Tuesday 17 October 2017, 7.30pm, OTO Project Space
A duo for saxophone and synthesizer. Johns/John lock into a series of cycles and frequency systems that while loosely in the tradition of the patterned saxophony and accompanying string drone of La Monte Young and the Theatre of Eternal Dream Music’s B Flat Dorian Blues obliterates the instrumental hierarchy that Young espouses for an altogether more unknowable intensity of experience.
Lund is a Copenhagen based artist, mainly with focus on sound and performance.
In 2001 he started yoyooyoy, a music collective, with fellow musicians Andreas Führer, Anders Meldgaard and Toke Mortensen. yoyooyoy turned out to be the centre of Lund’s career the following years. within the collective he played in the groupes Fjernsyn Fjernsyn, Slütspürt, Yoke & Yohs, G.E.K., Forkert and Sumo Freunds.
Lund’s solo releases go against the normal assumptions of how a saxophone sounds. Having worked with guitar players Lund’s developed a characteristic sound, using intensity, persistence and endurance as main effects.
Beside the more steady groups Lund has worked together with, Dane T.S. Hawk, P.O. Jørgensen, Peter Brötzmann, Fred Lohnberg Holm, Mette Rasmussen, Jooklo Duo and Mats Gustafsson, among others.
Along with performing Lund has always been involved with arranging shows in the Copenhagen underground scene. In 2010 he started a venue for experimental and extreme music together with Sune Nielsen, Tobias Kirstein and Maria Bertel, called Mayhem. Mayhem has gained a high international reputation and has become a centre for the experimental music scene in Denmark.
John Chantler is a musician and organiser living in Stockholm, Sweden.
In 2016 Chantler released 'Which way to leave?’, his latest LP for Lawrence English’s ROOM40 label.
The self-reflexive sequencing that tracks the sub-harmonic series in the opening blast of 'Falling Forward' positions the record as Chantler's most explicitly melodic. These melodies however do not exist in a mono-dimensional vacuum, rather they co-exist in a meshed framework of dynamic timbral layers.
The record’s abrupt cuts, deft variations of density and unexpected diversions are happily explored with headlong dives into ravishing texture and extended stretches of surface stasis. The music draws on a domestic reimagining of the traditions of studio based electronic music/musique concrete and 20th century minimalism and delivers this with brash revitalized energy.
This new LP follows ‘Still Light, Outside’ an extended suite that combines passages of stark minimalism centred at the bodily invasive extremes of the pipe organ’s register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. It was described as ‘strikingly beautiful’ by The Guardian.