Oren Ambarchi presents the live version of KNOTS, the epic centrepiece of his 2012 release on Touch Audience Of One, described by Mojo as the “undoubted standout on the Australian guitarist’s stunning new album – nothing can prepare you for its awesome power“. Since then he has presented the piece around the world in various configurations (documented on the recent acclaimed Live Knots release on PAN). This version will feature a special collaboration with Will Guthrie on drums.
Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, „re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself“. Ambarchi was chosen as experimental artist of the year by Pitchfork magazine.
Will Guthrie is an Australian drummer and percussionist. He works in many different settings of music: live performance, improvisation and studio composition using various combinations of drums, percussion, objects, amplification and electronics.
Born in Miami in the year of the Cuban missile crisis and educated in Florida’s finest institutions, Bill Orcutt is usually recognised as the co-founder of the band Harry Pussy. Formed in 1991 and featuring Orcutt on 4-string guitar – a practice carried over, developed, and refined from circumstantial adolescent experiements in working around absent strings – and Adris Hoyos on drums and vocals, with a second auxiliary guitarist added in later years, the groups sound centred on its completely unhinged ferociousness. With those furious eruptions, Harry Pussy drafted the blueprint – combining hardcore punk’s brutish speed blended with the art school caterwaul of No Wave – for the next two decades of Noise-rock. In five years, they toured the US and Canada with the likes of Sonic Youth, Dead C, Charalambides and Pelt and produced over twenty different releases on record labels of varying degrees of accessibility, most regularly for the Philadelphia-based experimental music imprint, Slitbreeze.
Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage an repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vunerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.
Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound have been an important part of Ankersmit’s work since the early 2000’s. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound.
Since 2006 his main instrument, both live and in the studio, has been the Serge analogue modular synthesizer.
Ankersmit collaborated with Valerio Tricoli on Forma II, a series of electroacoustic pieces released on the PAN label, and on music based on the acoustics of abandoned radar domes. Both projects were honoured by Ars Electronica.
Ankersmit´s music is released on the Touch, Ash International and PAN labels. His sound and installation work have been presented at venue, galleries and festivals for experimental and contemporary music all over the world.