text by bragagild.dk

Othon & Tomasini is a duo consisting of Greek-born pianist Othon Mataragas and Italian-born singer Ernesto Tomasini. The elements – Othon’s virtuoso piano playing and original, genre-defying compositions and Tomasini’s spectacular voice, which has been called a “Banshee falsetto” by the English newspaper The Independent, and has a stunning range of 4 octaves combines to create a unique and idiosyncratic musical experience: An experimental and innovative blend, which breaks down every conceivable boundary between classical music, opera, theatre, cabaret, musical hall and pop music, the likes of which the world has never seen before. Haunting music, deranged performance and heightened theatricality are Othon & Tomasini’s trademarks.

Othon has released one extravagant album, Digital Angel, where Tomasini sang most of the songs. Guest Appearances includes David Tibet (Current 93) and Marc Almond (Soft Cell). Together, Othon & Tomasini are working on a new album called Impermanence. Among other projects, they have participated on the soundtrack of Bruce LaBruce’s movie Otto; or, Up with Dead People (2008) and, together with Peter “Sleazy” Christopherson (Coil, Throbbing Gristle, Psychic TV, SoiSong), a live performance of the soundtrack to Derek Jarman’s movie The Angelic Conversation. Other collaborations include a broad range of artists like Lee Adams, Black Sun Productions, Current 93, Fabrizio Modonese Palumbo (Larsen) among others. Other references include Klaus Nomi, Marc Almond, Baby Dee and Antony & the Johnsons.

http://www.myspace.com/othonandtomasini

http://messerkvartetten.dk/

http://martinhall.com

http://www.myspace.com/cherryoverdrive

A night of Death Rock, Post Punk, Dark Wave & No Wave

Chainsaw Eaters (DK)

The City Kill (DK)

Noisy Pig (Berlin)

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DJ Polina

DJ Batluder

Entrance 50 DKK

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http://myspace.com/chainsaweaters

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These three young Danes and one Australian mix their own brand of sinister, reverb-driven post-punk with the more classic influence of The Birthday Party, The Gun Club, Crime & the City Solution, Ennio Morricone, Nico and This Heat – droning walls of guitar noise and twang, whipped up around eerie vocals and subtle tribal drums.

The band formed in Copenhagen in late-2007, when school friends Bjarke, Tobias and Signe wound up making music together. The band received increasingly positive responses from their early shows, and a self-recorded demo from December 2007 got them positive reviews on the well respected transmission.nu and lowcut.dk music sites, and caused much talk in the Copenhagen underground rock community. They continued to operate and perform as a three-piece until October 2008, when they were joined by Matthew, an Australian musician new to Copenhagen. The City Kill released their self-titled debut LP in September 2009 on the Copenhagen-based Red Tape imprint, to positive reviews and strong sales. The album was recorded by Per Buhl Acs and mastered by Sods/Sort Sol/Bleeder Group legend Peter Peter.

The band ended 2009 with several shows around Copenhagen, culminating in a show with Australian ATP recording artists The Drones at Vega, and a set at the inaugural Scream In the Dark festival, a two-day event held at Huset i Magstræde. The City Kill are ready to begin 2010, after emerging fresh from a two month hiatus, used to work on material for their follow-up album. After their recent show at Loppen with hyped US noise rockers Times New Viking, The City Kill are preparing to book shows throughout the spring and summer of 2010, in anticipation of the recording of their second album later in the year.

Varighed ca. 60 min.

Historier og Sange.
En potpourri af sange og fortællinger med et queer perspektiv, inspireret af Stand-Up. Jeg vil pille I nogle sprækker i et ellers så Heteronormativt samfund.

Historierne skulle helst blive lidt ”skæge” efter som jeg har gået med tegnet overskæg i 3 år af mit liv, men de kommer også til at handle om dates, sprog, om at slå, og om ikke at ville være kvinde.

Det er mig, min stemme og westernguitar.

Hør musikken på myspace; myspace.com/munktrine

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A M P H I P O D S are merging miss fish post punk vocals with Giuseppe De Bellis dark electronic beats to an unique industrial and gothic sound.

Louis Miguelez (Glamour to Kill/Glitter Klinik) appears on guitars on several tracks and A M P H I P O D S have been remixed by Noblesse Oblige (D/UK), Mona Mur/En Esch(D/US) and Xavier J (New York). Giuseppe & miss fish have made music together since 2006 and have played live all over Europe in different events and festivals such as La Extrem Circus 2006, Almeria, (ES), Berlin Insane 2006 @ Volksbuhne, Berlin (D) & Berlin Insane 2006 @ Rust Copenhagen (DK) Indie Night 2007, Stengade Copenhagen(DK), Bal Des Artistes with Martin Hall, 2007 Copenhagen (DK), Club Golem 2009, Odense (DK), RECession miniFestival 2009 Århus (DK) and many others.

