chanteuse Akiko Hotaka, Ikuro Takahashi et Michel Henritzi seront en tournée en Europe pour créer une Metal Machine Music psychédélique.
Drones et fracas de percussions cherchant la transe et à basculer le ciel sous nos pieds. Batteur de légende, Ikuro Takahashi a joué dans la plupart des groupes importants de la scène psychédélique underground japonaise : Keiji Haino's Fushitsusha, High Rise, Che-Shizu, Maher Shalal Hash Baz, Kosokuya, LSD March, Junzo Suzuki…
Michel Henritzi est membre du groupe noise Dustbreeders, il joue régulièrement avec des musiciens japonais comme Rinji Fukuoka (Overhang Party), Junko (Hijokaidan), Tetuzi Akiyama, Mico K.Mical, Tamio Shiraishi, Masayoshi Urabe, Chie Mukaï, Yuki Fuji (Sarry), la danseuse Yoko Higashi..
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Eng : Ikuro Takahashi - Ikuro Takahashi (高橋幾郎), born in 1957, Kamisunagawa, Hokkaido, is a drummer and percussionist based in Sapporo, also plays electronic and oscillators. He has been a central member of many groups from the Tokyo psychedelic underground from the early eighties. Some of the groups he has played with include Fushitsusha, High Rise, Kousokuya, Maher Shalal Hash Baz, Ché-SHIZU, Nagisa ni te, LSD March, Gu-N, and Akebonoizu and Tetsuya Umeda. He has played under the name Anoyondekigoto since 2000, a unit project with a Butoh dancer Yoko Muronoi (1959- 2017). He also run his own label Galleria Zarigania since 2007


Eng : Michel Henritzi - Guitars, lapsteel & amp. From noise to abstract blues. member of noise unit dust breeders, mile of string & o death jug. regular partner to junko (hijokaïdan), rinji fukuoka (majustsu no niwa) & kumiko karino. played with tetuzi akiyama, aqui avec gabriel, shinichi isohata, masayoshi urabe, chie mukai, jojo hiroshige, ito atsuhiro, mattin, nihilist spasm band...


Michel Henritzi.

michelhenritzi1.bandcamp.com

Takahashi Ikuro.

w/ Solo

w/ Fushitsusha
w/ Rinji Fukuoka

w/ Junko
















IGNATZ & STERVENDE HONDEN
Guitar, Bass, vocals, drums



Fr : Bram Devens est un artiste belge qui crée en tant que guitariste acoustique des ballades ésotériques non structurées, accompagnées d’effets et guidées par l’improvisation, à partir d’idées abstraites qu’il retranscrit en musique sous le nom d’Ignatz.
Il chante en anglais de la même façon qu’il entend les paroles en musique, de façon diffuse et douce, presque lointaine.
Ignatz est une souris vicieuse née en 1910 dans la bande-dessinée Krazy Kat, de l’auteur américain George Herriman. L’occupation préférée de la souris est de jeter des briques au visage des Krazy Kats, qui prennent ces attaques pour des déclarations d’amour.


Eng : Belgium’s finest underground musician Bram Devens works under the moniker Ignatz and plays the kind of dark and haunting crooner that makes our hearts beat significantly faster / (Incubate).

soundcloud.com/incubate

kraak.bandcamp.com




MARIO RUSPOLI
Screening, projection - 16 mm


Fr : Mario Ruspoli (né le 17 juin 1925 à Rome, mort le 13 juin 1986 (à 60 ans) à Villepinte, Seine-Saint-Denis) est un réalisateur italien.

Documentariste, photographe, écrivain, il fut un proche de Chris Marker, et a travaillé essentiellement en France.

Son œuvre, souvent méconnue est d'une grande importance dans l'histoire du documentaire moderne, au même titre que celle de Jean Rouch, Michel Brault ou encore Pierre Perrault. Il fait en effet partie de ces expérimentateurs qui ont su mettre les progrès techniques de la prise de vue et de la prise de son (caméras plus légères, premiers magnétophones synchrones) au profit de la création artistique et d'un idéal du documentaire résumé par l'expression, parfois controversée, de « Cinéma vérité ».
Il s'affirme aussi comme théoricien du documentaire, en rédigeant en 1963 un important manifeste du cinéma direct Groupe synchrone cinématographie léger.
Dès 1956, il tourne aux Açores un film sur les derniers pêcheurs de baleine au harpon, Les Hommes de la baleine, document sur une pratique presque révolue.














 


























TARAB — AN INCOMPLETE YET FIXED IDEA







NEURAL | Tarab - An incomplete yet fixed idea

Released on a vinyl divided into two 20 minutes parts, An Incomplete Yet Fixed Idea is the last work of Eamon Sprod, aka Tarab, an unconventional musician from Melbourne, familiar with field recordings, electronic frequencies, sound landscapes and site-specific research. The album was also mastered by Giuseppe Ielasi, an Italian sound artist well known in the contemporary experimental musical “free zones”. Many authors who share the same creative and productive process of the Australian artist have made some quietist and aesthetic works, but in his case the creation process moves in a different direction, a solid conceptual strain based on a personal poetics of waste, decay and re-contextualising of single sound elements, something more complicated than an exhibition of distinct frameworks. According to the artist, the reactive mixes are “careful arrangements of sonic rubbish”, mostly undefined, whose origins are not revealed. There is no research, nor is there an attempt to soften the raw audio captures. So, the limit between the recorded and the manipulated sounds is uncertain, the listener’s perception walks on difficult ground searching for some fixed point. Nothing seems immediately clear. In the first part the sequences are more dilated and abrasive, with a growing development in pattern and intensity. The following sections show some anxiety made of industrial elements: metal audio emergencies, threatening loops, amplifications of sounds made with items, movements and crushes. The incompleteness here isn’t just escaping from the imitation of nature or avoiding a partial representation. The work doesn’t either support the idea that beauty is something already codified. Here we find the experimentation of a critical threshold, a critical point in the system where some lack of perception can surprisingly sharpen the capability to feel ourselves at one with the sounds and with the intimate structures of the vibe effects. So the incompleteness becomes a privilege, because it shows the potential to find relief with the development of new relationships between the sensory forms and the effective artistic practices.

May 2018.




APO_13
LP | Edition of 300 | 2017

aposiopese.com/pages/an_incomplete_yet_fixed_idea.html



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