SATURDAY MAY 19
10 PM - $38
Phew : voix, électroniques
A Japanese night, a women’s night, a night that kicks off with an incredibly rare opportunity to catch PHEW in concert on the American continent! Little known in America, singer/electronician PHEW is a mainstay on the Japanese punk, alternative and experimental music scenes.
Her first band Aunt Sally was inspired by The Sex Pistols. It enjoyed a meteoric career for three years. In 1980, immediately after it broke up, PHEW recorded her debut self-titled solo album with members of Can. Followed collaborations with members of Einstürzende Neubauten, Dieter Moebius (Project Undark), Otomo Yoshihide (Novo Tono), and ex-Boredoms Seiichi Yamamoto. At the turn of the millennium, on sampler and electronics, she also took part to the “onkyo” improvisation movement with Big Picture.
Since 2015, PHEW has been enjoying a great creative renaissance, churning out masterpieces at a prolific rate. Let us highlight Light Sleep, an ethereal and anxiety-inducing album that came out in early 2017, and Voice Hardcore, a vocals-focused record released before year-end.
On stage, with a microphone and her machines, PHEW weaves unsettling pieces that rarely go where you expect them.
On the Web:
YoshimiO : voix
Yoshida Daikichi : sitar
Hamamoto Tomoyuki : percussion
Grindcore raga music sung in Japanese, where concepts of golden numbers, numerology, and yin and yang intersect? This is an unthinkable fusion unless you go by the name YOSHIMIO! Yes, the co-founding member of The Boredoms and the leader of the band OOIOO.
YOSHIMIO founded SAICOBAB with sitar player YOSHIDA DAIKICHI in 2001. The project matured slowly, dragging into its fold, along the way, percussionist HAMAMOTO TOMOYUKI who plays the riq, a frame drum. Their debut album Sab Se Purani Bab came out last year and found its way into several highly regarded year-end lists. The band’s approach is innovative and the results are striking. From the beauty of the melodies to the complexity of the rhythms, everything in this music is wonderfully articulated.
SAICOBAB’s driving performances showcase intensity, virtuosity and the art of listening, plus the touch of insanity spontaneously associated with YOSHIMIO, whose stage presence is as captivating as ever. A bold proposition that laughs at the very notion of so-called “world music.”
On the Web: