Noise night at the Redroom featuring Kazehito Seki from Japan and local electronic acts with different approaches to noisemaking.
Electrifeeding voice artist, Noise musician, etc. His latest solo project, called Self Toxication, explores possibilities of extended vocal techniques and their amplification through feedbacks and re-amplification processes. His unique organic noise coins onliest groove with dynamic physicality.
Exploring stages (or anything with PA) all over the world, also as his lifetime project, he has toured Europe extensively, Japan, Southeast Asia, USA, with Self Toxication, as well as Sweatnosiecore duo project, BNSU, and collaborations with numerous other artists. Some of his past stages are listed as below: Ende Tymes (2019, 2017 / NYC), TOPH X TUSK FRINGE (2018 / Newcastle), allEars (2018 / Oslo), MultiDOM (2016~ / Over Europe), ART MEETING (2016, 14 / Fukushima), FRIV Festival (2016 / Poznań), MultiMadeira (2015 / Madeira), (LUFF – Lausanne Underground Film&Music Festival 2016, 15), etc.
Various releases of his projects can be found via Brain Pussyfication, DBY Records, Deathwave Industries, Ideopathic Records, Larch Records, Mapawi Records, OOOSOUND, Oxen Records, etc.
Asha Sheshadri + Network Glass
Asha Sheshadri is a California-bred artist primarily concerned with memory construction and questions of translation. With a strong investment in archival material, she works at the intersection of speech synthesis, sound poetry and field recording. Asha has released work (as well as under the project titles Isolde Touch and Open Corner) via several imprints including Entr’acte Recordings, Recital Program, with a forthcoming release on Anomia.
Hayden Right applies the logic of the no-input mixer to FM radio waves with the use of radio transmitters and receivers (a la Tetsuo Kogawa) to produce improvised and composed sound works. With the use of simple and replaceable pieces of analog radio equipment placed in conflict with one another, Right emulates the social realm and its economy of reception and transmission.
Jeff Carey works with electronic sound but eschews the impassive, near-motionless performance ethos typical of the field in favor of an intense physicality. He realizes his hyperkinetic audiovisual spectacles by means of a custom interface incorporating video game controllers, which he jerks and pushes around as if trying to defuse a bomb that to all appearances is already in the midst of a prolonged detonation.
“He’s acting on raw instinct here – he refuses the clinical approach to programming software or composing music, and strives to throw himself bodily at his machines, replacing all mechanical moving parts with human flesh, blood, and bone. In pursuit of this all-organic goal, virtually everything else is jettisoned, starting with recognizable notes or melody.” Ed Pinsent, Sound Projector on ‘Impulse’ (2010)