Yes, it's true. After their psycho-tablet opus 'VALETOLMAN' (Guerilla/RAT) and their notable participation in the 2CD sampler put out by RAT with the charming title 'NEOSRAT,' the underground orchestra BBP is back again with a new, round and above all very noisy baby. It is a new regular album entitled 'TOLIK ŠTĚSTÍ' (So Much Happiness). Following their half-hour compositions, BBP have returned to the song form, with an album that might almost be described as cheerful. How could a band like this do something like that?
The content of the new album is varied in a totally unexpected way, and many people will undoubtedly be surprised at what the shady gentlemen and slender ladies of BBP have come up with this time. TOLIK ŠTĚSTÍ contains twelve apparently dance songs that will undoubtedly find their way to your heart, whether you want them to or not! The artistic side of the BBP underground orchestra's latest venture has this time been taken on by Michal Cihlář himself, giving this musical gem an album cover that means all the more to look forward to.
Dienztag (A)
Christof Dienz - zither, bassoon, electronics, composition
Florian Bramböck - bass clarinet, clarinet, saxophone
Michael Öttl - guitar
Alexandra Dienz - acoustic bass, cymbal
Joanna Lewis - violin
Rock music would sound as Dienztag music does, if it wouldn't originate in Afro-American blues traditions, but in authentic subalpine traditions and instruments instead. Like the many years overlooked zithers that can sound
like percussions or electric guitar in the right pair of hands.
Dienztag had its premiere on the last year's jazz festival in Saalfelden and has immediately become an international success. Rhythmic and dance sound of Cristof Dienz's zither is excellently accompanied by great instrumentalists from Vienna Art Orchestra, Maria Joao musicians and others.
http://www.dienz.at/dienztag/dienztag.html
Potage du jour (CH)
Franziska Baumann - voice
Jürg Solothurnmann - soprano & alto saxophones
Christoph Baumann - piano
"A good cook knows as many soup recipes as the year has days "
(Romanian saying)
A spontaneously composed dish has now gained a fixed position on the menu card. In late 1999, informal sessions were so exciting that a new band was founded on the spot, the Swiss improvisational trio Potage du Jour with the singer/vocal performer Franziska Baumann, the saxophonist Jürg Solothurnmann and the pianist Christoph Baumann. As composers, sound performers, live-electronicians and concept-oriented improvisers the members are active with several ensembles and projects. The three have found modes which focus on interactivity. Shapes and attitudes that upsurge within the musical process are registered, read and developed accordingly. It's a game featuring attentive listening, quick reaction and a broad pallette of sound. The ways the sounds are fused, strung together, are juxtaposed or opposed surprise the musicians again and again and stimute them to widen the limits of playing and interacting. The inventions breathe with vocal actions, chants, rhythm pulses, sound cascades, reverberations, melody clips and unothodox sounds. However, having been educated in an extensive variety of musical forms, the member strive for coherent statements as often as possible - as in a spontaneous speech. Call it instant composition.
Franziska Baumann has developed the extensive vocabulary of the voice like an instrument. Techniques such as multiphonics and glottal clicks and a variety of unique microtonal, timbre-modifying and percussive vocal techniques that have become her "signature sounds". A voice which is much connected with the body (breathing and movements) which is open to turbulent games as well as deep relaxation.
Jürg Solothurnmann integrates and transforms a variety of musical approaches ranging from „folklore imaginaire" to new jazz and speech-like or pointilist sound events. He is fascinated by the miriad of singing and playing esthetics in ethnic music styles around the world and today's classical music.
Christoph Baumann is familiar with western classical music but after all deeply rooted in the percussive idioms of contemporary jazz and salsa music. He is particularly experienced with the tayloring of composed and improvised music for theatre and dance performances. His contribution is much about harmonical and percussive/rythmical accents.
