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Programma "murato" di maggio al Club 74 :Yo Herve,Early Day Miners,The Czars,Masha Qrella... (01/05/2005) |
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Unhip Records e Città del Capo Radio Metropolitana
presentano:
MURATO
concerti imprescindibili preceduti e seguiti dai dj set dei conduttori di città del capo
info@unhiprecords.com
www.unhiprecords.com
apertura/inizio dj set ore 21:00
inizio concerti ore 22
al CLUB 74 (ex-circolo della grada)
via della grada 10, bologna (in centro, prosecuzione di via riva reno tra via s. felice e via del pratello)
uscita tangenziale numero 5 (Lame) e seguire indicazioni per il centro/palasport
bus 13, 19, 36, 38, 39 e 61 notturno - fermata san felice/palasport
e-mail: info@unhiprecords.com
mercoledì 4 maggio 2005
YO HERVE(il progetto collaterale di Kyle dei Fuck insieme a Lois Johnson, in un set di laptops, voci, chitarra e percussioni - da San Francisco, USA)
prima e dopo il concerto dj Federico Bernocchi
ingresso 5 euro
mercoledì 11 maggio 2005
JUNIPER BAND II (progetto parallelo semi-acustico "allargato" della bolognese Juniper Band, in una imperdibile "prima" nazionale!!)
+ BEN SLAVIN (da New York il 25enne cantante lirico dei The March presenta i suoi brani di pop acustico)
prima e dopo il concerto dj Elisa Graci
ingresso 5 euro
domenica 15 maggio 2005
EARLY DAY MINERS (la formazione slow-core di Bloomington, Indiana presenta i brani del nuovo quarto album "All Harm Ends Here" su Secretly Canadian rec.)
prima e dopo il concerto dj Michele Restuccia
ingresso 7 euro
mercoledì 18 maggio 2005(presso il Link di via Fantoni 21)
OUT HUD (da New York gli autori dei uno dei dischi dell'anno, con membri di !!! - chk chk chk - su etichetta !k7 e Kranky)
+ DISCO DRIVE (il trio torinese presenta il disco d'esordio "what's wrong with you, people?" pubblicato dalla Unhip records, travolgenti dal vivo!!)
domenica 22 maggio 2005
THE CZARS (la blasonata formazione di Denver, Colorado presenta dal vivo il nuovo album "Goodbye" pubblicato dall'etichetta dei Cocteau Twins, Bella Union records)
prima e dopo il concerto dj Polaroid
ingresso 8 euro
mercoledì 25 maggio 2005
MASHA QRELLA (da Berlino il pop sperimentale ed elettronico dell'artista che fa anche parte di Mina e Contriva, a presentare il nuovo abum pubblicato dalla Morr Music) + LUCIANO CHESSA (a presentare i brani frutto delle sue sperimentazioni sonore con l'attrezzo sega, suonato con vari archetti e percosso con martelletti)
prima e dopo il concerto dj Morra MC
ingresso 7 euro
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Note biografiche
YO HERVE:
yo herve is pablo wong (of fuck) on guitar, vocals, percussion and big laptop, and lois johnson (of FCB) on vocals, percussion and small laptop. originally from san francisco, they make sort of broken pop music for people who like things that are sort of broken. their first record "inside tiny" is scheduled for an autumn release on homesleep records, and includes the singles "charge of the amstel light brigade" and "south is the new north". no doubt the show will feature cuts from the new record and classic fuck tracks from records past. peace out.
www.fuck.addr.com/fuck/index.html
JUNIPER BAND II:
Nato come divertissment per l’esibizione al Club74/Murato, JUNIPER BAND II diventa il progetto parallelo e semi-acustico della band bolognese, a cui si aggiungono Giangiacomo Orlandi (Norm) al violino, e Lele Montanarella (monocromos) alla chitarra e voce. La band eseguirà principalmente brani dal loro ultimo album “Time for Flowers”, insieme a vecchie hit come “tweedle” e “ghost sign”, rivisitando per l’occasione quelle atmosfere così care agli amanti di Low, Early Day Miners, Songs:Ohia, C.S.N.… per una esibizione puramente emozionale sospesa tra intimismo e forti tinte west coast.