“Amphipod” means “feet [poda] on both sides [amphi]“, in Greek.

http://www.myspace.com/amphipods

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http://www.myspace.com/chainsaweaters

Phisteria focuses on music with depth, and subtle awareness of the soul, The styles and musical directions are ranging from electronica to post to downbeat to what has yet to be categorized

Phisteria have released AMPHIPODS first 7″ vinyl single.

a/ strange day
aa/fireflies

500 Copies Vinyl
c+p Phisteria Records PHI 022
RELEASE DATE 03. June 2010

http://www.myspace.com/phisteria

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ABOUT THE EVENTwho’s there involves a lecture by German philosopher Marcus Steinweg, lecture performances by Danish students of Performance Studies, dialogues between international and national delegated experts and directors as well as impulses from the international stage art scene.

who’s there is a collaboration between Cecilie Ullerup Schmidt, The University of Copenhagen, The Institute for Arts and Cultural Studies, Warehouse 9, Republique and The Danish National School of Theatre – Continuing Education.

22:00 Doors Open

live Heidi Mortenson http://www.myspace.com/heidimortenson
DJ Kasper Vang
DJ M/K http://www.myspace.com/miadjmk

ENTRANCE 30,- DKK

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FULL SEMINAR PROGRAM IN ENGLISH Statens Teaterskole
http://efterudd.tilde.dk/index.php?id=ks&ks=167

TEXT IN DANISH REPUBLIQUE
http://republique.dk/da-DK/News/NewsArchive/2009/Whos-there.aspx

- Bird’s 2004 debut album “The Insides” received considerable critical acclaim including The Daily Telegraph’s piece; “ Sounding like Bjork crossed with Rickie Lee Jones, Price has come up trumps with a collection of lush atmospheric tunes” and The Sun; “Sparkling debut album…bursting with original ideas”.

In this solo show birds vocal is accompanied by  cello, loop pedals and drum machines.

www.myspace.com/thisisbird

- Pressphoto

“Born, we are mortal, dehydrated, ordinary; love is the oil that plumps one up, dilates the eyes, puts a glow on the skin, lifts us free from the weight of time” Laurie Lee

After the overwhelming response to Safe Inside the Day in February 2008, the unique Baby DeeBook of Songs. It will be released by UK indie-of-repute Tin Angel (home to a wide ranging roster that includes Devon Sproule and Polar Bear) and Drag City in the US. What was telling about the response to Safe Inside the Day was the purity of reaction. The back story (let’s face it, Baby Dee is the epitome of the phrase), never overshadowed the fact that she gives everything and that is what connects with critics and audience alike. returns with

While the last album was helped along enormously by Will Oldham and Matt Sweeney producing, this one was lead by the calming presence of Maxim Moston (part of Antony and the Johnsons touring band and arranger of some standing). “She sent me the demo and I was floored – here was a true collection of lieder, or art songs” What he envisaged in his words were “song cycles performed in their entirety and stripped of all excess, just piano and voice, poetry and melody”. Gone are the more bawdy ruminations to be replaced by a glowing heart of a record. Hermetically sealed and lovingly passed on so that we can understand what love could mean from Dee’s consuming perspective. It is at times jaw-dropping in its profundity.

It could be seen as a prequel to Safe Inside the Day in so much as it was issued in book form (with bonus disc) in 2004 on David Tibet’s Durtro label. It was limited to 150 copies and has been out of print for years. Essentially, this is its first outing. The reason to make the record in the first place was borne out of love, and the reason to re-visit the record also came from that same scary yet beautiful place.

Dee remembers the writing process very clearly, with the album’s inception in a cold January in Cleveland, 2002. ′“I went to a studio and played them through once live at the piano and sent them off without even listening to it. Looking back, it’s hard even for me to understand why I insisted on the recording being so slapdash, as the book itself was exquisite; I guess two things, I knew I couldn’t do the songs justice and I hoped that maybe somebody down the road would do that for me. I know that’s crazy but in fact it worked. Years later I asked Maxim to arrange the songs but at that time we decided to do Safe Inside the Day instead. And then finally I got my little miracle when a year after that Max offered to go ahead and do those arrangements and produce the record. So he became that somebody down the road.

“As for why I wrote the songs… Somebody once asked David Tibet for his favourite word or something like that and his answer was that the two most beautiful words in the English language are “and yet”. If I had to say where these songs came from I’d say they came from there – the land of “and yet”. As far back as I can remember I have always regarded men and women as nothing short of gods, capable as they were in my eyes, of such direct and uncomplicated desire – Lover and beloved. What in all the world could be more beautiful?”. ‘And yet’, Dee could not be sure if she would ever attain such a love.

