With apologies for cross-posting<br><font size="4"><b><br></b></font><b>April, 16th 2011 </b><br>
Doors 21, Concert 22<br><font size="4"><b><br>N.K. </b></font><br>Elsenstr. 52<br>
2.Hinterhaus Etage 2 <br>
12059 Berlin Neukölln <br>
<br><b>l’ull cec Presents: ELI KESZLER/ ARNAU SALA/ BILL KOULIGAS/ VALERIO TRICOLI & PHANTASMATA<br></b><br>l’ull
cec is an independent initiative promoting sound experimentation and
the exploration of musical form in every possible domain. Currently
split between Barcelona and Berlin, its activities revolve around the
organisation of live performances, workshops, talks and artistic
residencies.<br>
<br><a href="http://lullcec.org/" target="_blank">http://lullcec.org</a><br><br><b>Eli Keszler</b>
is a composer and multi-instrumentalist from Providence, Rhode Island.
He studied composition at the New England conservatory and primarily
employs percussion, bowed crotales, guitar and his own invented
instruments to create a unique whirlwind of sound that balances sparse
droning harmonics with intense, fast and free rhythms. His releases on
REL Records (Tilt, Mills, Untitled), his own label, and on Rare Youth
(Livingston) and ESP-DISK (Oxtirn) combine instrumental virtuosity with
dedicated compositional work and an extensive sound palette, evoking
comparisons to figures such as Han Bennink, Giacinto Scelsi, Iancu
Dumitrescu, Edgar Varèse or Iannis Xenakis. He has received rave reviews
from The Wire, Arthur, Boston Phoenix and Volcanic Tongue and
performed, recorded or collaborated with the likes of Jandek, Phill
Niblock, Roscoe Mitchell, Loren Connors, Anthony Coleman, T-Model Ford,
Aki Onda, David Linton, Steve Pyne, Geoff Mullen, Ashley Paul and
pianist Ran Blake.<br>
<br><a href="http://elikeszler.com/" target="_blank">http://elikeszler.com</a>
<a href="http://myspace.com/elikeszler" target="_blank">http://myspace.com/elikeszler</a><br><br><b>Arnau Sala</b>
is a sound and visual artist based in Barcelona. As a drummer and
percussionist he has been part of projects such as the guitar/drums duo
Les Aus, Bèstia Ferida (joining forces with his long-collaborator Adrián
de Alfonso and trumpet player Marc Cunningham from NY no-wave band
Mars) and Homenatges. His first solo release, ASDC (2003), kickstarted
his intuitive use of no-input mixer, bent electronics and self-built
analog synths which would come to define his later solo work and slowly
be incorporated in his improvisational practice. As a soloist, he has
collaborated live and in the studio with artists like Lydia Lunch, Mark
Cunningham, Takehisa Kosugi, Mattin, Agustí Fernández, Pato, Ferran
Fages, Pablo Rega, Eli Keszler, Pato and Macromassa. He has released
abundant material on international labels such as Scumbag Relations,
Lotus Birth, Senseless Empire and Deep Fried Tapes, among others and
including his own, Ozonokids. In 2009, he was one of the selected
musicians to take part in Merce Cunningham’s Dance Company event at
Mercat de les Flors in Barcelona.<br>
<br><a href="http://arnausala.info/" target="_blank">http://arnausala.info</a>
<a href="http://ozonokids.com/" target="_blank">http://ozonokids.com</a><br><br><b>Bill Kouligas</b>
is a sound artist and designer, better known for his solo project
Family Battle Snake. He also runs the sound art label PAN with vinyl
editions of electronic and experimental artists. His music captures a
variety of different sounds and time periods filtered through an
imaginary urban soundscape. Emerging through a noise underground,
ominous like a cloak of whispers, he now floats on a plane ebbing and
flowing between electronic tape music and gluey entropicalia. With the
use of analogue synth, tape manipulation and electronics he employs warm
drones and a musique concrete approach through structured perspectives
on a journey across time.<br>
Bill has collaborated with the likes of C. Spencer Yeh, Destroy All
Monsters, Sudden Infant, John Olson (Wolf Eyes), Joseph Hammer (LAFMS),
Ralf Wehowsky/RLW, Chris Corsano, Damo Suzuki, Christian Weber, Anla
Courtis, Astro, MV Carbon, Pete Nolan (Magik Markers), Valerio Cosi,
Birds of Delay and Kouhei Matsunaga to name a few.<br>
<br><a href="http://pan-act.com/" target="_blank">http://pan-act.com</a><br>http://<a href="http://myspace.com/familybattlesnake" target="_blank">myspace.com/familybattlesnake</a><br><br><b>VALERIO TRICOLI/PHANTASMATA<br>
</b>
Valerio Tricoli, revox b77, strobes
<br>
Phantasmata, circuits, lights, strobes.<br>
<br>Premiere collaboration between Valerio Tricoli and fellow italian
sound and visual artist Phantasmata. Tricoli’s live tape manipulation
will meet the intense light emissions and electric streams produced by
Phantasmata’s DIY devices to create a deep, synesthetic and eventually
psychotropic environment.<br>
<br><b>Valerio Tricoli</b>
<br>His compositions bridge musique concrète
and conceptual forms of sound (i.e. the radical interest in how reality,
virtuality, memory relate to each other during the acoustic event):
music, as a recorded or as a synthetically-modeled sound, is always
hovering between the “here and now” of the event and the shady domain of
memory – distant but at the same time present, like a déjà–vu
experience. Tricoli plays live music with electronic instruments – most
of them analogue – (reel-to-reel tape recorders, synthesizers,
microphones, light effects, ultrasonic speakers), however the structure
of the device is ever-changing, seeking multiple relations between the
performers, the device and the space in which the event takes place.<br>
<br><a href="http://www.bowindorecordings.com/" target="_blank">http://www.bowindorecordings.com</a><br>
<a href="http://www.shiftingposition.org/" target="_blank">http://www.shiftingposition.org/</a><br><br><b>Phantasmata</b>
is the noise alter-ego of Xname, a multimedia artist from Milan and
currently based in London. Her live performances are developed through
the use of artificial lights, home-made micro-oscillators and sound
waves generators. The frequency and the dynamics of the electric current
which activates the lights are furtherly transformed – through purely
analogue means – into sonic frequency, while the sound, directly
modulated by the manipulation of the light sources, becomes tactile and
synesthetic. The result is an hypnotic spectacle dominated by
stroboscopy and industrial and noise-techno frequencies.<br>
<br><a href="http://xname.cc/phantasmata" target="_blank">http://xname.cc/phantasmata</a>