Category: Festival

Prepare for possible disruptions in the Earth’s magnetic field in the vicinity of Barcelona on June 15 2012 when Supersilent joins forces with John Paul Jones at the Sonar festival for a live performance that may feature as many as four Kyma systems on stage!  Be prepared for wormhole effects as the electronic improvisers start spinning their dense clouds of sci-fi jazz and colliding super-massive visceral sound objects into each other.

In the words of reviewer, David Broc at playgroundmag.net: “…those who found a way through the thick jungle of dark drones, schizophrenic bass lines and undefinable structures, found themselves in one of the most intense moments of the day. ”

John Paul Jones, one of the earliest discoverers of Kyma, has been composing, producing, and performing with Kyma and influencing its development for nearly two decades.  Jones has been working with Helge Sten for the past 3 years, and together they’re taking Kyma into dangerously powerful new sonic territories; last year, the Kyma meme infected two more members of the group: StÃ¥le Storløkken (keyboards, synth, electronics) and Arve Henriksen (trumpet, voice, drums, electronics), so at this point it’s on the verge of a pandemic.

Helge Sten will be in Paris on 30 March 2012 performing as Deathprod for the first time since 2003 as part of the 8th Présences électronique festival, envisioned by ina GRM, the Centquartre and Radio France.  Deathprod is performing on Friday night at 21h30 in the main hall following acousmatic pieces by composers Arne Nordheim, Francesco Giomi, and Martin Tetrault.

Sten will be performing live, featuring pieces from Morals & Dogma and Nordheim Transformed. All pieces have been ported over to Kyma from various older samplers and updated to quadraphonic presentation.

Présences électronique is free and open to the public!

30 mars à 21h30

au Centquatre (Nef Curial)

104, rue d’Aubervilliers ou 5, rue Curial – Paris, 19e

The Minibus Pimps (aka John Paul Jones, Helge Sten, and a minibus’ worth of electronics, instruments, iPads, and two Kyma/Pacaranas), will be performing at the Alte Feuerwache in Mannheim on Monday November 14, 2011 at 8 pm as part of the Enjoy Jazz 13th International Festival for Jazz and More.

To paraphrase from Michael Engelbrecht Abgelegt‘s review of the duo’s debut performance at Punkt (the original is written in German and is roughly translated here):

Unique lighting choreography outlined the duo like spirit figures in an Asian shadow-puppet play.  To old-timers, the music of the duo evokes Led Zeppelin, “Metal Machine Music” and “Walk on the Wild Side”. The two made use of “Kyma”, a computer music language, to quickly create sound algorithms no one has never heard before.

I have rarely in my life, under live conditions, experienced such a clearly contoured, perfectly staged dramatic Noise as one piece of music. Noise, yeah, noise! Much as one might expect from an old pioneer of the avant-garde, but this is by Helge Sten and the ex-Led Zeppelin’s John Paul Jones, a man with new ideas exploring new technologies.

This was not a soulless demonstration of a computer program: sounds were unleashed, the old tendencies of experimental rock music and “drone music” were picked up and catapulted into the year 2011. What a poignant ‘wall of sound ‘!

Twice the duo kindled a violent storm (gale force 13).  Those who did not take flight witnessed the way the noise textures become strangely melodic. A worthy finale (no guitars are burned these days but a few wild spirits are lured from machines) – the last concert on the big stage of Agden theater!

Helge Sten seemed to be remembering his “dark ambient” work as “Deathprod”. John Paul Jones seemed to tap into the wild energy of an older time without falling into the nostalgia trap.  Was it Neil Young who said, “It is better to burn out than to fade away”?

John Paul Jones will once again join forces with Helge Sten and Supersilent, this time for a performance at the Molde International Jazz Festival in Norway on 19 July 2011.

JPJ’s Kyma-enhanced bass is a fitting addition to Supersilent’s signature use of synthesis, looping, theremins, and Helge Sten’s own Kyma sound designs.  Jones’ first collaboration with Supersilent was at last year’s Punkt Festival, prompting John Kelman to write in All About Jazz:

…this was no conventional bass solo, as Jones began with relatively normal textures, but gradually moved to greater extremes, using ring modulation to create oblique harmonies, overdrive to create dense textures, and assorted other effects to create a piece that ebbed and flowed, building to periodic climaxes only to settle and begin the climb once again. Beautiful chords gave way to angular expressionism, as Jones delivered a short set that, for those unfamiliar with his post-Zep work, must have been a shock to the system, but set a clear context for the collaboration with Supersilent to follow.