Unlike Safe Inside the Day, the songs are not really presented as a theatrical piece; this time the way the tracks tip toe around the central core of the piece is instrumental, with heart rending treatments intertwining around piano/harp and minimal orchestration. The darkness that once was, is given a plump pillow to view new possibilities.

The ‘Overture’ sets the scene, with Dee weaving around rhapsodic brass and fluttering strings. On ‘Love’s Small Song’ Dee offers a crooked finger to chance and wonderment and in doing so offers a song that is far from small or effete. By nudging the door open, we start to see shards of light enter the room on ‘A Book of Songs for Anne Marie’. “As sunlight comes to sorry stone, so come, my love and take this sorriest stone of all/To find a grateful place, that warm and sunlit wall”. By the time ‘Unheard of Hope’ uncoils we realise that this is a very special record, one that burrows deep into itself and in turn, the listener. Dee’s phrasing on this track is superb and her musical timing, almost hovering over the keys, brings to mind the masterful Bill Evans in the simplicity of knowing when to release. It is a devastating track. If anything signals an understanding of love, it is this section –“I’ll take your heart, the one you thought was yours/And give you one to call your own/And say, ‘Here. Take this. It’s for you. Mind now, don’t lose it’”.

If her command on piano was not giddying enough, we segue straight into ‘Black But Comely’ where we find Dee teasing more bountiful fruits from the harp alongside the quest for the everlasting love. “I’m black but comely, as a night shot with stars/And I’m not a tree of sticks, no, I’m not a tree of sticks/But a forest of hemlocks and beeches, of waters dark as wine from boundless reaches”. What makes Dee indefatigable and the record so majestic is upturning any suggestion of there being limitations to love. From lines like: “Set as a seal on your heart, As a seal on your arm/For love is stronger than death” to the barest simplicity of being able to say to someone, “Like a baby first time talking/Here I am, It’s me, I’m here”. Baby Dee’s vulnerability and insight is inspirational.

So why not leave as 150 little books and move along? After all the ‘and yets’, Dee was actually “struck dumb” with love and thus was compelled to share this record with the world. “Everybody has a right – the right to really be the lover, to really be the beloved. Regardless of how fucked up and inadequate we are or how short our time is together. We never lose that opportunity”
– Baby Dee 2009

ANLA COURTIS (arg)
JACOB OLAUSSON (Se)
FAMILY UNDERGROUND (dk)

Entre 60 Kr.
Doors open 19:00
Concert Start 20:00

Søndag den 17. Januar 2010 kl 20.
Warehouse 9, Halmtorvet 13 D Bygning 66

Zort Zol Live 2009

In 2006 Zarathustra’s Uncle, aka Henrik Vestergaard Friis, began an artistic examination of the Danish Cultural Canon. This official list, commissioned by the Danish Cultural Minister, contains the 96 greatest works of Danish culture ever. They have enriched and influenced artists and audiences all over the world. The canon for performing arts contains twelve performances, dramas and ballets. Zarathustra‘s Uncle will reconstruct all of them. Zort Zol Live is the ninth one.

The performance is based on one of the stranger elements of the canon for performing arts: A series of concerts the infamous first Danish punk band Sort Sol gave in Copenhagen at the venues “Carlton” and “Wurst” in 1987 and 1988. The concerts were included into the canon for their impressive staging of self destructive and violent behavior, which, as the explanation by the canon committee goes, was typical for the early eighties in Denmark.

Both “Carlton” and “Wurst” were located in the immediate vicinity of “Warehouse 9″, where Zarathustra’s Uncle presents his very special interpretations of Sort Sol’s work live on stage. But Zarathustra’s Uncle does not make re-enactments. He is not interested in detail and precision. His examinations pinpoint the core of a work as he sees it and reconstruct it with a suitable contemporary artistic strategy.

To reconstruct Sort Sol‘s staging of self destructive and violent behavior, Zarathustra’s Uncle has chosen the tracks “Boy girl” from the album “Dagger & Guitar” and “Shapes of summer” from “Everything that rises must converge”. The reconstruction combines the destructive methods of boxing and contemporary noise music. Zort Zol Live 2009 is all about the Uncle’s confrontation with the specific Danishness of what may amount to be the punkiest work in the canon.

For “Zort Zol Live 2009″ Henrik collaborates with Berlin based performance artist Jörn J. Burmester with whom he has founded and played in the band projects “Die kleinen Pisser” and “Das Prinzip”. Some examples can be found at www.youtube.com/user/JoernBurmester Henrik and Jörn have also collaborated in a number of performance art collectives like Elizalde Area Code, Berlin n@work and Performer Stammtisch, performed together, and toured throughout Scandinavia with Zarathustra’s Uncle’s piece “We come in Peace”.

For more info on the Canon project check www.zonkel.com