http://www.franziskabaumann.ch/
http://www.franziskabaumann.ch/en/FB_MusikPotage.html
http://www.avantart.com/music/solothurnmann/
http://www.artarena.ch/bio_mis_5_baumann.html
http://www.franziskabaumann.ch/MOVIES/FB_MovieVoiceSphere.html (video)
Hector Zazou/ Bernard Caillaud (F) - Quadri{+}CHROMIES LIVE
Imagine Mondrian's paintings moving to the rhythm of a music blending electronic instrumentation and string orchestra. Paintings with sonic colours. With geometrical music and visual changes linked with harmonic variations. Facing a screen on which the "animated paintings" of [b]Bernard Caillaud[/b] are projected, the audience can hear the colours and feel the vibration of images. Performed by two electronic musicians, a string ensemble and a clarinet player the music is played through a 5.1 system which reinforces the impression of hearing colours moving and seeing notes changing shapes. This unique experience is the result of Hector Zazou and Bernard Caillaud's two years investigation. The questions they have answered had not been asked since Oskar Fishinger and Viking Eggeling managed, at the beginning of the 21rst century, to mix painting and music in the first "animation movies". With Quadri{+}Chromies their multimedia dream has become true.
Evolving chromatic music and shapes
Several works are necessary to resume the fforts to marry these two sensorially constructed spaces:
The relationships between sound and colors, between frequencies and wavelengths; have been explo-red by everyone from Newton to criabine, Valensi to Xenakis, Schönberg to Baranoff-Rossiné, Fischinger to Blanc-Gatti. Everyone including today's software des-igners and their charming black boxes that input music and output lights or images that change accor-ding to a body's movements... Inverse feedback is beginning, with the graphic synthesis of sounds. In any case, the liaison must be legi-ble/ visible or at least driven by a process that is often complex but justifiable...demonstrable thus comprehensible. We are not sure that this Correspondence between the Arts makes sense, but it is endlessly and hungrily investigated through the concept of interactivity and its dance of signals that release special effects.
But we all know that interactivity is an illusion. There is always a mas-ter and a slave. One decides and the other obeys. To destroy this relationship is to disconnect in order to better communicate, to give free reign to dialogues born of chance, to cheer at accidents of synchronicity, to render the incidents of this path exciting and uni-que. To built in parallel instead of chain producing.
With Quadri{+}Chromies we have chosen juxtaposition over connec-tion. We want to shatter the Correspondence imposed by our cultural references, to liberate our-selves from our obsessive desire to understand in order to better per-ceive. We want to suggest a way of making sense of sensorial encoun-ters produced by an enormous work on the systems, which took us in front of hidden doors we were excited to open.
Behind them, we found, between Musician, Painter, Machines and programs, a field of experimenta-tion which, because of the impact of random, is not entirely controlla-ble.
Bernard Caillaud & Hector Zazou
http://www.takticmusic.com/artistes/zazou/zazou_frames.html
http://www.allaboutjazz.com/php/article.php?id=20479
http://www.youtube.com/watch?v=2-GPlEkkuTI
Jean-Luc Guionnet (F) & Seijiro Murayama (Jap)
French musician, philosopher and artist Jean-Luc Guionnet first performed in the Czech Republic as part of the Orbis Pictus exhibition in spring 2007, together with sound artists Eric La Casa and Philip Samartisz. His musical activities are extremely varied, but jazz plays an irreplaceable role. His adventures in jazz have included work with the Schams group alongside hurdy-gurdy player Eric Cordier and drummer Eric Bruleboise, but it is his work as part of a group with the symptomatic name of Return of the New Thing, where he appears with the pianist and violinist Dan Warburton, double bassists Francois Fuchs and drummer Edward Perraud. Their improvisations together have a firm order, while at the same time representinga living branch of contemporary jazz. With Perraud, he also forms the duo Calx, in which a subtle tissue of sighing saxophone blends with rhythmic strokes and vibrations. Guionnet also shows improvisational ability of a totally different kind in the quintet Hubbub, where the instruments abandon their traditional roles and together create dodecaphonic sheets of sound. Since 1998, Guionnet has been faithfully accompanied by Eric La Casa in the role of sound engineer both in various installations and in his organ exhibitions. Mention should also be made of the Afflux sound installation, in which Eric Cordier also participates, this time in the role of sound manipulator.
