03 Mar 17 20:00 |
KRAAK festival 2017
Beatriz Ferreyra (ar)
Brunhild Meyer-Ferrari (de)
Johannes Bergmark (se)
Steven Warwick (uk)
Hiele Martens (be)
Henry Andersen (au)
Frank Hurricane (us)
Andé Somby (no)
Johns Lunds (dk)
Ameel Brecht (be)
Annelies Monseré (be)
Zad Kokar & Les Combi Beyaz (fr)
Accident du Travail (fr)
+ DJ Stoute Meneer & DJ Cop-Case
+ DJs Von Calhau!
+ DJ mr. Charles Berlitz
+ Film Program
+ Brunch by Eat VZW
+ more acts tbc soon
Your yearly appointment to keep your finger at the beating pulse of music.
Your yearly appointment to keep your finger at the beating pulse of music.
Het is hét moment van het jaar. We zijn juist 2017 binnengegleden, dus tijd om diep in het volgend jaar te kijken. Tijd voor onze jaarlijks statement over wie wie en wat wat zal zijn de volgende jaren: met andere woorden, tijd voor het KRAAK festival!
De 19de editie zal opnieuw het hart van Brussel en de Beursschouwburg overnemen. We gidsen u doorheen het doolhof dat off-stream muziek heet. Zoals u weet is dit labyrint een eindeloos uitdijende bastard van parallelle universa waarin noise, no wave, avant-garde, folk, performatieve en visuele muziek in elkaar overvloeien, muteren en in nieuwe genres en vormen transformeren.
In het kort: het KRAAK festival is uw jaarlijkse afspraak om de vinger aan de kloppende pols van muziek te houden!
Moleglove (de) was born out of the ashes of the notorious Column One. The Berlin-based triumvirate of Robert Schalinski, Rashad Becker and Jürgen Eckloff decided to throw off their masks and envision a heightened focus on sound rather then on performance. The three masters in contemporary electronica are bound by a very defined approach that you can call absolute music. An approach in which sounds are detached and isolated from the ‘real’ world. Abstraction is the key to create an immersive and pure experience, fuelled by a taste for the uncanny, the unheimlich and the confused. We are as curious as you are, as we image a musical equivalent of being sucked into Samuel Beckett’s Molloy novel.
The Toulouse based duo Nibul (fr) proves that France is still producing the most challenging underground transcendentalism and minimalism up to date. With saxophone and percussion they create tribal, open jams in which they take holy tradition of minimalism from the city to the countryside, the lakes and the mountains. We suspect there must be something channeling in artisanal cheese and wine.
Johannes Bergmark (se) is a Fylkingen affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre, in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, as you find him sometimes hanging on 2 piano strings from a ceiling.
In the first place Beatriz Ferreyra (es) is a true hearted and curious researcher in sound. In the 60ties she started working at the GRM, working together with Pierre Schaeffer, Henri Chiarucci and Guy Reibel. By the 70ties she built her own studio, starting with tape machines and ending with the computer. In 2017 her works are lively, spiritual and beautiful pieces that exemplify how composing should be all about imagining new forms of music. Highly recommended: the reissue of old and new work on Editions Mego’s Recollection GRM series.
Mostly know as the wife and life long collaborator of Luc Ferrari, Brunhild Meyer-Ferrari (de) has created beautiful tape compositions on her own as well. A couple of years ago Alga Marghen and Sub Rosa released her compositions in which Ferrari shows a heightened sense for deep, tactile music. A rare and exclusive performance.
Steven Warwick (uk) is the new disguise of Heatsick, once part of one of British finest noise outfits Birds of Delay. On his most recent record he reveals himself as a late night crooner, reflecting on the micro-drama’s of contemporary commodities. Whereas his earlier records explores intellectualized forms of music, he shows on Nadir a heightened awareness for emotional songs. The record stands as a masterpiece in which minimal electronic, drunken karaoke tunes and off beat techno display a beautiful insight in today’s Western anxieties.
