http://www.beton7.com/page_16478.html

Παρασκευή 22 Οκτωβρίου

Goosli Noise (Ρωσία)
Adam_is
Γεώργιος Καραμανωλάκης
Plink

Σάββατο 23 Οκτωβρίου

Analog Suicide, (Batur Sonmez) (Τουρκία)
Dead Gum
Mecha/Orga
Τάσος Στάμου

20.30 – 00.00
Eίσοδος ελεύθερη
Α.Σ.Κ.Τ Πειραιώς 256 , Ρέντη . Aίθουσα Θεάτρου.
Πρόγραμμα Μεταπτυχιακών Σπουδών «Ψηφιακές Μορφές Τέχνης» της Α.Σ.Κ.Τ

also a note to any motherfucker who might pop up in the future and demands the entire control as the administrator of noise-below and its basic projects (organized music from thessaloniki, allnoisesswelltogetherinlandscapes, excrete music blog, outside my window blog, editions_zero, hrysallida, etc) is that we fankly don’t object to it as it’ll save us money and most important we’ll have more free time BUT at least make sure you know out of which thomas pynchon book the quote ‘noise a few decks below’ was lifted. (to the day only larry gus has found it, with kostis we were astound as he almost found not only the exact chapter but almost the exact line and paperback edition! larrygus.blogspot.com).

την Πέμπτη 28 Ιανουαρίου,

ο Ιταλός πειραματιστής Valerio Tricoli και ο Τάσος Στάμου μοιράζονται τη σκηνή του Six D.O.G.s γιά ένα ηλεκτρακουστικό double bill

Valerio Tricoli
Εξερευνώντας τη σχέση μεταξύ ήχου και μηχανημάτων, μέσω συνεργασιών και ως σολίστας, ο Valerio Tricoli για μια σχεδόν δεκαετία έχει δώσει μερικά φανταστικά δείγματα της δουλειάς του. Είτε μέσα από τα πιο πειραματικά/ψυχεδελικά ηχοτοπία του γκρούπ “3/4hadbeeneliminated”, είτε κατά καιρούς μέσω αυτοσχεδιαστικών συμπράξεων με άλλους ηχητικούς καλλιτέχνες (Antoine Chessex, Thomas Ankersmith, John Duncan, κ.α.), είτε -τέλος- δημιουργώντας περίπλοκες -ή μη- ηλεκτροακουστικές ατμόσφαιρες, εξακολουθεί κάθε φορά να μας εκπλήσσει και να μας καθηλώνει με τους μαγευτικούς ήχους του.
http://www.bowindorecordings.com/valerio_tricoli.htm

Τάσος Στάμου
Ο Τάσος Στάμου, αθηναίος ελεύθερος αυτοσχεδιαστής και παραγωγός ηλεκτρακουστικής μουσικής, περισσότερο γνωστός για τη χρήση παιδικών οργάνων στις εμφανίσεις του, θα παρουσιάσει μια ακόμα ηχητική του ιδέα βασισμένη σε τεχνικές feedback (looper, sampler, tapes) και σε παράδοξα σόλο παράδοξων οργάνων. Έχει συμπράξει επί σκηνής τόσο με εγχώριους σύγχρονους μουσικούς (Ιλάν Μανουάχ, Free Piece of Tape, Νίκος Βελιώτης, Adam_is) όσο και με αλλοδαπούς πειραματιστές (Valerio Tricoli, Ignaz Schick, Jim Permanent).
http://www.myspace.com/tasosstamou

Ώρα έναρξης: 21.00
Τιμή Εισόδου: 10 Ευρώ

Six D.O.G.S
Αβραμιώτου  6-8
Μοναστηράκι
Αθήνα
W: http://sixdogs.gr
Ε: info@sixdogs.gr

(apologies for the large picture size, but i have no access to any image editing tools at this moment)

tasos stamou, ilan manouach cdr

a varied duel between the two that took place in amfissa earlier this year. ilan sticks to soprano and sopranino saxophones while tasos circles him with all kinds of small & toy instruments and loops. exploratory at first, tuneful when it needs to ride to the occasion, a very nice and breezy document.

-

http://absurd.noise-below.org

http://www.myspace.com/ilanmanouach

http://tasosstamou.wordpress.com/

kukuruku recordings is a cdr label run by tasos stamou. it’s been active locally for some time now, but tasos had been waiting for the two latest releases to apear before bursting into the internet & beyond. the first two discs feature tasos, alone & with adam_is, in some very interesting electroacoustic trips; while newer discs feature topmodel, a berlin-based trio on cheap instruments & raw recordings, the illustrious dead traveller chanelling pagan customs & finally some improvisation-meets-enviromental recordings from barcelona under the title paisatges.

the label now has an online home here : http://www.kukurukurecordings.com/

photo by petros nikoltsos (www.nikoltsos.com)

this was only the second time i have caught tasos stamou live, the first being his first solo show a year earlier. he’s obviously come a long way since, releasing a record on editions_zero, testing himself in various one-off settings and the like. there was also a great shift in his confidence one could see. when exactly he acquired that confidence i can’t say but finding him pre-concert, he was ready to roll.