www.thejuniperband.com
BEN SLAVIN:
Venticinquenne di New York, è un emergente cantante lirico la cui grande passione risiede comunque nel folk-rock americano. Laureatosi in canto lirico e teatro all'Università dell'Arizona, ha ottenuto per 4 anni di seguito prestigiosi premi canori statunitensi, istituiti dall'Associazione Nazionale dei Maestri di Canto. Ha partecipato a diversi spettacoli lirici, (tra cui "Le nozze di Figaro") e musical ("Cabaret", "Il giardino segreto", "Pippin"). Dopo aver studiato presso l'Istituto Americano di Studi Musicali a Graz e Salisburgo in Austria, Ben si è trasferito a Milano per proseguire i suoi studi della lingua italiana e di canto lirico. In seguito all'incontro con Odette Di Maio (cantante dei Soon), decide di iniziare a scrivere canzoni e a fondare con lei il nuovo progetto "THE MARCH".
La sua fantastica voce baritonale sa anche servire egregiamente lo spirito folk, di cui si fa portavoce sensibile per le nuove generazioni, scrivendo pezzi morbidi e intensi che si valorizzano nella presentazione acustica. I suoi testi parlando di politica, temi sociali e poesia.
www.themarch.net
EARLY DAY MINERS:
Early Day Miners are currently residing in Bloomington, Indiana, where they have lived since forming as a group in 1996. EDM's current line-up is Joseph Brumley (guitar and vocals), Daniel Burton (guitar and vocals), Jonathan Richardson (bass), Matt Griffin (drums) and Kirk Pratt (guitar, vocals and keys). EDM released their fourth full-length album, All Harm Ends Here, on January 18th, 2005 with Secretly Canadian Records. They will be touring in support of that release in the US and abroad over the coming months.
Early Day Miners are a 'musical-cooperative' based in the rolling hills of Bloomington, Indiana. The group formed when Daniel Burton and Rory leitch (both of Ativin) began playing on front porches and basements with Joe Brumley, a mutual friend of theirs. Early Day Miners incorporate a revolving cast of accompanying musicians (friends) for both live shows and recordings. The resultant sound is not unlike a cinematic postcard; the words are there to serve as visual guides, the sound is camerawork.
www.earlydayminers.com
www.secretlycanadian.com
OUT HUD
OUT HUD follow the release of their debut single for !K7 with their second album, the follow up to 2002’s S.T.R.E.E.T. D.A.D.. LET US NEVER SPEAK OF IT AGAIN is an indefinable feast of filthy grooves, spectral sounds, tribal beats and haunting melodies that is unmistakably their own and yet immediately familiar. It’s been called ‘Freak Shit’ and it’s been called ‘Mutant Disco’. But whatever it is, it’s inevitably going to be called one of the defining records of the year.
LET US NEVER SPEAK OF IT AGAIN was over eighteen months in the making, mainly due to the band’s unusual writing technique. Originally written, primarily through jamming, at the band’s house – they have been living together, on and off, for so long that they now have two pet cats and spend Thanksgiving with one another – the record was recorded in Washington DC before they returned to their New York house to have it mixed and deconstructed by band member Justin Vandervolgen. Even then the process continued, with the band further reworking songs to perfection. As they themselves admit, “mixing is a really central part of our music and the way we work takes a long time. We are perfectionists…”
LET US NEVER SPEAK OF IT AGAIN is a very different record to S.T.R.E.E.T. D.A.D. which was essentially a more down tempo affair. “We really believe in not standing still. We listen to music all the time and we are always getting inspired by new things so it makes sense that our record from two years ago doesn't sound like we do now.”
