Aposition International Music Forum
“New music” as an autonomous and independent art form in Russia dates back to the Soviet era. Contemporary Music Club in Leningrad (1979-1982) was the first semi-official institution with rich and diverse artistic programme: from “classical” avant-garde to free improvisation to avant-rock and then exotic ethnic music. The Club was banned by authorities in 1982 and the tradition – under the name of Open Music festival – could be resumed only in the late 1980s, with Gorbachev’s radical reforms. In the 1990s the focal point of the new music movement shifted to Moscow, to Dom cultural centre with enthusiastic and tireless Nick Dmitriev at its helm. In St. Petersburg the tradition was sustained by the SKIF festival, and in the new century by the APosition festival.
APosition’s aesthetic and cultural roots are transparent even from its name. “Wrong” A instead of the right “O” in the beginning of the word is an instant allusion to the legendary Sun Ra Arkestra. And opposition – apart from general oppositional spirit of any radical art form – is a direct reference to rock-in-opposition, a unique artistic and political movement in European and American rock, where intellectual sophistication, compositional complexity and improvisational freedom were going hand in hand with unambiguous political and ideological position (opposition) towards the cultural establishment as well as the show business.
International Music Forum APositsia is an annual event taking place in St.Petersburg, Russia.
It is a festival that represents musical projects from all over the world associated with creativity or even experimental.
It consists of a 4 days of concerts, masterclasses and collaborations with local musicians.
In a last ten years following musicians took part in APositsia festivals: Terry Riley, Pauline Oliveros, Miya Masaoka, Marcus Stockhausen, Brian Godding, Burton Greene, Hamid Drake, William Parker, Phill Niblock, Famoudou Don Moye, David Moss, Jim Thirlwell, Charles Gayle, Rhys Chatham, Tim Hodgkinson, Shelley Hirsch, Peter Principle, Chris Corsano, Dror Feiler, Dok Gregory, King Ayisoba, Evelina Petrova, Peter Brotzmann, Keith Rowe and many others.
International Music Forum APositsia 10
September - 18 - 21, 2014
Ernesto Estrella (Spain)
Debashish Bhattacharya (India)
Famoudou Don Moye/ Baba Sissoko (USA/Mali)
Henry Kaiser (USA)
Novi Sad (Greece)
Peter Stampfel (USA)
Vlad Makarov (Rus)
Arthur Brown (UK) + Byzantine Art Punk Ensemble (Rus)
Dror Feiler (Sweden)
Telesmatic Sound Box (Finland/USA)
Catherine Jauniaux Trio (Belgium)
Partisipants of APositsia Music Forum
Ernesto Estrella Cózar is a sound artist, poet, and educator born in Granada and living in New York since 2000. He obtained his Ph. D. at Columbia University’s department of Spanish and Portuguese, and between 2007 and 2011 he was Assistant Professor of Hispanic Poetry at Yale University.
As a scholar, he has published critical articles in prestigious journals, and has been invited to a number of international conferences, talks and workshops related to his field. While an educator at Yale, along with Latin American and Spanish literature, culture, and cinema curriculum classes, he crafted his courses Poetry Off the Page and Poetry of the Spanish Civil War. In addition to his university engagements, he regularly teaches workshops that interweave philosophy, politics, arts and ethics. One of them, called Reading the Poem as Present, was held in April 2011 at the Bowery Poetry Club as part of New York’s Spanish Consulate cultural program. A Spanish version of it took place at the Centro Cultural de España in both Buenos Aires and Montevideo in July 2011.
As a poet, Ernesto has been included in anthologies such as Cuadernos del abismo (2008) and El tejedor en… Nueva York (2011). His multimedia book Achronos, a collaboration with Berlin-based photographer Nyssos Vasilopoulos, appeared as part of CUNY’s Virtual Poetry Project, and his book Boca de Prosas (Mouth of Proses), a hybrid of prose poems and short stories, is currently in press. He is now working on a long poem-novel entitled Escuela de tu nombre (School of your Name), fragments of which have already appeared in poetry journals.
As a sound artist, he has created a wide array of compositions, some of which have already been introduced into his poetic performances, Out of the Word, into the Sound (also existing as studio CD), and Opening the Poem, presented at international festivals in Argentina, Uruguay, Austria, Germany, Russia, Finland, Latvia and the U.S. His most recent collaboration occurred in a piece by Spanish composer Mauricio Sotelo, entitled “Cuerpos".
Indian Raga Music thrives on improvisation. No two performances by the same musician produce the same result. For a musician with substance, therefore, the sky is the limit. His improvisations within the framework of a Raga or within the limitations of the instrument he plays become a novel experience for himself as well as his listeners. Some go beyond
Debashish Bhattacharya is one such most amazing music personalities of the world whose dynamism of artistry and creativity place him as a Genius.