Seijiro Murayama has worked with Fred Frith, Tom Cora, Keiji Haino (Fushitsusha), KK Null since 1982. Now he lives in France and works for several projects: Duo with Jean-Luc Guionnet (alto sax), Eric Cordier (harda gardy, electronics), Stéphane Rives (soprano sax), Didier Aschour (guitar, contemporary music), Loic Blairon (bass), trio with Thierry Madiot (bass trombone etc) and Pascal Battus (prepared guitar), quartet with Jean-Luc Guionnet (alto sax), Quentin Dubost (electric guitar), Loic Blairon (bass). Also plays solo. He collaborted wth some contemporary dance/theatre/performance groups as a composer-musician. He is nov invited artist for the French National Choreographic Center of Catherine Diverres.
Jean-Luc Guionnet's recent projects include a duet with Japanese percussionist Seiji Murayama, in which their filigree styles come together to great effect. They will be performing live at the end of November 2007 as part of the Alternative festival at the Archa theatre
Ještě jsme se nedohodli (CZ) a Pavel Fajt (CZ)
(1980 - on and off until today) Brno
|
|
|
|
The group Ještě jsme se nedohodli (We Haven't Agreed Yet) was originally formed for a one-off performance for fun at a party in 1980. The group's members, all Brno university students, did not see what they did as avant-garde - they simply tried to keep their music fun and not too heavy-handed. According to Lenka Zogatová, the band's long-term manager, JJSN was created because 'they were ugly guys and they thought that if they had a band, girls would want them' (Gramorevue 1989).
Band leader Karel David, a natural sciences graduate who later became a teacher in the south Moravian village of Želetice, told the magazine Melodie in 1991 that 'JJSN isn't so much a musical group as a social organisation. Formerly of students, now of friends. We never took ourselves very seriously, we didn't try to get the playback that were necessary then, or to gain a promoter; from the point of view of the time we didn't really even exist as a band. Our antipathy to institutions was so great that we saw it as absurd to institutionalise ourselves, even as a rock band.' Music journalist Jaroslav Riedel wrote of JJSN in his book Eccentrics on the Ground Floor [abbreviated]: 'The group's lyrics are not emotional or lofty, but are frequently provoking and often deliberately "unartistic." If the audience is not shocked by the subject of the song, then it certainly will be by the way the band works with refined puns and the use of neologisms that play with the intelligibility of the lyrics. The lyrics have to be perceived together with the music. Their bizarre, spasmodic style is complemented by the jarring, non-melodic music. At other times, they create an interesting contrast - the music turns cheerful, but the lyrics change into an apocalyptic scene full of mangled corpses, oily birds falling from the roofs and hungry wolves howling from their cages.'
Ještě jsme se nedohodli was a rock group, but its guitars were exclusively acoustic, and it was the guitar lines, independent of each other, that brought some order to the chaotic sound of the group, sometimes very similar to Captain Beefheart.' They also have in their line-up an instrument that the band members call the 'board.' It is something like the Kilhets band's 'bread,' but unlike theirs, it is a board with no frets, which sometimes has holes gouged out of its neck, and has also been fully-electrified.
http://www.freemusic.cz/clanky/4444-rozhovor-s-jeste-jsme-se-nedohodli.html
Jorgos Skolias (GR) + Bronisław Dužy (PL)
Vocalist and composer Jorgos Skolias has performed and recorded with such Polish musical greats as Krzak, Osjan, Young Power, Tomasz Stanko and Zbygniew Namyslowski, as well as with international jazz stars (Terje Rypdal). He comes from a Greek refugee family, and has always drawn on Greek music for inspiration. His projects are some of the most interesting on the Polish musical scene, and he is forever trying out new ways of including the human voice in the process of music creation, studying the traditional vocal techniques of European, African and Asian nations.
Instrumentalist, composer, arranger and above all trombone player Bronisław Dužy studied jazz and popular music at the Krakow Music Academy, and has been appearing on the Polish jazz scene since 1985. He is known for his extraordinary talent, humour, and his ability to experiment, but also to listen to his partners. He has appeared with groups such as Free Cooperation, Pick Up, Twinkle Brothers, Irek Dudek Blues Band and Symphonic Blues, as well as with the unorthodox and innovative Young Power. He regularly appears at the head of the 'Jazz Top' survey carried out by the Polish magazine Jazz Forum.