“We live in New York,” they continue, “where you can hear all kinds of music from all over the world in the street.” That certainly clarifies how they can claim that their sound is influenced by sources as various as “Adrian Sherwood, Larry Levan, Judy Nylon, Dr Dre, Dub, Disco, Neptunes, Timbaland, Lenky and other Dancehall…”
The new album is as diverse as this suggests, and should silence the current whines that dance music is no longer as relevant or vital as it once was. Take off the blinkers, y’all, because you’re looking in all the wrong places. Across the US, and indeed during their European tour following the release of debut album, OUT HUD have built up an enviable reputation for being capable of making even the most po-faced of indie chinstrokers throw off their cardigans and hit the floor. Their associations with !!! (with whom Tyler, Nic and Justin also play) and LCD Soundsystem (for whom Tyler also plays bass) have also done their reputation no harm. And LET US NEVER SPEAK OF IT AGAIN is stacked with evidence in their favour. On cuts like the single One Life To Leave or How Long, the organic growth of the groove is utterly irresistible, whilst there’s a tension in tracks like The Song So Good They Named It Thrice or The Stoked American that is unhealthily enticing. Dear Mr Bush, meanwhile, is surely one of the most atmospheric and moving songs you’re likely to hear on a dancefloor. Ever.
So, LET US NEVER SPEAK OF IT AGAIN. So named because OUT HUD won’t need to. Everyone else will be talking about it for them…
BIOGRAPHY:
There are almost as many strands to OUT HUD’S history as there are to their music. The band’s story takes in so many different twists and turns that it was bound to influence their music significantly. But the results are so unexpected that it’s worth recognizing that there is even more that has played a part, far more than we could ever hope to cover here. Ask the band what influenced them, and the answer is succinct and telling: dancehall, rap, R&B, punk, disco, drugs and the regional cuisines of the world.
Phyllis Forbes and Molly Schnick were fourteen years old when they formed their first band. They lived in Berkeley, California. By the time they were playing in a punk rock act called Tourettes, Phyllis had also started making four track recordings with her friend Justin Vandervolgen. Moving to Sacramento, they crossed paths with Nic Offer and Tyler Pope, who were playing in another punk rock band, The Yah Mos. Out of all of this OUT HUD materialised, some time around 1996.
Singles emerged, the first on Red Alert Works in a limited edition of 500, followed by further low key releases, including a split 12” with !!!, who shared (and continue to share) Tyler, Nic and Justin in their line up. OUT HUD’s mix of cello, bass, guitar and drums, boosted by a member who devoted his time exclusively to the mixing desk, makes them unusual enough, but touring deepened their understanding of rhythm, percussion and dub until finally the band felt ready to start work on what was to become their debut album, S.T.R.E.E.T. D.A.D. (released by Kranky Records in 2002).
Crafting a reputation in the wake of its release for inspirational live shows across the US and then in Europe, the band also learned that their greatest strength was their ability to fuse wildly diverse sounds into a mash up all of their own. Years of playing in a variety of bands have clearly broadened OUT HUD’s musical horizons, so their backgrounds in hardcore, punk rock and post rock, musical associations with !!! and LCD Soundsystem (with whom Tyler also plays), and immersion in black music have given birth to something that is indefinable and all the better for it.
LET US NEVER SPEAK OF IT AGAIN is OUT HUD’s second album, and their first for their new European home, !K7. It’s a significant step forward from S.T.R.E.E.T. D.A.D. and comes at a time when contemporary electronic dance music is being increasingly dismissed as stale, with the world looking for new ways to take to the floor. Currently based in New York, they find themselves exposed to even more international influences than ever, and the results are as fluid and irrepressible as the city they now call home. Refusing to take themselves entirely seriously - as their unique line in song titles suggests – they still offer as a music that is as profound as it is provocative. Atmospheric and evocative, fearlessly far reaching and endlessly innovative, OUT HUD are so much more than the sum of their many parts that folk will be coming up with new genres to describe for months to come…
OUT HUD are
Phyllis Forbes (vocals, keyboards, bass, stray cats, jogging)
Molly Schnick (cello, vocals, knitting, answering emails)
Nic Offer (keyboards, vocals, thinking and feeling)
Justin Vandervolgen (mixing, keyboards, beard growing, DJing)
Tyler Pope (bass, keyboards, fitness, Djing) - please note that Tyler left the band shortly after finishing recording the album to focus on his commitments to !!! and LCD Soundsystem.