My childhood - My MusicBlessed by the genes of his vocalist parents belonging to the family of musicians for generations, Debashish carries music in his veins. His brother Subhasis is an exponent of Tabla and other rhythm instruments. Sutapa, his sister, is a very popular singer who during her first tour abroad has been popular in Japanese and Canadian festivals.
His debut at the age of four was broadcast by All India Radio, Calcutta, and was blessed by the late Ustad Karamatullah Khan of Farukhabad Gharana who accompanied him on the Tabla. At twenty he received President of India Award for winning National Music competition of All India Radio. Debashish, in his thirties only, was awarded the Top Grade, the ultimate honour by the Prasar Bharati Ministry of information and Broadcasting of India. His charisma as a Musician, Composer, Innovator, Revolutionary, Guru, and the Director of international slide Guitar Parivar (family) has attracted devotees of music from all the nooks and corners of the world.
He immensely influenced the imaginative ability of his fellow musicians. As a powerful slide guitarist he has already set a new trend among fellow musicians. The composer in him does not believe in the East and the West in music. Universal Human Music is his faith and he believes that it gives peace and joy to the believers.
The performer in Debashish has the rare ability to communicate to each one of his listeners through his instrument in every performance. He has introduced a new finger style as well as playing style combining thumb and index finger. This produces finest bole variety, fastest Taanas, and strongest Jhala, which were technically impossible on a slide guitar earlier. A dedicated Guru and pathfinder Debashish has written a syllabus on Indian Classical Guitar, the first of its kind, which includes technical terminologies and abbreviations.
Debashish's uncanny sense of musical understanding has established him as a recording artiste whose perfect musicality matches all categories of music be it Indian, or any kind of classical, jazz, blues, folk or Nue Music.
He is perhaps the only phenomenon in the History of The World Music and Indian Classical Music who created a TRINITY OF SLIDE GUITARS. Christened as CHATURANGUI, GANDHARVI, and ANANDI, these, according to Bob Brozman are "the new arms and ammunitions to fight against ignorance".
Famoudou Don Moye, is an American jazz percussionist and drummer. He is most known for his involvement with the Art Ensemble of Chicago and is noted for his mastery of African and Caribbean percussion instruments and rhythmic techniques. At Apositsia 10 Famoudou will perform in a duo with another percussionist Baba Sissoko from Mali.
Baba Sissoko is a musician and vocalist. Sissoko is a master of the talking drums. He is also a jeli by birth. From childhood, he played tamani, often accompanying the traditional female griot during wedding and other traditional ceremonies.
Henry Kaiser (USA)
Guitarist Henry Kaiser is a prolific member of the San Francisco Bay Area music scene, as well as being a globally recognized leader of the "second generation" free improvisers who came of age in the '70s. His earliest musical inspiration came from the spiky sounds of English improvising guitarist Derek Bailey and the many guitarists in Captain Beefheart's Magic Band; later on Kaiser absorbed the subtle string textures of the American blues stylists and traditional music of Asia, particularly India, Korea, and Vietnam. His initial recordings documented solo projects and spontaneous groupings with other energetic improvisers like Fred Frith, the ROVA Saxophone Quartet, pianist Greg Goodman, and vocalist Diamanda Galas. Kaiser's restless creativity unearthed many new and unconventional electric guitar techniques during these years, and he combined these innovations with a strong sense of logic and concise development, often aided by sophisticated sound-processing devices.
Yo Miles! During the '80s, Kaiser projects tended toward the rock sound of the '60s and '70s, with a special fascination for the music of The Grateful Dead and participation in a number of tribute albums for Imaginary Records. Just when people were starting to peg him as a "cover artist," Kaiser ditched his rock stylings, for the most part, and went back to more of a free improvising style. He recorded albums with Derek Bailey and Jim O'Rourke, and did new recordings with his old duo partner Fred Frith. The '90s also saw Kaiser increase his profile through his successful collaborations with David Lindley and local musicians from both Madagascar and Norway. He was also involved with a number of recordings made in Burma, also for the Shanachie label. The late '90s saw another stylistic shift, when Kaiser joined forces with trumpeter Wadada Leo Smith for a tribute to the early-'70s sound of the electric Miles Davis bands. The project lasted for several years with a rotating lineup and produced several releases, including 1998's Yo Miles! on Shanachie and a pair of mid-2000s releases on Cuneiform, Sky Garden and Upriver. In late 2001/early 2002 Henry Kaiser joined a group of scientists for two and a half months in Antarctica, where he became the first musician to record on that continent (some of this music has been released digitally).