Skolias and Dužy first performed together in the early 1990s, and in 1999 released a joint album, 'Do It.' Their second album, entitled 'Skolias Dužy,' appeared in 2006.
www.skolias.strefa.pl
http://www.skolias.strefa.pl/
http://www.youtube.com/watch?v=mo1lDswN35o (video)
http://zawodowcy.pl/bduzy-pl.htm (mp3)
Mattia Coletti comes out with a new title for Wallace's catalogue, formerly already with Sedia and side-project 61 Winter's Hat [read komareviews], a solo debut full of letargical psychedelia, cradle by gentle acoustic guitar riffs and a rarefied static electricity in a couple of episodes (the redskin I letti di procuste). It's the sixstrings at center of everything, sometimes accompanied overall by whispered voices, or trembling, also, tangling up short serpetines, and ghost-like percussions, from far, - sort of brief flashbacks of past life, closed in a couple of distant channels. Sounds are bright and sharp, a minimalism burning folk and rumouristic together (Starland), in a particular sinister theatrical form, close to that allegoric mask on the artwork, with some poetical pathos similar to Jennifer Gentle and Vincent Gallo.
http://www.wallacerecords.com/
http://www.myspace.com/zenomattia (incl MP3)
Mikoláš Chadima (CZ) + Pavel Richter (CZ)
Paths of Pavel Richter (1956) and Mikoláš Chadima (1952) first met in the band Elektrobus, largely influenced by the work of Frank Zappa, which was active between years 1975-1976 and represented sort of essential ground of Czech alternative scene of the following years. The only preserved live recording of Elektrobus was reconstructed and released as a CD Undefinitive within the Archive edition in 2001 by Black Point Music. The problem of from today‘s point of view supergroup was nevertheless the fact that too many strong individualities met within the band.After the split, Pavel Richter joined progressive band Stehlík, which represented counterpart to then ingoing wave of jazz-rock. On the debris of Stehlík he set up Švehlík, where he took over the lead role. Final shape of the first period of this remarkable group from the years 1981-1983, already under name Marno Union, covers 2CD Švehlík - Studio 1982/Studio Marno (Black Point Music 2002). Substantial was also Richter's collaboration with folk-rock mystic Oldřich Janota, in trio which furthermore completed Luboš Fidler. Their shows enthused with ambient features are recorded on live records from the year 1984, released later as 2CD High Fidelity (Indies Records 2001). Richter fully developed ambient layers, supplied by the hints of world music, within Richterband, which was active in variable formations since 1986. He reassumed ethnical influences mixed with electronica in the band Wooden Toys again and in a way in Guru Band with jazz vocalist Jana Koubková too. He also glimpsed in early
Dunaj line-up (then still with Iva Bittová) and collaborated with improvisational Zapomenutý Orchestr Země Snivců too. Extensive is also his production for film and theatre. For example, he participated in Zuzana Zemanová-Hojdová's full-lenght picture Příběh 88 and Jan Kubišta's Divoká svině, composed music for art theatre Kolotoč's projects, collaborated with mime Ctibor Turba etc. He is sought-after producer as well as studio musician and leads his own label Richtig Music. Representative retrospective profile of his career presents eponymous 2CD (Indies Records 2003).
After the split of Electrobus Mikoláš Chadima joined Rock & Jokes Extempore Band, where he eventually took over the lead role and began to create conceptual shows, in which he subsequently refined his peculiar composer potential. Culmination of Extempore activities was extensive project Velkoměsto (The City - released as 2CD by Black Point Music in 2001), which Chadima had the possibility to perform in 1981 in London with assistance of Chris Cutler, Tim Hodgkinson and Mick Hobbs. Concurrently he played in revival Classic Rock'n'roll Band and quiet different, free improvisational group Kilhets. After Extempore called it quit he formed MCH Band, which however from conspiratorial reasons (Chadima signed Charta 77) performed during 80's under all sorts of names. Pavel Richter, who ‚lended‘ his playmates from Marno Union for the first conceptual show of Krokodlak, joined him just at the beginning of MCH Band. Very dark albums, on which Chadima uses decadent lyrics of Ivan Wernisch and later eastgerman dissident poet Jurgen Fuchs, were after the Velvet Revolution summarily released on 2CD MCH Band 1982-1986 (TomK 1992). Besides, he later returned to Fuchs lyrics in 2002 on album Tagesnotizen, which proves that at the beginning of the new millenium he is still able to affiliate to contemporary eletronic sound. Other aspect of Chadima's production present work of Pseudemokritos (Black Point Music 1996), with jazz-oriented musicians Peter Binder and Aleš Charvát, or Průhlední lidé (Black Point Music 1998) with innovative drummer Pavel Fajt. Last but not least, in 80's Chadima had merit in distribution of the Czech alternative scene tapes under label Fist Records and wrote extensive book Alternativa, which describes Czech independent musical events in context of political situation at that time.