brainwashed.com
k7.com
www.kranky.net
DISCO DRIVE
Alessio Natalizia / chitarra, voce, percussioni Andrea Pomini / basso, voce Jacopo Borazzo / batteria, voce
Nascono a Torino nell’estate del 2002. Amano definirsi punk-rock, nonostante il termine assai demodè, e anche se non è la prima cosa che forse viene in mente a chi li ascolta, è certo una cosa che viene in mente a chi li conosce. Due sono bassi e uno no. Due sono magri e uno no. Due sono giovani e uno no. Due sono nati in Piemonte e uno no. Due studiano e uno no. Due mettono bocca su tutto e uno no. Due guidano il furgone e uno no. Due tifano granata e uno no. Lavorano su ritmo ed energia, canzone e dilatazione, contenuto e abbandono. Ma se non avete ancora avuto modo di trovarvi a uno dei loro movimentati concerti (rimediare in fretta!) dovrà bastarvi ciò che di loro ha detto Maurizio Blatto (Rumore, Label): “i Disco Drive sono i Clash che fanno la fila per entrare allo Studio 54, ma anche Ian MacKaye che scarta il suo regalo di compleanno e scopre che è un vinile di Tito Puente. Slave to the rhythm!”. Hanno fatto quasi 100 date in tutta Europa, dalla Svezia all'Inghilterra, passando per Praga, Vienna, Berlino e Amsterdam. Nonchè per Umeå, Trier, Glasbury, Kortrjik e soprattutto Fürth. Da soli o in compagnia di Q And Not U, El Guapo, Black Eyes, The Black Keys, Perturbazione, Giardini di Mirò, Enon, One Dimensional Man, Altro, Three Second Kiss, Settlefish, The Thermals e molti altri. Hanno partecipato alla prima edizione del Traffic Festival (Iggy And The Stooges, Subsonica, Africa Unite, !!!, Karate, Zu, The Ex), a Musica Nelle Valli 2004 (il più bel festival di musica indipendente in Italia?), al concerto di Capodanno 2004/2005 del Covo di Bologna, al For Noise Festival di Losanna (Svizzera) e a Rock Otocec, il più importante festival musicale sloveno, oltre che a vari festival e festivalini in Italia e in Europa. Tutto questo senza avere un album fuori, senza un'etichetta, senza un management, senza un'agenzia o qualsivoglia persona al di fuori delle tre direttamente coinvolte che facesse le cose al posto loro. Punk-rock, si diceva. Faticoso, ma ne è valsa la pena. E ne sono abbastanza orgogliosi.
L’album si intitola WHAT’S WRONG WITH YOU, PEOPLE? ed esce per la bolognese Unhip, con distribuzione Wide per l’Italia ed Hausmusik per il resto del mondo. Lo ha preprodotto la band nella sua sala prove ai Docks Dora di Torino insieme a Max Casacci (Subsonica/Casasonica). Lo ha prodotto, registrato e mixato Rockin’ Rudy (Wah Companion/Casasonica) allo studio Gulp! di Torino. Lo ha masterizzato Frederic Schäfer negli studi Dubplates & Mastering di Berlino (Morr Music, Domino, Kitty Yo, etc.). Alessandro Baronciani (Perturbazione, Bugo, Altro) ha curato la grafica, e si vede. Vito Miccolis (Tribà) ha suonato le percussioni in “Forward!” e “Better Is The New More”, e si sente.
