With a sampler full of disintegrating loops, mumbled dub poetry and somnambulant karaoke, supplemented by profound basic urban knowledge, a tendency towards weird voice samples and confused identities, the duo constructs tomorrow’s world from yesterday’s leftovers – “Pokémon – gotta catch them all!” Post Post music.

This notion of ecclecticism is shared by Dorian Concept, which is Austrian musician Oliver Thomas Johnson. Sported by Gilles Peterson he released on labels such as Affine, TLM, and Ninja Tune and is associated with producers like Flying Lotus or Hudson Mohawke. His highly improvised live performances have taken him around the globe.

Dorian Concept | Tropical Hands

A little easier to grasp, with a sound nonetheless is the duo Raime is the third exciting act of the evening. Drawing on deep-sea percussion, whisps of electro-smog and the sacred acoustics of factory halls, Raime create epic mechanical ballads, inspired by dubstep as well as Pan Sonic.

Also on the shadowy side of the street will be the open minded DJ producers Pariah and Falko Teichmann

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Hype Williams & Dorian Concept & Raime & Pariah & Falko Teichmann LIVE

Thursday, 03 February 2011 | 22:00 CET
Festsaal Kreuzberg | Skalitzer Str. 130  | 10999 Berlin/Kreuzberg

Hype Williams Dior EP | Raime Myspace | Dorian Concept Myspace ________________________________________________________________

Their unmissable live show fuses Burnt Friedman’s dub-infused electronica with former Can drummer, Jaki Liebezeit’s pristine skills on the drum kit.

The artists have consciously turned away from Western European, Anglo-American regulated rhythm (based on 4) in order to enrich their vocabulary with all globally relevant rhythms.

Jaki Liebezeit: “It possibly incorporated many elements of this earth without featuring any specific elements. The individual elements have been made abstract, no ethnic or national character remains, there’s nothing typical to Seville or Istanbul, but the properties held in common by all types of music have been abstracted and processed.” If it is still possible to establish a link with his past as a member of CAN, then it lies in the spirit with which he seeks, then as now, new musical forms. The post-CAN Liebezeit not only created his own cycle-based drum system but also developed an innovative drumset that concentrates on the essentials and permits a mode of playing that was already theoretically honed to be physically implemented in optimum fashion. Friedman’s programmed or played sequences and placeless sound particles adhere to the same understanding of rhythm, allowing the two heterogeneous sound generators to perfectly intermesh and form a unit – both acoustically and electronically, in terms of improvisation and concept alike. Friedman and Liebezeit came together in Cologne in 2001, having recognized that they were on the same musical wavelength and exploring the territory beyond the current style reproductions, that is to say: working remote from retro or recycling!

www.volksbuehne-berlin.de
www.myspace.com/burntfriedmanjakiliebezeit