In December 2002 Mikoláš Chadima and Pavel Richter met on one podium again on occasion of MCH Band jubilee, celebrated at Alternativa festival (which covers 2CD MCH Band Live - 20 let, Black Point Music 2003) and found out that their collaboration doesn't have to be played out by far. So the project came into existence, which proved its vitality on plenty of shows with magical atmosphere. This project presents congenial improvised dialog of two musicians, whose web-like musical structures, layers and filigree hints masterly interlace and complete. It is not the encounter of two former ‚rivals‘, but strange fusion of two musical souls in raw shape, which to be sure doesn't lack gentle melodic vibrations too. Petr Slabý, writer, journalist, specialist for non-commercial music
The trio Over4tea came into being in 2004 with the aim to make music inspired by video images. Lost Angeles and Other Mirrors is the first in a series of future projects. The two audio tracks on CD over4tea contain the group improvisation of over4tea and the French guitarist Noël Akchoté as recorded at the 2004 Next festival in Bratislava.
Ján Boleslav Kladivo - synthetizer, electronics
Dano M - turntable, electronics, CD players, objects
Roman Laščiak - sound design
http://www.radioart.sk/avr/radiopage.php?id=245
http://www.myspace.com/over4tea
Polvere (I)
Mattia Coletti - acoustic and electric guitars, drums, percussions & voices; for more go up
Xabier Iriondo - ukulele, taisho koto, zither, electronic treatments;
Xabier Iriondo born in the Isola area in Milan (Italy) in the early seventies from basque father and italian mother. At the age of seventeen he began to amuse himself with an electric guitar and he still does now. Between 1992 and 2001 he made 5 albums and hundreds of concerts with the pop/rock band Afterhours, 3 albums with the indie/rock band Six Minute War Madness and 3 albums + 2 miniCDs with the A Short Apnea project. In 2005 he opens in Milan SOUND METAK, a vintage/collector instruments and musical objects shop where he organize concerts/performances.
In these times he's involved as guitarist/sound manipulator in the projects Uncode Duello, Polvere, Tasaday, etc Xabier Iriondo has played live around Europe and Japan and collaborated (live and studio) with the following bands as musicians: Damo Suzuki, ZU, Sinistri, Wu Fei, Gianni Gebbia, Steve Piccolo, Eraldo Bernocchi, Cristiano Calcagnile, Bruno Dorella, Elio Martuscello, Vincenzo Vasi, Alberto Morelli, Verdena, Simone Massaron, Gak Sato, Franceco Cusa, Gianni Mimmo, Mirko Sabatini, Juan Mordecai, aka_Bondage, Cristina Donà, Stefano Giust, Angelo Contini, Stefania Pedretti, Fabrizio Modonese Palumbo, Diego Sapignoli, Olivier Manchion, Claudio Rocchetti, Christian Alati, Andrea Belfi, Madame P, Nicola Ratti, Antonio Gramentieri, Carla Bozulich and many others.
http://www.xabieririondo.com/
http://www.myspace.com/xabieririondo (incl. MP3)
http://www.wallacerecords.com/
Tucan (SK)
chocholík - voice, cello, laptop, plastic hand
chvostík - drums, voice, laptop, synthesiser
"If this is where Slovak music is headed, I definitely want to be along for the ride. These two take what might seem like a very limited sound pallet - voice with cello and drums- and use it to create something very personal and engaging. The songs have a sketch-like quality that allows them to be bold without being overdone. It has a direct quality that reminds me of early Talking Heads and Bittova. I have no know what this kid is singing about but the vocals have a engaging mix of sung and quasi-rapped lines and he tells the story like he means it. The cello keeps it simple and rocking while the drums provide a lot of the variety. The introduction of electronics and a little soundscape on the last tracks keeps things fresh and perhaps sheds a bit of light on where these two might be going..."