Guitar PartyKaiser appears to be constantly busy, recording in different settings, although his release schedule is sometimes not as active as his recording schedule, a case in point being the release in 2003 of Guitar Party with Glenn Phillips, which was actually recorded in 1990. However, Kaiser has remained active in performing and recording with a variety of projects (including and in addition to Yo Miles!) in the 21st century, including an avant improvising power trio with drummer Weasel Walter and drummer Damon Smith (releasing Plane Crash in 2009). Kaiser also collaborated on Richard Thompson’s original score to the 2005 Werner Herzog film Grizzly Man. In addition, Kaiser is a noted underwater photographer, and his photography has in fact served as an inspiration for Herzog’s own film work. Herzog's 2005 sci-fi film The Wild Blue Yonder used some of Kaiser’s footage, and the German director’s 2007 Antarctica documentary Encounters at the End of the World featured more Kaiser underwater photography; Kaiser also produced the latter film and co-composed and performed the music of its original score with David Lindley.
Peter Stampfel (USA)
One of the first artists to explore the nexus where folk and psychedelia meet, Peter Stampfel is best known as the founder of the freewheeling acid-folk collective the Holy Modal Rounders, one of the first salvos in a recording career that's spanned six decades. Stampfel was born in Wauwatosa, Wisconsin on October 29, 1938, and developed a fascination with music at an early age, listening to pop standards and country music on the radio. After enrolling at the University of Wisconsin, Stampfel fell in with a group of bohemian students who turned him on to bluegrass and old-time folk music; the Anthology of American Folk Music, Vols. 1-3, edited by Harry Smith, became a favorite and major influence, and when the collection was reissued in 1997, Stampfel wrote new liner notes for the set that won him a Grammy award. Stampfel took up the fiddle and banjo, and dropped out of school after two years to travel and explore the Beatnik culture. By 1963, he was living in New York City, and met fellow eccentric folk fan and poet Steve Weber, who played guitar. Stampfel and Weber formed a duo and named their group the Holy Modal Rounders, playing folk rarities and offbeat originals with a purposefully primitive bent. The group attracted an audience on the New York folk scene, and they landed a deal with Prestige Records, who released their first album in 1964. That same year, Stampfel was recruited to play with the Fugs, and not only served as an accompanist but wrote and sang a few songs with the group, including the crazed "New Amphetamine Shriek." Eventually the Rounders would grow into a full band and dive into proper lysergic madness, winning major-label recording contracts and scoring an underground hit with "Bird Song," which would appear on the soundtrack to the hit film Easy Rider (the Rounders also featured Sam Shepard on drums years before the playwright became a successful actor), but the group was never especially stable, and one of their greatest successes came after Weber left the group: Have Moicy!, a 1976 album Stampfel recorded as the "Unholy Modal Rounders" in collaboration with Michael Hurley and Jeffrey Frederick. While Stampfel and Weber would periodically collaborate, by the end of the '70s he spent more time working with other artists (most often Michael Hurley), and was one of the few artists from the folk scene who remained a presence when punk and new wave came to dominate New York clubs in the '80s. In 1986, Stampfel introduced his folk-rock band Peter Stampfel & the Bottle Caps, with whom he would release three albums, and he would appear as a guest on albums by Yo La Tengo, They Might Be Giants, Bongwater, and Mark Bingham; he also performed and recorded with the Du-Tels, a project with celebrated guitarist Gary Lucas. Stampfel made his belated solo debut with 1995's You Must Remember This, in which he reinterpreted classic songs of the '30s and '40s, and continued to perform and record with a variety of ad hoc ensembles, including the Ether Frolic Mob (2013's The Sound of America) and the Brooklyn & Lower Manhattan Banjo Squadron (2014's Better Than Expected). When not busy with music, Stampfel has enjoyed a long career as an editor with science fiction publishing house DAW Books.
Arthur Brown (UK)
Arthur Brown (born Arthur Wilton Brown on 24 June 1942) is an English rock musician best known for his flamboyant, theatrical performances, powerful wide-ranging operatic voice and for his number one hit in the UK Singles Chart and Canada, "Fire", in 1968.
Brown has been lead singer of various groups most notably The Crazy World of Arthur Brown and Kingdom Come followed by a varied solo career as well as associations with Hawkwind, The Who, Jimi Hendrix and Frank Zappa.
Brown has been a significant influence on Alice Cooper, Peter Gabriel, Marilyn Manson, George Clinton, Kiss, King Diamond, and Bruce Dickinson, among others and his songs have been covered or sampled by a range of artists including Ozzy Osbourne, The Prodigy and The Who.
