DerBlödeDritteMittwoch #94
19. FEBRUAR 2020, 20h30
grillX, 1010 Wien, Petersplatz 1

CAO-KELLER-SIEDL: „Modulus Of Resilience“ [konzert]
Seijiro Murajama / Jean-Luc Guionet [konzert]
Studio Dan & Leo Riegler: „GIF Frenzy“ & „Die Strase“ [film / musik]

Cao Thanh Lan (VN) – prepared Zither, Electronics | Beat Keller (CH) – Feedbacker Electric Guitar | Gregor Siedl (AT) – Clarinet, Electronics

CAO / KELLER / SIEDL © Photomusix / Christina Marx

Cao-Keller-Siedl is a Swiss-Austrian-Vietnamese trio, with Beat Keller on a customised feedbacker guitar, Gregor Siedl on clarinet and electronics, and Cao Thanh Lan on self-built electronics and prepared marxophone.
For Cao Keller Siedl, “energy” means “intensity,” and of course musical intensity can be at its maximum in the quietest moments. Pulsating patterns of high-frequency beats, suddenly emerging dreamy chords, then again deep growls of feedback that come rising up from the lower registers are only a very few of the varied, but never arbitrary, structural devices of their music. Creating beauty from harsh and tender materials alike, their music certainly has a redeeming quality in facing some of the ugliness of the human condition. [Text: Gerald Fiebig]

Seijiro Murayama – percussions / Jean-Luc Guionnet – saxophone alto

MURAYAMA / GUIONET © Arnold Haberl

„Place this music somewhere on the sliding scale between older school improvisation and electroacoustic improvisation. Four tracks of about an hour’s worth of minimal sound exploration from Guionnet on alto sax and Murayama on percussion, with lots of metallic popping from the horn while all manner of rubbing and scratching sounds issue from the drums, with occasional punctuation from struck membranes. On a previous recording with another saxophonist, Axiom For The Duration with Stéphane Rives, the modus was high frequency/long duration. Here it is most decidedly other, with longish periods of near-silence poked through with splintered rhythms and small notes or short phrases from the sax.
At about the 8-minute mark during the opening track, Procédé, Guionnet lets loose with a long LOUD held note while Muraryama burbles and pangs underneath. After that, things quiet back down for the most part. Murayama is prone to circular rubbings occasionally shot with drum-head snaps, gradually changing the texture from papery to grainy. His sounds are intriguing and well placed, often conjuring up insectile memories, while Guionnet worries a trill or shortens, then lengthens a repeated phrase. Later on in the long first track there is a bit of quick interaction, which gives way to a return to small sounds punctuating silence. When he lets loose with the quick-quick, Guionnet’s tone is sharp, a blade chopping notes. His held tones sound almost electronic at times. On Processus Murayama offers wind, fire and water sounds, which move around inside the stereo spectrum.
On headphones or at higher volumes there are some quiet details that may otherwise escape notice: soft movements that may or may not have been deliberate. It makes one wonder whether the title refers to physical objects, or the act of decorating a store window. Or a window itself.“

Jeph Jerman l The Squid’s Ear l


GIF Frenzy – Komposition & Visuals von Christof Ressi
Sophia Goidinger-Koch – Violine | Gunde Jäch Micko – Violine | Julia Purgina– Viola | Maiken Beer – Violoncello | Christof Ressi – Elektronik

Studio Dan

Die Strase – Screenshot

Die Strase – Film von Leo Riegler
Eine bizarr-poetische Groteske.
Ein Puppenfilm, live vertont von Studio Dan.
Mit Pferdeliebe, Hulk Hogan und der längsten Wurst der Welt.
Dazu Katzen-Anita, Schlitzsemmel Panzer, Hände und Beine. #FreeJazzIstKeinPonyhof.

Sophia Goidinger-Koch – Violine | Maiken Beer – Violoncello | Daniel Riegler – Posaune | Hubert Bründlmayer – Schlagzeug

Leo Riegler – Konzept, Bühnenbild, Puppenbau, Regie | Karolina Preuschl – Puppenspielerin | Raphael Meinhart – Puppenspieler
Kristin Gruber – Puppenspielerin | Simon Brugner – Kamera | Andreas Harrer – Ton