RASSEGNA STAMPA
“ (…) non ha nulla da invidiare, in fatto di stile, grinta e ballabilità, ai vari !!! e Rapture, oltre a evidenziare reminiscenze che vanno dai Gang Of Four ai Fugazi. (…) è un album che ha fascino e sufficiente credibilità per trasformare i Disco Drive in band di culto a livello internazionale”
(Rumore)
“(…) un prodotto da dancefloor di cui si apprezza la pregnanza dei groove, l’esuberanza degli interventi vocali, l’istinto ritmico anche in una chiave strettamente percussiva e latina. (…) roba di questo spessore in Italia forse non l’hai mai sentita, almeno da parte di un gruppo che ama definirsi punk-rock”
(Blow Up)
“Se volevano impressionarci, allora ci sono perfettamente riusciti: il loro What’s Wrong With You, People? Non poteva dichiarare in maniera più esplicita le intenzioni dle terzetto: scolpire funk a rasoiate e fendenti di chitarra. Cioè mettere in corto circuito Wire e Talking Heads, A Certain Ratio e Gang Of Four come accadeva ai dj più ispirati una ventina abbondante di anni fa. Idee chiare e determinazione sufficiente a sgombrare il campo da qualsiasi perplessità: questi ragazzi hanno fretta di arrivare e sono pronti a travolgere chiunque osi metteris di traverso”
(Rockerilla)
“Me li vedo già, quelli pronti a dire «Che noia, un altro disco punk-funk?». Me li vedo, quelli pronti a storcere il naso alla notizia che si tratta di una band italiana. Me li vedo, gli snob che notano il nome del subsonico Max Casacci in cabina di regia (pre-produce), e stanno alla larga dal cd. Me li vedo e mi intristisco, perchè se l’album d’esordio dei Disco Drive fosse arrivato un paio d’anni fa, sarebbero tutti lì a gridare al miracolo. Perchè il miracolo c’è davvero: i punk-rockin soul boys torinesi, dopo aver incendiato i palchi di mezza Italia, hanno tirato fuori un disco coi fiocchi. Punk-funk sì (dai Gang of four ai Q and not U di Power), e chi riesce a star fermo con All about this alzi la mano. Ma non solo: Forward! dubbeggia che è una meraviglia, la coda quasi psichedelica di Computer tomorrow è il modo perfetto per soffocare il fuoco e concludere il disco, Better is the new more -già un anthem- è la perfetta summa del suono (e del pensiero) Disco Drive. Ovvero anima, funk, percussioni e punk-rock: cosa volere di più?”
(Losing Today)
www.discodrive.org
www.unhiprecords.com
THE CZARS:
The Czars started in May 1994 when vocalist John Grant and bassist Chris Pearson had a chance meeting at Rock Island, a club in Denver’s lower downtown warehouse district. It took over a year to pull a complete band together and play their first show. The early years were slow, but recording began with local music icon Bob Ferbrache in 1995, who produced the first two albums. Contrary to press releases, the band actually self-released two albums, “Moodswing” and “La Brea Tar Pits of Routine” on their own label, Velveteen Records in 1995 and 1997, the later was sent to Cocteau Twins' Bella Union in London. Bella Union initially balked, but a follow-up five-song demo was quickly recorded and sent to Cocteau’s Simon Raymonde. He offered the band a four album deal the next week. The Czars would be the first American band to sign with Bella Union. A string of local opening gigs followed with opening slots for Low, the Dirty Three, and Ween (! ? !).
Recording on “Before...but longer” was initiated at London’s September Sound studio in September ’98, and Raymonde finished production on the album in December, but shelved the album util he could procure an American record deal. Then after playing SXSW in '99 and '00 then waiting for an American label to jump on the proverbial bandwagon, the album would languish for almost two years before finally being released in May 2000 without that elusive American deal. Chris Blackwell's Palm Pictures stepped up to the plate sending a representative to see the band play at the Bluebird Theater in May ’99, but they ended up signing Supreme Beings of Leisure and Cousteau instead. They made the right choice there. Band members wanted to quit but couldn’t because of a little thing known as “potential”.
By the end of ‘99 The Czars were named Best Rock Band by Westword immediately catapulting them into more promises of fame but continue obscurity. Best “Rock” Band had a nice ring to it, but it wasn’t their bailiwick. The band would have preferred Best Non-Rock Band, but all pub is good pub for record sales. Gotta keep that momentum going!
The following year the band was approached to compose the soundtrack for an independent film. Although the film, “I’d Rather Be … Gone”, never saw the light of day outside of the Gay and Lesbian film festival in San Francisco, the soundtrack mini EP was released by Toronto's Absalom Recordings that November. Self-produced in Denver with Colin Bricker at NFA studios, Bella Union “was quite disappointed (and) the sounds of things were very 'flat' and a bit uninspired,” but Splendid e-zine called it a “darkly beautiful ambience.” We tended to agree with Splendid. The mini-CD remains a fan favorite today and is the number one seller off this web-site.