David Dramm
http://www.tucan.k6.sk/
http://www.freemusic.cz/clanky/4190-rodicia-nam-neradia.html
Uncode Duello (I)
Paolo Cantù - electric guitars, clarinets
Xabier Iriondo - electric, table and baritone guitars, tapes, kalimba, electronics
Cristiano Calcagnile - drums
Xabier Iriondo - for more info go up
Cristiano Calcagnile
Considered as one of the best drummers in Italy, he has played with: Anthony Braxton, Paul McCandless, Steve Piccolo, Davey Ray Moor, David Searcy, Elliott Sharp, Ernst Reijseger, Mark Feldman, ZU, Buch Morris, Mats Gustafsson, Damo Suzuki etc.
Adventurous, oblique instrumentals played by Paolo Cantù and Xabier Iriondo (previously involved in remarkable and unique projects like Six Minute War Madness and A Short Apnea). Guitars, bass, clarinet, voices, tapes, organs, electronics, etc. collide in these bizarre architectures and ready-made objects - as if the anarchist spirit of the "Faust tapes" was revived by Storm & Stress or their label mates A Short Apnea. A loose, but oddly powerful and cohesive interplay, where melodies and found sounds are continuously shattered and recomposed into new forms, makes this a captivating listen, probably closer, at a skin-deep level, to folk and rock than to academic avantgarde.
"Ex Æquo" is the second release from the duo Paolo Cantù and Xabier Iriondo, phrenetics musicians, movers of wide series of live and studio projects. And "Ex Æquo" benefits of these experiences: beginning from the huge deployment of instruments to the collaborations ... behind the drums and voices we find the best of the italian free-rock-jazz musical scene. "Ex Æquo" is a full-colour sound, a kaleidoscope of rock songs, nervous and intense instrumental suites, proudly recorded and mixed by themselves.
www.myspace.com/cristianocalcagnile (incl. MP3)
www.myspace.com/uncodeduello (incl. MP3)
http://www.wallacerecords.com/
Urs Leimgruber (CH)
He has been working since many years in the field of Contemporary Improvisation, Jazz and New Music. As well as being member of different acclaimed groups, he isdoing solo concerts and performing as a Duo togehter with the drummer Fritz Hauser, in Europe, Canada, USA and Cuba. Concerts and recordings with Joëlle Léandre, Marilyn Crispell, Barre Phillips, Jacques Demierre, Fred Frith, Steve Lacy, Tim Berne, Lauren Newton, Michel Doneda, Keith Rowe, Günter Christmann, Christy Doran, Sunny Murray, Louis Sclavis, Günter Müller a.o. Projects with „Ensemble Bleu", the Berlin Philharmonic Wind Quintet and the ARTE Saxophone Quartet. Co-founder of the Electricjazz-Freemusic group OM in the seventies. „His emancipation of the saxophone has something to do with an archaic approach to the instrument with a spiritual approach to his material prerequisites." Peter Rüedi, Weltwoche Zurich
„Urs Leimgruber's mastery of the saxophone is so protean you could easily be fooled into thinking you are listening to a whole range of other instruments. He produces drum beats, the sound of guitars or the echoing resonnance of gongs at will. His playing seems almost de-instrumentalized, free of any implicit meaning and, despite its complexity, almost unexpectedly stark. Sound in its purest state. The ten pieces here sound like a manifesto set to music, an audible thumprint, a soundcard with a unique code that only responds to the personal breath of the artist." Bert Noglik, CD Blue Log Leipzig
http://www.mp3.com/artist/urs-leimgruber/summary/
http://www.efi.group.shef.ac.uk/mleimgr.html
Valentin Z
(performance of the Hectora Zazou‘s son)
"Valentin Z has been influenced by 19th century 's music but he is also interested by a "computerised" approach of composition. His blend: a unique, genuine music style; his strings quartets clearly belong to the Great Tradition but the electronic tools push them into an unexplored musical field where acoustic and electronic sounds seem to be engaged into a true conversation. Somewhere in the middle between classical beauty and electronic sound."