Browns voice and in particular his high banshee screams are a pre cursor to the banshee screaming of many later heavy metal singers and his theatrical concepts and stage presence such as the face makeup, voodoo dancing and flaming helmet pioneered a lot of what was to become Shock Rock and Progressive Rock.
Following the success of the single "Fire", the press would often refer to Brown as "The God of Hellfire" in reference to the opening shouted line of the song, a moniker that exists to this day
Novi_sad is the guise for Thanasis Kaproulias (b. 1980) who holds a degree from the Economic University of Piraues. He lives and works in Athens, Greece. Influenced by the pioneers of audio assault, he began generating sounds in 2005. No studies, no academic education, no scholarships, just pure learning by doing. Amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones vs overtones, all come together in a hyper structure of iconoclastic form.
Novi_sad’s artistic output displays a high level of technical ability, as well as a sensitivity to the nuances of location. The strength of his soundscapes works in the same elaborateness for the whole creation process, starting from a basis of very strong conceptualism, the intense examination of field recordings over the actual composition work, to the point of performing back the result onto location. Every sound that occurs is treated with a sculptural integrity and his sonic power operates on a level in which the audience participates as transcendental listeners.
His approach is similar to the 'cinema pour l'oreille' (cinema for the ear) and in turn would like to ‘donner à voir’ (lead to seeing) by means of sound. Being immersed in his sonic environment offers an absolutely visceral and cerebral experience at once. Novi_sad explores sound as sensation pulling apart its physical properties to reveal its relationship with human perception. Some of his projects are primarily focused in architectural acoustics and the relationship between architecture and sound, when other projects are based on various methods of audio analysis in extremely unique recordings and the use of quantitative and numerical data from different sources.
His vertiginous structures destruct and reconstruct architectonic, organic and sentimental abstractions with precision and hypnotic beauty, which functions as a gateway onto eternity. His music has been described as ‘a complete surrendering of the senses’. Novi_sad’s albums found plenty of receptive ears, receiving glowing reviews in music media around the world. His audio works are available from Sedimental (U.S), Touch (U.K), Staalplaat (NL) and Sub Rosa (BE).
He has performed his work live in cinemas, industrial spaces, theatres, churches, museums, galleries, squats, in festivals like Mutek [Montreal, Canada], Ultrahung [Budapest, Hungary], Observatori [Valencia, Spain], Gaudeamus Musis Week [Amsterdam, The Netherlands], Field recordings festival [Berlin, Germany], Interferenze [Bisaccia, Italy], Suoni per il popolo [Montreal, Canada], Full-Pull, [Malmö, Sweden], and in such spaces as VPRO National Radio [Amsterdam, The Netherlands], Diapason Gallery [New York, U.S.A], Royal Danish Academy of Fine Arts [Copenhagen, Denmark], Muziekgebouw aan ‘t IJ [Amsterdam, The Netherlands], Fylkingen [Stockholm, Sweden], The Chapel [Seattle, U.S.A] a.o.
Novi_sad has worked and collaborated with: Helge Sten [Deathprod, Supersilent], Francisco López, Mika Vainio [Pan Sonic], BJ Nilsen, Daniel Menche, Richard Chartier, CM von Hausswolff, Jacob Kirkegaard, Beckie Foon [A Silver Mt. Zion, Set fire to flames], Scott Konzelmann, Frank Kalero and Karl Lemieux. Thanasis Kaproulias is published by Touch Music (U.K) and he is the General + Artistic director of Hertz Festival.
CATHERINE JAUNIAUX (Belgium)
CATHERINE JAUNIAUX is a unique French born vocalist and composer who's contributed to numerous R.I.O. projects and has stood at the forefront of vocal improvisation of the downtown NYC scene for many years. Her vocals exhibit a vast platter of sounds, encompassing invented languages to schizophrenic meanderings and everything in-between. Some of the projects she has participated in include: The Hat Shoes, Aksak Maboul (vocals on a select tracks), Des Airs, The Work, Third Person and collaborative work with the likes of Erik M and Ikue Mori. She also was the wife of late cello player Tom Cora.
Her first (and only) solo album 'Fluvial' was recorded in 1983, teaming up with formed Henry Cow member Tim Hodgkinson (production), along with copious amounts of guest musicians. 'Fluvial' is a delightful collection of compositions ranging from folk-esque song, childish bantering, tribal drumming, to distinct Henry Cow-isms. Her unique vocals, which are often likened to Dagmar Krause and Haco, are complimented cohesively by a varied array of instrumentation: Viola, bassoon, guitar, piano, drums, clarient, cello et cetera.
CATHERINE JAUNIAUX is a sorely forgotten musician in the Avant-prog realms, who will appeal to lovers of female fronted Avant-pop collectives like Art Bears, Non Credo and Lindsay Cooper (solo).