the show took place in that ever-friendly venue, arder. for the occasion and in addition to the usual operating table, tasos had brought in a small piece of, could-have-been-discarded, furniture to set up his tools on. add to that a couch for the biggest tasos fans to sit on and you had the most intimate of settings.

most of the pieces played were similar in execution but rich in detail and musicianship. for those who have heard his recordings he stayed close to the path of those that combine bent electronics, toy sounds and other musical elements in synthetic song creation. pulsating sounds built on evolving loop stuctures. where he excelled this time was in the economy of means; though economy might not be the first thing to pop into your mind when looking at his table full of gadgets, he built each piece using only few of them delivering well phrased and well-rounded statements. also, after each song he would turn to different tools to work with.

the sound of the concert was also excellent. arder is a bare-bones basement and you can’t do crazy things with amplification and, with closely captured sounds as some of tasos’ are, there is always the danger of feedback. in the end it turned out to be the best sounding concert i’ve seen there, mainly because a careful balance was struck between amplified and acoustic, leaving you the chance to listen to some of the sounds directly from the table. this is what i think worked best to the advantage of tasos’ music as it gave it a chance to reach out to us and communicate some of its qualities better.

around the 40 or 50 minute mark the show already felt quite complete and the musician seemed to think so too; still, the audience thought otherwise and tasos dutifully obliged. he didn’t seem to have prepared himself for a show of ‘epic’ proportions and so the last pieces played were more exploratory in structure, though still never overlong. in the end and after a roaring applause we went for a beer.

-special mention goes to the small figures and christmas lights decorating the underside of tasos’ table. out of season but in style, i only hope he doesn’t travel with it everywhere.

kostis kilymis

———————–
visit tasos on myspace here

starting in thessaloniki, valerio played a show in zenit together with our friend tasos stamou (up-and-coming musician, photographer and all-around great guy); the sets were: tasos solo, valerio solo, tasos & valerio duo. from the beginning we had quite a few minor misfortunes: late publicity, average turnout, indifference; some people seemed to be trying in vain to fit the idea of this music into their comfortable lifestyle instead of reveling in the beautiful world of possibilities. Still, there was persistence; valerio pushed forward filling the room with gorgeous feedback, electric disturbances and his own version of a light show. by the time 40 minutes had passed he was off-stage feeling he was done for the night only to meet demand for more by the faithful few. twenty minutes later he was off again only to return for the triumphant duo set. earlier, tasos’ solo set had been a slight let-down (mostly to himself) because he hadn’t been able to make a coherent statement out of the numerous moments of brilliance. in the duo set he shone through; guided by the steady hand of valerio, they provided the perfect closing. once again i have to stress the importance of creating the possibility for valerio to come and play in thessaloniki (thanks nicolas and michael), also the importance of giving the chance to someone like tasos to play a gig like this in his own hometown.

the next day valerio along with his gf manu were off to xanthi to make field recordings and have a good time. we found them one day later in the trusty hands of nicolas malevitsis swimming in a sea of greek delicacies. there were great sounds to be found in the streets of xanthi and in the basement of the xanthi folk museum, above which the 2nd show was held later in the evening. we spent half the day making preparations and the rest saving energy (oh, and we argued a lot about valerio’s heathen religion – catholicism). the performance was at the small conference room of the museum, in a good cozy atmosphere. more like an informal meeting maybe, quite a few people who were in the audience contribute in one way or another in organizing these events. here valerio, stationed in the center of the room and with all the lights out, deployed his trusty speaker feedback and added along with other things the sounds of the street market or those of rusty tools from older times. these sounds, which are usually left in the past, were not dissected or attacked in any way that would attempt to show their inside out and display something hidden inside; simply projected in the mass of sound i felt there was more dissecting to do on our part, for once i was happy not to have my food chewed for me.

oh, the joyous cacophony! valerio next had to face the challenge of performing at a children’s party -together with the children. he was initially looking forward to this but when the kids started showing up he was helpless. the plan was: give out toy instruments to the kids and have them play while giving rough directions, manipulate their input at the same time. with the toy sounds feedbacking helplessly and the kids giving it all they had, velerio had to give up the control part of his plan and the party turned into a dark free-jazz blowout; or so i was told because i had to leave early. anyway, it seems that the kids sustained a full-on noise attack for as much as 40 minutes, finally calming down only for the last few moments. apparently somewhere in the mix there were also adults to be found, either picking up where the kids had left off or adding their own stuff -as in the case of nicolas malevitsis using his tapes to add more spice to the proceedings. actual evidence from the event is rumored to be circulating and i’d be curious to take a peak.

before our italian friends left, we met them for one more drink in thessaloniki. throughout the days we spent together i kept bugging valerio with technical questions about a basic recording set-up i wanted to make, but i also got as much insight by simply watching him work. and by watching him i knew it does matter; despite being open to criticism (sometimes lighthearted, superficial or self-serving), music (the action) still raises the hair on my back, what more could i ask for? now, had i had valerio with me by my grandma’s deathbed he would have of course felt very uncomfortable. i’m sure though that a part of him would have been fascinated by the deeply pagan rites of honoring the departed (being sicilian he might have known, they’re pretty hardcore too). still, there’s no other way of projecting some things. as in birth, as in the stuff above our heads. [kostis kilymis]