Martedì 04.10.22 – ore 21.30
c/o Standards – Via Maffucci, 26 – Milano
Siamo felici di dare il via al programma di concerti di Standards del prossimo autunno, a partire da martedì 4 ottobre alle ore 21.30, con il doppio live di YL Hooi e Silzedrek.
YL Hooi è il progetto di Valya Ying-Li Hooi, che abita un regno sottile e misterioso fatto di canti furtivi e doppiati e rarefatte percussioni elettroniche. Toccando i margini di molti generi e tradizioni – post-punk, minimal synth, dub, krautrock – la musica proteiforme di Hooi è al contempo tormentata e seducente, con la sua voce che si perde in un’infinità di possibili echi.
Sia dal vivo sia in studio, il lavoro di Hooi è prodotto in stretta collaborazione con Tarquin Manek di cui Silzedrek è l’ultimo progetto e pseudonimo. Con Silzedrek, l’artista esplora le sonorità proprie dell’Est Europa e della cultura Rom attraverso le potenzialità del clarinetto e del clarinetto basso.
Nelle loro performance YL Hooi e Silzedrek utilizzano voce, tromba, clarinetto basso, chitarra, basso, drum machine e sintetizzatori per reimmaginare il materiale accuratamente prodotto in studio, ben consci delle possibilità dell’improvvisazione e di quanto l’ambiente (pubblico, luogo e spazio acustico) siano parte integrante della loro performance.
– apertura ore 21.00 / inizio concerto ore 21.30
– INGRESSO a sottoscrizione (7 eu) con tessera associativa Terzo Paesaggio 2022 (5 eu) *
Modulo associativo 2022: bit.ly/3LfNCXA
NB: Il modulo di richiesta compilato è da inviare entro le h.12:00 del giorno 03 ottobre.
– SUGGERIAMO di versare entrambe le quote tramite PayPal, all’indirizzo email@example.com
– PRENOTAZIONE CONSIGLIATA specificando il numero di persone alla mail: firstname.lastname@example.org
YL Hooi is the project of Valya Ying-Li Hooi, inhabiting a subtle and mysterious realm of furtive, dubbed-out song, sparse electronic percussion, and distant winds. Active in the Melbourne underground scene since 2017, Hooi is a member of Kallista Kult (with Sam Karmel and Tarquin Manek) and has recorded and performed with artists including Jonnine Standish (HTRK), Jarrod Zlatic (Fabulous Diamonds) and Rohan Rebeiro (My Disco). Her debut album Untitled (first released on cassette by Altered States Tapes in 2019 and reissued on LP by Efficient Space in 2021) was widely praised, finding a spot on many year end lists including the number 1 spot on Boomkat’s Discoveries l ist and being described by Boomkat as ‘an immaculately frayed conception of dubwise dream-pop’. Moving seamlessly from angelic song to gritty tape gunk, Hooi’s work opens onto a multitude of genres and directions while retaining a distinctly personal stamp through her obsessively zoned-out dub production tactics. ‘These are songs that seem to emerge in plumes of smoke, magician’s tricks conjured from the ether’ (World of Echo).
Both live and in the studio, Hooi’s work is produced in close collaboration with Tarquin Manek (known for his eponymous solo work on Blackest Ever Black, as well as a swathe of aliases including LST and Static Cleaner Lost Reward, and membership of groups including Kallista Kult and F ingers). In the live setting, the pair use voice, trumpet, bass clarinet, guitar, bass, drum machines and synths to reimagine the carefully produced studio material anew for each performance, keenly aware of improvisational possibilities and the vicissitudes of audience, venue, and acoustic space. Touching on the fringes of many genres and traditions – post-punk, minimal synth, dub, krautrock – Hooi’s protean music is haunted and seductive, her voice trailing off into an echoed infinity anchored to body-shaking foundations.
Silzedrek is the latest in a long list of aliases of Tarquin Manek, an artist based in Melbourne whose current solo projects include also Tarquin Manek, Static Cleaner Lost Reward, LST and M Quake.
Silzedrek project was conceived to explore clarinet and bass clarinet in a live setting utilising the Eastern European and Roma sonorities of the artist’s heritage. As a mainstay and central figure in the current Oz underground scene Manek is adept at employing higher dub logic to the rough juxtapositions and seemingly abrupt left turns his performances can take. Ultimately Silzedrek presents a deeply personal synthesis of time-dilating folk-jazz romanticism, heavy chamber dub and sense of smoked out inner space projected to the outer in cosmic proportions. Gwen’s Pen was featured in The Wire Tapper 56.
‘Disturbed and enchanted environments’, ‘deep spatial dynamics’, and ‘higher dub logic’ are all phrases used to describe Manek’s work. It’s revealed in a way that spurs on the attentive listener through live settings and in his production – the details so detailed and calling to be heard multiple times for an exercise in a choose your own story-song. Manek’s ability to weave between the characters of his aliases through 21st century avant folk jazz improvisation, dream(pop) (post) punk, dubbed in and out clarinet, syncopated syco rhythm and beyond, displays a certain lunacy and obsession that only someone of his calibre could possess.