Sabato 14 settembre
ore 21:00
c/o Campomarzio
via del Suffragio 24
Autori di complesse ed intricate sessioni di musica improvvisata, Jacob Felix Heule (US), Guro Skumsnes Moe (N) e Håvard Skaset (N) saranno ospiti di Campomarzio e U-MAN C.A.S.P. per un’imperdibile performance acoustic noise.
Attingendo da un repertorio di reminiscenze contemporanee, dall’improvvisazione elettro-acustica al drone, la loro musica riflette in maniera evidente grande pazienza, profondo ascolto e completa fiducia in ciascuno dei componenti, elementi essenziali per raggiungere l’equilibrio fra le parti, che rendono poliedriche e al contempo coerenti e solide le loro “composizioni”.
Formato nel 2008 e con all’attivo tour in Europa ed America, il gruppo ha registrato assieme al contrabbassista Tony Dryer (US), quarto membro qui assente, due album: Bark per Bug Incision (Ca) e Harm per Bocian Records (Pl).
I suoi componenti hanno all’attivo diverse collaborazioni con artisti del calibro di Ikue Mori, Maja Ratkjee Damon Smith, e registrazioni su etichette quali Thrill Jockey, Not Not Fun e Conrad Sounds.
Chris Dadge scrive di loro a proposito di Bark:
“It’s kind of interesting how, for the most part, the melodic and harmonic activity in the pieces come from the basses (always a good instrument in plural, proven here), while the guitar seems to content to exist as a sounding unit for all manner of physical manglings. The six-stringed playing on this record is in fact quite winning, coming across as a mixture of Christian Munthe’s guitar anti-heroics and what Roger Smith might’ve sounded like if he’d forsaken his beloved nylon-string for a steel counterpart. But back to the basses: while a lot of ‘free-improvising’ double bassists automatically reach for upper end of their instrument’s register, these two both share a fairly uncommon inclination towards the lower region of things. The reason that this is remarkable in a group context is that it means that our guitar and percussion overseers are exercising a wondrous amount of control, sensitivity, and a finely honed dynamic understanding in order to make this work, not only in terms of a listener being able to hear everything, but also in their own abilities to communicate and react in the moment. Jacob’s effectiveness as a purveyor of avant-leaning percussive stylings is often evidenced in the frequent moments when it is a) not clear that there is a percussionist present at all, and b) very often it becomes very difficult indeed to make out who’s doing what.”