Christian Zanési - GRM Artistic Director.
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=119701193
Vladimír Václavek (CZ) & Miloš Dvořáček (CZ)
Vladimír Václavek is one of the most significant personalities of Czech music. In 1980´s he met several musicians with whom he has been cooperating on various projects since then. His career as a musician is connected with the names of Iva Bittová, Pavel Fajt and Josef Ostřanský who he joined in the band DUNAJ. He played the bass guitar at that time but he changed it for a guitar. From the mid 1990´s he played in the bands E and DOMÁCÍ LÉKAŘ and he also released his first solo album JSEM HLÍNA, JSEM STROM, JSEM STROJ ( I am earth, I am a tree, I am a machine). Around this time he also founded a Moravia-Japanese-French group Rale that released three successful albums inspired by the cultures of several continents containing rustle of six languages. Besides his part in some other formations he made together with Iva Bittová an unforgettable double-album BÍLÉ INFERNO/White inferno in 1997 (White Inferno - a Gold Record Award by the Indies Records publisher in 2004). Together with the guest musicians from this album and Iva Bittová he founded an almost jazz group Čikori. At the present you can hear Vladimír in his solo program or in duo with drum player Miloš Dvoráček and in two live formations - Ingwe and Czech-German KLAR.
Miloš Dvořáček - drums, vocal, author
Vladimír Václavek is undoubtledly one of the best Czech musicians and one of the most significant figures on what is known as the Brno alternative scene. Together with drummer Miloš Dvořáček he has performed in Iva Bittová's almost-jazz group 'Čikori.' Later they founded the trio V.R.M, out of which this well-coordinated duo arose.
Václavek & Dvořáček's concert programme comprises a selection of pieces from Václavek's solo albums and some that have not yet been released.
The foundation of Václavek's performance is his guitar, which gently illustrates the basic melody, and his calm, almost recitative-like voice, with its emphasis on meaning and harmony with the music.
His earthy, melodic base is vigorously developed by Miloš Dvořáček, an exceptionally-talented drummer.
http://www.vaclavek.eu/vladimir/
Why (Not) Pattrens (CZ)
pseudo-minimalist psychedelic-ecstatic fusion
Michal Nejtek - keyboards
Miroslav Pudlák - keyboards
Kamil Doležal - clarinet
Štěpán Uhlíř - guitar
Jan Keller - 'cello
Tomáš Herian - percussion
The group arose in 2001 when its two composers felt compelled to try a different style of music, and four other musicians were also interested. Its compositions are founded on various principles of realisation, with one of the instruments usually leading and giving signals to which the others react in line with certain rules. Rather than improvisation, it might be called 'composition in real time.' It is a blend of revived minimalism and various constructions, as well as a largely simple 'polymelody.' It uses written music, although some compositions are written on a single sheet of paper but last a long time, while others are the other way round... Its members consider their music to be essentially 'classical music,' but with a somewhat brutal rock sound.
http://www.musica.cz/wnp/index.html
The Ear Thieves is a trio of singing multi-instrumentalists Pavel Magnusek, Tomas Havlicek and David Subik. The rhythmical part of the trio - Havlicek & Magnusek - plays together about 20 years and you can feel it! When these guys met at the late 90`s with Subik, it had been natural to get all three together and the Ear Thieves were born.
Since than on they were steeling ears on many festivals and in many clubs all over the Europe from Barcelona to St. Petersburg.
Their music is a mosaic of very different styles, approaches to music, lyrics and performing presentations. Each of the three musicians represents specific music world which in the same time dominates and supports the worlds of the two others. The concerts of diverse songs are bringing an astonishing experience to the listeners: an overflow of raging energy from very first till the very last second of the concert and with decent humour the E.T.'s let you discover the latent stories and meanings behind their songs. So as a wolf in a sheep`s clothing the Ear Thieves are bringing on stage an hour program of pleasingly listening songs with a complex and sometimes very dark coey.