Next up was the Raymonde-produced “The Ugly People vs. The Beautiful People.” Recorded in Denver over a month in early 2001, it was released in October 2001 with cover art featuring asses and tattoos. After 23 takes at “Black and Blue” they never wanted to see or hear the album again, but the accolades poured in, winning the 2002 album of the year in Westword (again!) and receiving critical praise from Mojo, Q, and NME. That American label would finally sign the band (Manifesto Records), agreeing to a licensing deal for one album with a label option for a second. The payola was direct deposited from one label to another. Money and record sales pour in and Bella Union signs 36 bands, including a Jewish rapper from Nova Scotia. Not bad for a label with only 5 people on the staff. Times were good.
The Czars toured Europe opening for David Gray (?), 16 Horsepower, and The Flaming Lips. Europeans came out in droves to see the band. Three small US tours followed. Americans drove by marquis but didn’t see the band, probably getting them mixed up with the metal band “Czar”, Detroit's "The Sounds of the Czars", or the Hollywood Records pop-tarts “Tsars”. Not to be deterred, the band recorded and self-produced the tour EP “X Would Rather Listen to Y Than Suffer Through a C of Z’s”, a reference to John’s linguistics book on Russian sentence structure.
By late 2003 the band was itching to begin work on a new album, but Bella Union wouldn’t or couldn’t pay for studio time. Months and e-mails passed. The band's proposals were too high, but a counter offer was never made. Stalled and frustrated and, with time and energy running out, the band resorted to begging for donations and loans from its fans to complete the follow-up album, "Goodbye.” Work was completed in June 2004, and “Goodbye” was released to much acclaim (again!) last September. Picked as the 38th on the Top 50 albums of the year by Mojo, it beat out such luminaries as The Shins, Morrissey, and Bjork. Not bad for a bunch of hacks that work day jobs and self-produce their own albums. This couldn’t or shouldn’t happen. The Czars were just a bug on the windshield of Morrissey’s Jaguar. The album sold well and the band would receive their first royalty check. Not a fortune, but it was enough to pay off some back debt.
www.czarsmusic.com
www.bellaunion.com
LUCIANO CHESSA:Dell’Arte della Sega
Ho costruito negli ultimi anni un ampio e personalissimo vocabolario di suoni (armonici estremamente acuti, effetti di illusione acustica, vibrati estremi, multifonici, suoni industriali, suoni di purezza sinusoidale...), ottenuti sia sfregando la lama della sega con diversi tipi di archetto, che percuotendola con uno speciale martelletto. Basandomi sul materiale sonoro elaborato, ho scritto una serie di brani in cui la componente teatrale è rilevante quanto il senso della forma musicale. Ben diversa da un numero da fantasista, la teatralità del mio solo si concentra però sulla pericolosità dello strumento stesso, e mira quindi ad esaltare l'uncomfortable – si pensi ad un'azione teatrale con una perfidissima lama di 36 pollici.
Molti dei brani sono stati scritti per i concerti di nuova musica organizzati annualmente da Sarah Cahill in occasione del solstizio d’estate, tenuti presso il cimitero monumentale di Oakland chiamato Chapel of the Chimes, una follia disegnata da Julia Morgan.
