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Antumbrae Intermedia Events + Installations presents:
die Angel (Ilpo Väisänen (Pan sonic) and Dirk Dresselhaus (Schneider TM)/Shit And Shine/ Xambuca
10:00pm die Angel
9:15pm Shit And Shine
*** die Angel ***
die ANGEL, a collaboration between Ilpo Väisänen (Pan sonic) and Dirk Dresselhaus (Schneider TM), is by now an institution in noise music and drones. For twenty years, the duo has explored the depths of concrete noise and grinding sound, their sound evoking associations with grand natural phenomena. No wonder, then, that in reviews of ANGEL – later known as DIE ANGEL – oceans, deserts, canyons and earthquakes are repeatedly used as metaphors.
Väisänen and Dresselhaus have, in the meantime, played an undeniably large part in the fact Drone music has matured into an independent genre. For DIE ANGEL, noise and musical action are means of communication, and music an open process, so instead of withdrawing into their unity, they’ve always sought artistic exchange with others. Thus, it is only logical the internationally renowned musicians would invite distinguished guests to celebrate their twentieth anniversary. These musicians each contributed to three ANGEL albums released by Editions Mego between 2007 and 2014: Hildur Guðnadóttir, Oren Ambarchi, Lucio Capece & BJ Nilsen.
In an exclusive celebration of DIE ANGEL’s 20th anniversary, the six musicians will share the stage, making it a world premiere.
Hildur Guðnadóttir, best known as a cellist and singer, has in recent years composed for theatre, dance and film (e.g. “Arrival”, “The Revenant”, “Sicario: Day of the Soldadound”), while Oren Ambarchi moves between new music and experimental rock. BJ Nilsen, the Swedish sound artist based in Amsterdam, deals mainly with field recordings, environmental sounds and their effects on people, and Lucio Capece was active for many years in the context of Berlin Echtzeitmusik, releasing 30 works on labels such as Pan, Another Timbre, Entr ́acte and Potlatch.
The improvisational music project DIE ANGEL creates instant compositions through communication with sound, its music generated by various sound sources, instruments and objects such as modular synthesizers, guitars, cello, bass clarinet, field recordings and everyday objects. For this joint concert with their four guests, Ilpo Väisänen and Dirk Dresselhaus will intuitively further develop and reinterpret the sound material created between 2006 and 2010.
***Shit And Shine****
Trapped in a nightmarish psychic landscape midway between the bars of Texas and the bass-bins of Berghain, Shit And Shine are back for the attack, volleying forth across the consciousness with a delirious voyage into the nether.
The sonic misdemeanours of Craig Clouse have taken on many forms in his thirty-odd-year travails through transgression, moving from London to Texas and back whilst journeying from the grinding noise rock of Crown Roast, through the Amphetamine Reptile abjection of Hammerhead and the deadbeat riffage of Todd, all the while with a savagery of delivery, an experimental mindset and an off-kilter sense of derangement high on the agenda.
In retrospect however, all other projects appear little more than a mere warm-up for Shit And Shine, a beast which - over the course of the last fourteen or so years and thirty plus releases on labels as disparate as Riot Season, Editions Mego, Diagonal and Load - has proven itself capable of morphing into new, terrifying and destructive shapes seemingly of its own volition, in a manner not altogether unlike the alien protagonist of John Carpenter’s The Thing.
Whilst initially Shit And Shine was a vehicle for bloody-minded multi-percussive rhythmic drive, Faust-style avant-incongruity and brain-curdling noise - as on early gems such as 2005’s ‘Ladybird’ and 2008’s ‘Cherry’ - a move more recently to the realm of binary barbarism and BPMs has only upped the stakes still higher in their quest for absurdity and abandon. ‘Bad Vibes’ - their fourth release for Rocket after 2017’s ‘That’s Enough’, 2015’s ’54 -Synth Brass, 38 - Metal Guitar, 65 - Cathedral’ ,and their earlier ‘Collisions’ split with Gnod (one of many Rocket bands to have been heavily influenced by $n$) is a culmination of everything Clouse has lurched towards thus far. A freewheeling assault on the senses and all or any sensibilities, it infuses the monomaniacal mindset of techno and house with the caligulan mania of The Butthole Surfers, as skeletal techno, sample-strewn collages, kraut-fried repetition and dementoid electronic scree are thrown heedlessly into a blender with tantalising and terrifying results.
Chandra Shukla (b. 1975) created XAMBUCA before performing a debut performance in Berkeley, CA on April 20, 1995 came up with the nonsensical moniker. He formed them from letters left over from a Scrabble game that spelled out what has come to be known as 'XAMBUCA'. It was this that prompted the need for a name and the beginnings of an ongoing collaborative project that was completely free of genre, form, context or musicality with a rotating arsenal of sonic guests. Though now in 2019, the lineup for XAMBUCA consists solely of Chandra Shukla (sound) and more often on the rare occasion video collaborations with Geo Lynx (video). XAMBUCA has performed internationally and continues to produce, record and perform live. The symbol of XAMBUCA is the 'x' that marks the spot appearing on every product and stemming from the likes of chromosomes to tuning forks and is a brand logo to be recognized , everywhere. One of those symbols that you've felt you've seen before but weren't quite sure where. Many derivative and copycat logos have emerged since its inception in 1995 either by mere coincidence or sheer plagiarism. XAMBUCA strives to give emphasis to its art both sonically and visually.
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