Featuring Lori Goldston (USA), Mik Quantius (GER), and Poisonous Frequencies (CZ, AU)
7 July 2015 at 20:00
Café v Lese, Krymská 21, Prague
Lori Goldston is a cellist and solo improviser who, in both amplified and acoustic settings, draws from a range of archetypes that include traditional song, abstract musical forms and free improvisation, moving freely between disciplines. She has applied her “classically trained and rigorously detrained” technique to a wide variety collaborations in a wide array of musical contexts. Her accomplished handling of the cello is a distillation of her many years of experience working in classical, rock, jazz, and experimental idioms, with popular music groups as well as orchestras. Goldstonn’s sound veers from amplified electric-bass-like sounds to throaty acoustic growls, thrums, plucks, and sustained chords, and she displays full mastery of her own musical language. In playing, the sound passes through various states that elicit drama, soul, intensity, and control, and with her sensitive handling of the various registers she brings forth from her instrument, she makes clear the reasons the cello is an instrument of undying appeal.
Mik Quantius is a member of the Köln metal scene and the krautrock band Embryo. His vocal works have been described as “absurd sounds that fly out of his throat, often touching the threshold of pain,” and his performances recall a spastic child, an off-kilter whiz kid locked in a strange toy room, struggling with the uncomfortable fit of things and the sounds that come out of the toysm. He performs as an unstable presence: capricious, curious, ill fitted to this world. His vocalizations, by turns winsome or childlike and diabolical, are matched to the eerie organ-esque sound that accompanies him as he moves without restraint from the ethereal to the visceral.
Poisonous Frequencies is a trio consisting of Tomáš Procházka, Petr Vrba (both from Prague) and the drummer Didi Kern (from Austria). In a recent performance by the trio, a sprawling, long-form improvisation emerged from a moment or two of uncertain first steps, with each instrumentalist gradually finding a way through the signal flares sent up by the other two until they discover a massive connectedness. Then the entire thing erupts into the seemingly impenetrable blast, blare, and beat of a bumptious evisceration of space and time. Lapsing, pushing forward, and lulling again, the sound careens on, on rails of its own forging, a mad jazz, a roller-coaster ride on elastic tracks, until it eventually uncoils itself, winding down to a whimper of resignation.