Tuesday, May 08, 2012

12.05.2012 - SIEBEN / STROTTER INST.

The Lodge presents:

SIEBEN (England)
STROTTER INST. (Switzerland)
DJ Hollow Bone

05/12/2012 @ Bazillus Club, Zurich


There are some seats and tables in the (jazz) club.
The capacity is limited to 100 visitors.
It is recommended to use the ticket reservation!
Concert starts at 21.00 

Normal Ticket: CHF 30.--
The Patron-Ticket: CHF 70.--
With the Patron-Ticket you support the concert evening.
As a sign of our appreciation "The Lodge" likes to thank you with a seat reservation with best view. 



With kind support of Popkredit Stadt Zurich and Migros Kulturprozent!



Matt Howden about his project SIEBEN:

"I’ve developed SIEBEN so that I can play live without any backing. I use a loop pedal, a violin and my voice. I can start with a simple melody, add a bass part or two, some ‘drums’ by playing beats on various parts of the violin (‘kick’ behind the strings, ‘snare’ by slapping the body, and ‘shaker’ by scratching the pickup with my chin etc etc), harmonies and melodies over the top. Over this I can sing and play.

It’s been great doing this live, and I have really noticed that it has had much more effect on people in the audience. They can see the songs growing, right in front of them, and see how the layers of the song are made, as they start to build up."


After more than ten years of making music with turntables, tapes and loops the swiss based musician, artist, performer and architect Christoph Hess started in 1998 the project Strotter Inst. to concentrate just on the manipulation of turntables not using any records or sounds made by someone or something else.

Live, Strotter Inst. is generating dense sound- and rhythmstructures by using five modified and manipulated lenco-turntables and various cut or scotched records. The music ranges from a low-fi rumble changing into concrete clicks and scrapes, followed by epic drones and multilayered broken beats to fall back into tricky bass-meditations. The anacronistic machineries have dual roles as objects and as instruments. The first live impact is as installations, then the sounds start to grab the listeners' attention. The auditive level surpasses the visual one. Therefore, the optical comprehension of how the sound is generated plays an important role. In spite or probably because of the analogue creation the structures produce a contemporary and accurate athmosphere in space and time. Strotter Inst. prefers to play in the middle of the audience. The installation is set up especially for each room. Except for the PA, Strotter Inst. brings along all the material he uses. The basic structures for every gig are noted. The set is adapted for each rooms conditions and depends upon the uncertain behaviour of the machines. So each live appearence becomes an acoustic original.

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