January 31, 2020 –
Double bill with 2 Italian electroacoustic composers presenting their last releases on The Tapeworm (http://www.tapeworm.org.uk/ )
Laura Agnusdei is an electroacoustic composer and saxophone player from Bologna (IT), classically trained, she also holds a Master in electronic music composition by The Institute of Sonology of The Hague (NL). Her compositions feature the saxophone as the main voice within sonic landscapes that shift between melodies and textures, the song form and improvisation, fusing acoustic, digital and analog sound sources. Laura is actually touring presenting her new album 'Laurisilva', six tracks that invite the listeners to explore an imaginary landscape made from sounds growing and layering like biological organisms within a forest. This work, as well as Laura's debut cassette 'Night/Lights', was released by London-based label The Tapeworm (more specifically on the their non-tape collection The Wormhole). Since 2016 her music has been presented in many venues and festivals such as Rewire, Dekmantel, EYE Filmmuseum (NL), Cafè Oto (UK), Node, Macao, MAST (IT).
Davide Luciani is an Italian electronic music composer and media designer, based in Berlin since 2011. He has a background in the Italian noise-rock scene with projects dating back to 2005. “Calming Counts” is Luciani’s first solo release released for The Tapeworm. His solo practice places acoustic instrumentation into analogue/digital synthesis to create works that bridge the territories of noise, drone rock and minimal music. His approach to electroacoustic music – which he voices with guitar, piano, strings, accordion, synthesisers, VST sorcery and loopers – has a distinct harmonic hue, with layered repetitive patterns and instrumental polyphonies. As sound and visual designer he has directed and curated a wide variety of projects from soundtracks to space design. His collaborations have been hosted at highly regarded institutions and venues such as Venice Biennial, Berlin Atonal, Ström Festival, Bayreuth Festspiele, Museum Omero, Tresor and MUSMA.
ENTRANCE: 5 euro, no cards, bring your coins!
February 8, 2020 –
We warmly invite you to the 43rd edition of RCC - Research Concert Cycle. Starting off the evening, we will have a presentation by Gabriel Paiuk. In Audibilities and the Technological Imagination, Gabriel aims to raise a series of questions on the assumption thataudibilities are formed, that they can be analyzed and furthermore operated upon.
Cue: Stay around for the amazing dinner.
Wrapping up the night, a presentation by Tilen Lebar entitled Through the Perspective of Sound (Vol. 1) - a research on non-audible and audible phenomenons which are having an impact on the listeners experience of sound.
Golden tip: stay around for the cheap drinks and share your thoughts.
Doors open at 17.45 – presentation starts at 18.00!
Within this presentation I aim to bring up a series of questions on the assumption that audibilities are formed, that they can be analyzed and furthermore operated upon. These questions take the form of diverse entry points into the way listening occurs and the way sound is operated on by musical practices. Within this context, the role of technologies is investigated, not as the means to produce previously unknown sonorous phenomena, but rather in the ways we attune to the tools and media used to produce and circulate sound. Further on, the role of imagination is investigated, not as detached from a seemingly real instance, but as a way to describe a process that saturates listening.
Gabriel Paiuk (*1975) is a composer and sound artist whose recent work is focused on the way notions, practices and material aspects of sound mediation play a role in modulating our listening. His work takes the form of sound installations, compositions for instruments and electronics and collaborations with other disciplines.
