A Resonance Radio night at Cafe Oto…
Their debut gig…they seem to have been formed as a splinter from the Resonance Radio Orchestra as a ‘concept art rock band’ and this gig was billed as drawing from Fluxus and Warhol’s Factory….Mo Tucker style relentless drumming + drones over a 30 minute stretch….what’s not to like? I also liked the way they played (unlit) from the very start of the evening as the first of the audience drifted in…so it was not initially clear if they were still doing their sound check.
Part 2 was a manifestation of this project by Daniel Wilson:
which ‘allows you to become your own radionics diagnostician and intuit your own thought frequencies.’ A couple of days earlier I had uploaded my own thought and the corresponding frequencies…my thought was ‘why can’t I just stop’ (with, for some reason, no question mark)…when my thought/text appeared on the screen behind the performers it was paired with another; ‘Global peace and harmony’…so the two together read as ‘why can’t I just stop global peace and harmony’…chance would be a fine thing (or not).
Last up was Nicolas Collins, first in a subtle duo with Peter Cusack on guitar then with stunning solo pieces using damaged circuit boards…
Peter Cusack and Nicolas Collins
Resonance Radio 104.4 Fundraiser at Cafe Oto, 13th February 2014.
Rie Nakajima has a particular take on performance. For the second time on seeing her at Cafe Oto she set up her table of paraphernalia at the back of the space. So most of the audience need to turn 180 degrees and readjust their viewing positions. For the first part of her set she sits on the floor in front of the low wicker table thoughtfully activating the various battery driven gadgets that are her instruments. The process is gradual – she takes her time before setting the mechanics in motion. It almost looks like she has never done this before and is working out the logistics of it as she goes along. And in some ways I guess she is doing just that. About half way through she gets herself a seat but even then she is crouching over the table. It is as if she is buried in the work at hand – buried not just in the sound but also in the actions that produce the sound. Unlike many performances the audience are drawn into this position too – searching along with her for the next move, the next noise as if it was a process of archaeology. We are all looking down watching the small spectacle of movement, sound, action, repetition. This all demands a certain commitment of attention from the audience….and this is what Nakajima, her performance, her music, requires. This is an exercise in close, communal listening.
Yuri Suzuki reinvents the DJ.
Janek Schaefer presents his radio special.