Henry Andersen (au) is a Brussels-based visual artist and composer. In his sound performances, Henry uses mostly spoken text - borrowing from concrete poetry and focusing on the qualities of the voice and speaker to obscure the meaning of the words. Henry deliberately chooses to work mostly with friends and amateurs. Debuts in 2017 on KRAAK.
Sometimes the sum of 1 + 1 adds up to 3. But if you add up 2 of belgium’s finest composers and musicians, it adds up to an infinite number. Hiele Martens (be), or the unexpected collaboration of Lieven Martens Moana and Roman Hiele, produced last months the most challenging music we have heard since long. They delve deep into a new territory that can be a 2017 update of Maurice Kagels Exotica, but for highly self-aware electronic musicians. We expect their debut on Ultra Eczema as one of the highlights of upcoming year.
You know we like neologisms, especially when they are inventing new genres. Frank Hurricane (us) proclaims to make ‘gangsta folk’, and we highly agree on this. Hurricane is a wild and singular story-teller, often providing rambling preambles during his live sets that can out-last the songs themselves. On his most recent record, presented to you by the always inspiring Feeding Tube Records, he tells you stories about Weird America, melted into long stretched folk ballads which brings to mind Alvarius B his appalachian side.
Music takes on different forms, moods and characters. Festoen (be) pushes music into the field of body movement and contemporary theater, stripping it down to an abstract mass of detached emotion. Festoen are two women hiding deep down in Ghent’s underground and Avant-Garde circles, presenting you an immersive and devasting experience unlike any other.
Ánde Somby (no) is deeply rooted in the yoik tradition of the Sami people. Sami are the nomadic people living above the North pole circle in Scandinavia. Although suppressed in history, Yoiking is according to some one of the longest-living music traditions in Europe. It is traditional singing evoking animals, persons or places. Somby keeps this tradition alive and kicking, learned by his mother and father. Today, in another part of Europe, Yoiking sounds as outworldish as the most extreme vocal poetry, using radical expressive vocal techniques and confronting listeners with their own embodied potential.
We like our metal radical, dirty, and so obscure that you (almost) can’t find anything on the www. Pymathon (fi) came through our ears on a beer soaked tape, released through a label that we never heard of. Their sound is harsh, wild and satanic, bringing the best of noise, trash and black metal together in an old school Finnish tradition. The members are well known figures in Scandinavian noise, free improv and experimental scenes.
Danish saxophone player Johns Lunds (dk) pushes circular breathing and minimalism toward new terrorities. He reinterprets minimalist masterpieces in a dadaesk way, by for instance cutting out notes out of Henning Christiansen pieces and using them as source for visual and literally spiraling scores. The highly recommended LP Johns Lunds plays baritone saxophone is in an immersive take on the 2nd generation of minimalist music, played with the intensity of Joe McPhee, and one of our highlights of 2016. Some facts: Lunds is part of the yoyo oyoy collective and worked together with a.o. Mats Gustafson.
Annelies Monseré (be) is one of the strongholders of post-millennial slowcore. Surviver of the nineties, she molded her song crafts careful during the 00ties in the cd-r and tape scene. Debris (Morc) is her 6th full album up to date, showing a master on top of her skills. The record is a hidden gem in minimal folk song writing that easily equals the British bards.
Apart from being the half core of Razen, is Ameel Brecht (be) the personification of the master guitar player in the purest form. Using resonator mandoline and guitar he blends european traditions of finger picking into a silent, melancholy world in which suppressed emotion and unspoken poetry are the key words. For the fact: Ameel will release his debut record on KRAAK in 2017.
Strasbourg has a great underground music scene. Zad Kokar & Les Combi Beyaz (fr) is its next hype. The trio plays wild and ecstatic no wave, played by the costume designers of K. Schwitters’ Cabaret Voltaire. As someone shouted to us: “dadaism is 2017’s next big thing”.
+ more tbc