THROUGH PERSPECTIVE OF SOUND (VOL. 1)
Research proposes an approach to non-audible and audible phenomenons which are having an impact on a listeners experience of the sound, an introverted experience through headphones (in-ear or on ear) which provide inner vibration transmissions through scull. Through these techniques, we are treating participants in Etude no. 1 (through non - audible frequencies of 20000 Hz and 10 Hz) we will try to prove experience via live performance of a saxophone and at the same time this two frequencies will be provided on a live stream through YouTube where all participants will be connected and experiencing mostly the same sonic experience. After Etude no. 1 they will be provided with a short Survey, where they will have to share their subjective experience through a review of questions. Etude no. 2 will operate with a different survey which will incorporate ASMR (autonomous sensory meridian response) approach to performance with a saxophone (through soft sounds) which will be amplified through a binaural microphone. In this etude, we will search for tingling sensations of participants which will again after the sonic experience have to share their inner information and subjective experience through the survey provided virtually. The third Etude is introducing another dimension of psychoacoustical experience of the acoustical response of the space in this etude we will try to artificially change the frequency of the venue in Studio Loos with usage of EQ (equalizers) and through effects used on amplification. Survey will take its third action – afterward we are opening discussion about the experience and all the facts that are not believable or threated seriously their cons and pros and general experience of usage of this kind of material in the format of the RCC concert series.
Tilen Lebar (1993) is a saxophonist and composer. He is a representative of a younger generation of Slovenian musicians and he is actively enrolled in the field of; cham ber compositional works, premieres of new works of younger composers, in the field of improvised music scene in
February 12, 2020 –
Nick Dunston (Double Bass/Banjo), Lester St. Louis (Cello), and Weston Olencki (Euphonium, low brass) are coming through the Hague next Tuesday for what promises to be an unforgettable set. All three of these musicians are at the top of their form in the NYC experimental and improvised music scene, and we're so excited to have them in town this evening.
Leonie Roessler - Iran (Solo Laptop)
SKRTCH is Vlad V. Vlaev (feedback processes with voice) & Christian Smith (Freeze Patch with percussion and found objects). They open the evening with a drone piece that will clear the air for whats to come.
4 eur student/under 30
February 14, 2020
Whether we’re with our significant bothers, part-time partnerds, or our lone obtrusive thoughts - and despite the great deal of discounts on cordate confectioneries - Valentine’s Day always seems to be missing that “special something,” doesn’t it? Well, we may not be able to answer your rhetorical questions, but we can help you satisfy your suite-tooth, feel instantly gratified, and reconnect with your one true love (ie. PLEASE BRING YOUR PHONE)
19:30 - doors open
Entrance - €6 student / €10 general
adj. of or relating to the present day
February 16, 2020
ZWERM SNOW MOON 2020 - Storm-free edition
THIS IS THE NEW DATE
Doors open 20:00 - Music starts 20:30
Tickets by the entrance (cash only)
Playing / Students 2,5 EUR
Audience 7,5 EUR
Every full moon, Zwerm invites you to a ritualistic gathering dedicated to reckless, improvised music. The ritual consists of a concert followed by a free-play session, which is open to anyone interested in improvisation regardless of background. Inspired by the lunar phases, Zwerm is a performative interpretation of the flight of the starling bird - synchronized but chaotic, constantly changing yet never colliding.
For the first edition of Zwerm we will start off with Oscar Jan Hoogland, a smart pianist/composer with an itch to make music that cuts across genres, who don’t take themselves so seriously, but whose whimsical music has a real bite and brainpower. This will be followed by a free-play session that is open for anyone to sign up for at the entrance. Performers of any kind are welcome. For the free-play session, participants will be spontaneously grouped together to improvise short sets, and continue until the sun rises.
The enfant terrible of the new Dutch impro scene, Oscar Jan Hoogland (1983) sprung onto the Amsterdam landscape approximately a decade ago, at the forefront of the latest group of improvisers to arrive and simultaneously uphold the tradition of New Dutch Swing even while tearing it apart. He is currently on faculty for the composition department at the Royal Conservatory of the Hague and the Mime department for the Academie voor Theater en Dans in Amsterdam.
Oscar is possibly most notable for his ability to use any and every influence as stimuli for improvisation and experimentation. Piano may be his main instrument but he is often seen performing on a variety of old synths, a highly customized electric clavichord, guitar, turntable, voice, toys…
For the free-play session, we can provide a piano, a drum set, a couple of guitar amps, microphones, a speaker system and a mixer. Please bring your own cables if you need to use the sound system.
The bar will be open all night! Please bring cash!
We look forward to see you at the first edition of Zwerm!
Return to calendar