Friday 11 December 2020, 7.30pm
Delighted to host a very special stream featuring some of the incredible artists that we've been lucky enough to release on our in-house TakuRoku label this year, in collaboration with Belgium's ever-vital grassroot venue, Les Ateliers Claus!
Les Ateliers Claus is the hub of European experimental music and has been a frequent collaborator over the years, with a programme that echoes OTO's and a shared ethos. More recently, Les Ateliers Claus has been very supportive of our TakuRoku label. This stream is dedicated to TakuRoku musicians who are based in Belgium, performing from Les Ateliers Claus and streamed from OTO! The livestream will also feature a special interview on each artist filmed at the space too.
It's been such a positive energy force and inspiration for us to know, a place like Les Ateliers Claus exists, especially under these uncertain times when now more than ever it's important to stay connected. Special thanks to Tommy De Nys, Christophe Albertijn and Frans Claus.
You probably know that Ignatz is the moniker of Bram Devens. He stole it from the mouse in the legendary Krazy Kat comics by George Herriman. After several releases on Fonal Records, Ultra Eczema and Goaty Tapes, he releases his 4th album on KRAAK, co-joined by the great Feeding Tube records.
Ignatz’ new album consists of a hypnotic and mystical song cycle that centre around leitmotifs as despair, sobriety and the drain on his backyard. The Drain is a master piece, on which the Landen based troubadour weaves echos of South American folk music into a complex of harsh folk, shallow blues and loner psych. He flushed the crappy electronics from his early records through the drain and created room for sparse fingerpicking and mumbled singing. In the 11 songs Devens finally reveals himself as the master guitar player and songwriter that he always has been.
The Drain dissects in grandeur the human void, for which only codeine is the appropriate remedy. We are lucky that Ignatz’ version of The Great Void is soothingly synonymous with The Essence.
As autodidact, Farida Amadou draws the most exciting sounds out of her bass without losing sight of the musicality. In her, to date, short musical career, she makes her mark (inter)nationally in challenging collaborations with people such as Peter Brötzmann, Thurston Moore, Mette Rasmussen and Julien Desprez.
Brussels composer/musician Ben Bertrand modifies his bass-clarinet melodies with a battery of effect pedals thus creating unearthly dreamy compositions that could rub shoulders with the best work of Gavin Bryars or Jon Hassell. Minimalists like Steve Reich and Terry Riley are never far removed.
Floris Vanhoof (°1982, lives and works in Antwerp, Belgium)
is interested in the hybrid forms of music, visual art, and film.
His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns.
Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music.
Vanhoof makes his own instruments to explore the border between image, light, and sound.
As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations - formats doomed to disappear.
He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered "hightech."
Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer:
How does our perception operate? Which new perspectives appear?