MOOR MOTHER
Very special three-day residency from Moor Mother, aka Philadelphia based interdisciplinary artist, Camae Ayewa!
Ayewa (Moor Mother) is a musician, poet, visual artist, and workshop facilitator, and has performed at numerous festivals, colleges, galleries, and museums around the world, sharing the stage with King Britt, Roscoe Mitchell, Claudia Rankine, Bell Hooks, and more. Camae is a vocalist in four collaborative performance groups: Irreversible Entanglements, Moor Jewelry, 700bliss and ZONAL.
In late 2016, she released her debut album Fetish Bones on Don Giovanni records to critical acclaim. Fetish Bones was named 3rd best album of the year by The Wire Magazine, number 1 by Jazz Right Now and appeared on numerous end of the year list from Pitchfork, Noisy, Rolling Stone, and Spin Magazine. She has since released 'The Motionless Present' commissioned by CTM X VINYL FACTORY 2017, as well as fronted the groups Irreversible Entanglements and Moor Jewelry and 700bliss. Thanks to her unstoppable energy, she has recently peformed at a host of vital festivals including Borealis, CTM, Le Guess Who?, Unsound, Flow, Rewire and Donau.
Analog Fluids of Sonic Black Holes was released on Don Giovanni in November 2019 to mass critical acclaim.
GALYA BISENGALIEVA
Galya is an award winning Kazakh/British violinist making her own work as a soloist, improviser and collaborator with artists and composers of varied genres.
She has performed solo shows throughout Europe, USA, India, Turkey, Brazil, and made her sell out debut in Teatro Colón, Buenos Aires, where Galya received the Revelación Award by the Music Critics Association of Argentina.
Galya has toured key solos for live productions of Phantom Thread, Under the Skin, The Piano and There Will Be Blood. Premiered Edmund Finnis' 'Shades Lengthen' on BBC Radio 3 and co-wrote ‘Galya Beat’ with electronic producer Actress and percussionist Sam Wilson which was released on Ninja Tune. She has collaborated with composers Pauline Oliveros, Steve Reich, Laurie Spiegel, Suzanne Ciani, Terry Riley as well as comissioning and performing new works by Hildur Guðnadóttir, Sarah Davachi, Shiva Feshareki, Claire M Singer, Emilie Levienaise-Farrouch, Mica Levi, Ipek Gorgun and CHAINES.
Galya’s violin solos and improvisations can be heard on Lynne Ramsay's 'You Were Never Really Here' (2017), Laure de Clermont-Tonnerre's drama 'The Mustang' (2019), Alma Har'el's Sundance Winner 'Honey Boy" (2019) and Hlynur Pálmason’s Cannes Film Festival Winner ‘A White, White Day’ (2019). She leads the London Contemporary Orchestra.
GALYA BISENGALIEVA
Galya is an award winning Kazakh/British violinist making her own work as a soloist, improviser and collaborator with artists and composers of varied genres.
She has performed solo shows throughout Europe, USA, India, Turkey, Brazil, and made her sell out debut in Teatro Colón, Buenos Aires, where Galya received the Revelación Award by the Music Critics Association of Argentina.
Galya has toured key solos for live productions of Phantom Thread, Under the Skin, The Piano and There Will Be Blood. Premiered Edmund Finnis' 'Shades Lengthen' on BBC Radio 3 and co-wrote ‘Galya Beat’ with electronic producer Actress and percussionist Sam Wilson which was released on Ninja Tune. She has collaborated with composers Pauline Oliveros, Steve Reich, Laurie Spiegel, Suzanne Ciani, Terry Riley as well as comissioning and performing new works by Hildur Guðnadóttir, Sarah Davachi, Shiva Feshareki, Claire M Singer, Emilie Levienaise-Farrouch, Mica Levi, Ipek Gorgun and CHAINES.
Galya’s violin solos and improvisations can be heard on Lynne Ramsay's 'You Were Never Really Here' (2017), Laure de Clermont-Tonnerre's drama 'The Mustang' (2019), Alma Har'el's Sundance Winner 'Honey Boy" (2019) and Hlynur Pálmason’s Cannes Film Festival Winner ‘A White, White Day’ (2019). She leads the London Contemporary Orchestra.
ONO
Technically ONO began in 1980 - it’s the year the band officially assigns - but anyone can see the band’s miasmic origins roiling and writhing much before. P Michael Grego and travis had met before 1980, sharing a love for written and spoken word, the transcendent, and the genuine. Through continual poking and prodding, P Michael convinced travis to join him in ONO, the name coming from shortening “onomatopoeia,” and underscoring a desire to create “noise not music.” P Michael would handle the audio. travis the words. Since January 5, 1980, they have fiercely defended a singular construct: “The ONO STATEMENT OF PURPOSE: Experimental Performance, NOISE, and Industrial Poetry Performance Band; Exploring Gospel's Darkest Conflicts, Tragedies and Premises.”
In a deeper consideration of ONO’s genesis, the band is rooted in events hundreds of years earlier. ONO tackles military history, religious history, racial history, geopolitical history, artistic history, and that’s only for starters. travis mentions real, often harrowing events, attaching years and dates, as if history were ever present.
ELAINE MITCHENER
Elaine Mitchener is an experimental vocalist and movement artist whose work melds different vocal styles encompassing free-improvisation, contemporary new music, sound art, music theatre and dance. She has worked and performed in a wide variety of contexts with leading artists including: Apartment House, Van Huynh Co, Steve Beresford, Sonia Boyce, John Butcher, Attila Csihar, Alexander Hawkins, Tansy Davies, George Lewis, Christian Marclay, Phil Minton, The Otolith Group, Evan Parker, Alasdair Roberts, David Toop, and Jason Yarde. She is co-founder of experimental jazz quartet the Hawkins/Mitchener Quartet (with Neil Charles, Stephen Davis and Alex Hawkins).
“Mitchener is a distinctive presence and interacts with her body and the remarkable sounds she produces: speech, soulful singing, breathless percussive bursts, skittering across octaves.” (Ben Luke, Evening Standard)
“SWEET TOOTH is a vital black British addition to those seminal creative statements of resistance and defiance from the African Diaspora.” (Kevin Le Genre, Jazzwise)
ONO
Technically ONO began in 1980 - it’s the year the band officially assigns - but anyone can see the band’s miasmic origins roiling and writhing much before. P Michael Grego and travis had met before 1980, sharing a love for written and spoken word, the transcendent, and the genuine. Through continual poking and prodding, P Michael convinced travis to join him in ONO, the name coming from shortening “onomatopoeia,” and underscoring a desire to create “noise not music.” P Michael would handle the audio. travis the words. Since January 5, 1980, they have fiercely defended a singular construct: “The ONO STATEMENT OF PURPOSE: Experimental Performance, NOISE, and Industrial Poetry Performance Band; Exploring Gospel's Darkest Conflicts, Tragedies and Premises.”
In a deeper consideration of ONO’s genesis, the band is rooted in events hundreds of years earlier. ONO tackles military history, religious history, racial history, geopolitical history, artistic history, and that’s only for starters. travis mentions real, often harrowing events, attaching years and dates, as if history were ever present.
Última actualización
4 years agoCoste
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