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Dec 132010
 
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Tatsuya Nakatani Zeitgeist Gallery Nashville TennesseeVideo and photographs by John Brassil.
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Tatsuya Nakatani mesmerised the audience at Zeitgeist Gallery on Saturday, December 4th with his visceral experimental percussion. For podcast 43, we bring you his entire set from that evening and also the Theatre Intangible live improv that followed: Pulse. Pulse features Tatsuya and the other bands on the lineup that night: Bluff Duo (Brady Sharp and David Maddox) and LYLAS (Kelli Shay Hix, Kyle Hamlett, Ben Marcantel, and Amy Blackburn Simon, also of Forrest Bride). Both sets are amazing! You can hear Brady Sharp perform on these two fine Theatre Intangible episodes. Kelli Shay Hix and Kyle Hamlett recently appeared on the improv Stone & Stream. Look for a Dave Maddox episode to come soon. I also recorded the Bluff Duo and LYLAS sets from the Zeitgest evening. I’ll post those soon as well.

Pulse w/ Tatsuya Nakatani Bluff Duo LYLAS Forest Bride at Zeitgeist Gallery Nashville Tennessee Theatre Intangible

Japanese-born experimental percussionist Tatsuya Nakatani connects with his instruments in a way like I’ve never before seen. He extracts every ounce of musicality out of his gongs, singing bowls, bells, cymbals, drums, handmade bows, and other devices. His performances are an extremely visceral affair. You really get the sense that his instruments are extensions of him. Seeing him live is a cathartic and almost spiritual experience.

At the improv’s end, Tatsuya announced that he expected the improv to be “here,” putting his hand near his chest, but that it turned out to be “here,” putting his hand high above his head. I for one agree.

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Tatsuya Nakatani live at Zeitgeist

ABOUT TATSUYA NAKATANI:

Tatsuya Nakatani (percussion) is originally from Osaka, Japan. In 2006 he performed in 80 cities in 7 countries and collaborated with 163 artists worldwide. In the past 10 years he has released nearly 50 recordings on CD.

He has created his own instrumentation, effectively inventing many instruments and extended techniques. He utilizes drumset, bowed gongs, cymbals, singing bowls, metal objects, bells, and various sticks and bows to create an intense, organic music that defies category or genre. His music is based in improvised/ experimental music, jazz, free jazz, rock, and noise, yet retains the sense of space and beauty found in traditional Japanese folk music.

In addition to live solo and ensemble performances he works as a sound designer for film and television. He also teaches Masterclasses and Workshops at the University level. He also heads H&H Production, an independent record label and recording studio based in Easton, Pennsylvania. He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster as well as a Bronx Arts Council Individual Artist grant.

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Dec 112010
 
DaveX-Circuit-Benders-Ball

DaveX at the 2010 Circuit Benders Ball. Photo by Stephen Zerne. Visuals by Kelli Shay Hix.

DaveX is an experimental composer who also hosts the weekly experimental radio shows It’s Too Damn Early on WDBX and Sounds Like Radio on WSIU, both in Carbondale, Illinois. On todays’s podcast, we talk with Dave about his myriad of projects and play his 2010 Circuit Benders’ Ball set in its entirety. For more DaveX goodness, check out the Theatre Intangible blog interview.

Mentioned in this episode: Southern Illinois Noise Summit, Startling Moniker, Style City, Amy Horvey – Catchment, Monochrome Vision, Luigi Russolo Competition, The Free Players, Last Visible Dog Records, Electric Kitten VomitPublic Eyesore Records.

For more from the 2010 Circuit Benders Ball, check out the ever-expanding Media Repository.

Oct 312010
 
Chambers of Horror

Chambers of Horror Haunted House

As a fitting finale for Halloweird! October, we present the 3rd Annual Halloween Extravaganza, an exploration of the link between fear and arousal. Podcast 39 stars Mike Hiegemann on bass and Hammond organ, Austin Gaines on no-input mixer and various gadgets, Anderson Cook on guitar and synth, and JJ Jones on vocals and drums. I did the interviews, live mixing, clip playback/manipulation, and post production. We interview the creators of the adult-themed haunted houses Chambers of Horror and House of Horrors. Extra special thanks to Lucas Godfrey and Lindsay Starke of Chambers of Horror and Gork of House of Horrors. We also discuss Netherworld and Atlanta Zombie Apocalypse. All of these haunted houses are worth your while, each in its own way. They’re all open today, and all will be coming back next year. If you’re in Atlanta, by all means go to Chambers of Horror, one of the most innovative haunted houses I’ve ever seen. If you’re in Nashville, House of Horrors is an experience I promise you will never forget.

I was a little worried for this episode. We had to postpone it a few times, and today became the deadline. Most of the T.I. participants were busy with Halloween stuff, but Mike, Austin, Anderson, and JJ really came through with some haunting sounds. The improv serves the 1st and 2nd Halloween Extravaganzas proud!

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Oct 172010
 

In keeping with Halloweird! October, we bring you Frankenstein 1986, , a new synth-pop soundtrack to the 1931 horror classic Frankenstein, starring Ken Soper, Lawrence Crow, Tommy Stangroom, Cody Bottoms, and JJ Jones. There are some great moments, such as Cody’s electric guitar samples, Ken’s haunting Hammond organ lines, and Lawrence’s Casio SK1 leads; but listening back, I fear we may have been having a bit too much fun. I had the brilliant idea of incorporating a cheap toy drum machine that wears out its welcome . . . oh. . . after about 5 seconds. That’s not the fault of its wielder JJ Jones (who knocked it out of the park with his vocal work on the episode). I even played the drum machine somewhere in the middle of the show. The blame lies with the machine’s downright annoying timbres, which weren’t apparent to me until playback. Tommy Stangroom, who did various percussion and synth sounds, claims it was apparent to him from the beginning. He elected not to play the infernal drum toy.

There’s enough good material here for a decent 30 minute show. In it’s full hour + run time though, I recommend you only listen in sync with the film. Seeing the classic film with an 80’s synth pop soundtrack is a strange, comical, and not unpleasant experience.

What do you think? Does it stand up to the Dracula or Freaks soundtracks?

Stay tuned next week for the Third Annual Halloween Extravaganza, which will focus on the intersection between fear and arousal.

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