Konzert: kÖök | Antez | Days Like Television

kÖök is the invention of guitarists Jørn Erik Ahlsen and Stian Larsen and comes out of the improvisational scene in Oslo. They released their first self titled record in 2012 on FMR records and Kjøkkenmusikk. They later released the live album “Live in Leipzig” (2013) before their highly praised second studio album “Imber, Whiltshire” in 2014. Following their tour in Japan they had an extensive hiatus and then released their third studio album “No Sign Can Foretell How Soon It Must Die” in the spring of 2021. Their latest album “5” is a celebration of their 10 year anniversary and is featuring Morten Qvenild, Per Oddvar Johansen and Marius Gjersø as guest musicians.​

The duo plays free improvised music and navigates the landscape between electronic ambient and experimental jazz, where both Marc Ducret and Alva Noto can be heard as inspirations. Their minimalistic sound is developed through extensive use of analogue effects, loops and prepared guitars.

Homepage: https://www.kook.no/

Live Video:https://youtu.be/W6zVD-p0WQw?si=W_Teelva_IkF6Q3T

Facebook: https://www.facebook.com/kookband

Instagram: https://www.instagram.com/kookmusikk/

Spotify: https://open.spotify.com/artist/4VHdwN6IjF3gJUsK44pEOe?si=T1eFZ41JQ6GAXi9ixuq2pA

ANTEZ The basic of this sound action is to play the sympathies of the room’s resonant structure, shaped by its architectural singularity, and whose narrative path remains permeable to the present moment. This is achieved by using exclusively acoustic means of sound production generated by the body’s movements.

My first inspiration to produce a continuous sound with a percussive instrument evolved through an investigative process of the acoustic qualities of the performance space. I picking out various objects and implements over travels tours, and in working residency I have adapted this piece to be played on a large drum, which is used as a acoustic amplifier. I develop an intimate affinity with the materials in vibration. I have to evaluate these vibrations in my body at different levels, to be able to coordinate my postures and movements, but

also like the archer with Kyudo, tuned the mind to it. For givelife to these vibrations I have used, since 2008, an dextrocentrique circumambulation. These sounds are often compared to certain sounds produced by synthesizers but also to the magnitude that an orchestra can. However, these sounds depends of the reflectivequality of surrounding surfaces, and on the volume of the performance space itself. These sounds have unusual sonic textures, they escape traditional percussion registers. They test the limits of our perception, from infra to ultrasonic, by playing phase shifts. They insert themselves into the intimacy of matter, through micro vibration, and we are presented with an audio saturation by noise density. The flow of these evokes both restraint and excess, immersion and timelessness.

Days Like Television Daniel Bryden is an experimental musician and video artist from Newcastle upon Tyne, currently based in Berlin. He releases music as Days Like Television.

Using an array of dissociated sound sources and fragmented synths, Bryden’s work delicately balance a viscerally intense heaviness with a melodic and nostalgic beauty.

His debut album- ‘This Will Have Been the Past’ (released 05 / 06 / 24 on Bonambi) acts as the culmination of 10 years of experiments within the noise, improvised, and electronic music scene. These include live AV performances at such venues as ICA (London), La Vallée (Brussels), ACUD MACHT NEU (Berlin), and VEKKS (Vienna).

As a founding member of ‘Kross Collective’, Bryden co-organises the experimental event series ‘CONVERGENCE’ which takes place at Lettrétage. https://www.daysliketelevision.co.uk/about