La continuità del glissando, con il suo scivolare liberamente per quello spazio divisibile all’infinito che è lo spazio delle altezze, gode di uno statuto spirituale. Essendo la proprietà di glissare la sua caratteristica più importante, la sega partecipa all’incorporeo. Giacchè essa, con il suo lacerante, archetipico lamentarsi, possiede una voce. Una voce soprannaturale.Farla emergere richiede anni di pratica e concentrazione
Luciano Chessa’s bio:
As a composer, piano player, musical saw soloist, and ensemble artist, Luciano Chessa has largely performed in the U.S. and in Europe. He has created performances and has written music for different instruments and ensembles. His first recording, Humus (1997) received excellent reviews in all the major Italian musical magazines (Fare Musica, Rumore) and was voted by Rockerilla's critics as one of the 10 best Italian recordings of 1997. His solo clarinet piece for Italian virtuoso Guido Arbonelli was premiered in Strasbourg last spring. His piano and percussion duet after Pasolini’s Petrolio, written for Sarah Cahill and Chris Froh, has been presented last fall at the Villa Aurelia of the American Academy in Rome. He is currently working on new pieces for Amelia Cuni, Andrea Ceccomori, Margareth Kammerer, Alter Ego Ensemble, and Albatros Ensemble, and planning a musical saw cd project that will include collaborations with a series of artists whose work he admires: Ellen Fullman, Ramon Sender, Jorge Boheringer, Gregory Moore, Vittoria Burattini. In May 2005 he will appear in solo-saw concerts in Germany and Italy.
In 1999 he joined the UC Davis Gospel Choir of which from 2001 to 2004 has been its assistant conductor. With the UC Davis Gospel Choir he has performed in the Carnegie Hall, New York City, in Mondavi Center’s Jackson Hall, Davis, and also in countless churches around California. He has become increasingly interested in poetry reading, mostly of Futurist Sound Poetry. His reading of the Futurist “epic” poem Piedigrotta, by the Neapolitan Francesco Cangiullo in San Francisco and the Bay Area has received critical acclaim; his reading of sonnets to accompany a performance of Vivaldi’s Four Seasons by the Grammy Award Nominated New Century Chamber Orchestra in San Francisco’s Herbst Theatre was granted with an enthusiastic review in the San Francisco Classical Voice.
Furthermore, Chessa has produced concerts of contemporary music for almost ten years. He worked from 1996 to 1998 as concert producer for Bologna’s LINK PROJECT, an internationally-renowned multifunctional center for contemporary arts. For the LINK he created and directed his own series of concerts, Convergenze parallele. Since summer 1999 he is the Musical Program Coordinator for the Italian Cultural Institute in San Francisco, where he produces concerts of Italian contemporary and 20th-century music in partnership with the several Californian concert institutions and universities (San Francisco Contemporary Music Players, LACMA, Stanford University, Mills College...)
As a musicologist, his areas of research competence include twentieth-century, experimental, and late fourteenth-century music (Ars Subtilior). His Ph.D. research, which he has presented internationally, has shown for the first time the occult relationship between Luigi Russolo’s intonarumori and Leonardo da Vinci’s musical machines. An article taken from his Master’s thesis “Alle origini del Canone Enigmatico” has been published in Musica e Storia, the Journal of the Levi Foundation, Venice. Among the forthcoming publications originating from his doctoral dissertation, it should be mentioned an article for the MIT Press journal Leonardo. Additionally, he has been chosen by the author as the Project Editor of the English translation of Mario Ruffini L’opera di Luigi Dallapiccola. Catalogo Ragionato, currently under consideration by Scarecrow Press. Chessa has taught at the University of California at Davis, is regularly invited as guest speaker at the University of California at Berkeley, and has been interviewed at the CBS (KPIX/KBHK) television channel as an expert on Italian hip-hop.
MASHA QRELLA:
Second solo effort from this Berlin musician who is also a member of CONTRIVA, MINA, and NMFARNER. Her wonderful songwriting is adorned with delicate, careful production, complex rhythm programming, and a subtle use of effects and sounds. Experimental pop at its best. Masha Qrella is a member of a couple of German bands, and after the sudden release of her unexpected first solo album, here comes solo effort number two. Although the singer-songwriter's concept of producing folk songs with a touch of electronica hasn't changed, "Unsolved Remained" surprises with a solid, careful production that marks a huge step from its predecessor's handmade feel. Among Morr Music's (and other labels') vast lineup of artists mixing synthetic sounds, guitars and voices, Masha Qrella manages to give her music a distinct edge by interspersing it with bouncing electronics and heavily distorted electric guitars that are sometimes pushed to extremes. Representative is the collaboration with Rechenzentrum in "Destination Vertical", but also most of the other pieces offer interesting details that are fun to discover.
lok
www.morrmusic.com
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