Finnish freak folks triple bill!!!
Avarus: crude free form music collective
Nuslux: lalalal l'analogue synths , tapes, loops
Arttu Partinen: looney tunes: slapstick noise dynamics
Tuesday November 24th 2015
Koffie & Ambacht,
Ebenhaezerstraat 52, Rotterdam
Door 19.30 / Start 20.00
Entrance: 5 €
Avarus
Avarus is an avant-rock collective that, in their 15 years of existence, has reached high peaks and low depths of crude free-form bewilderment, plunging the listener into a sonic wilderness, at times so dense and impenetrable that one must fight the urge to begin foraging for food and building a treehouse.
It's free music, almost as if the sounds had minds of their own and decided to get their groove on. Psychedelic in the same way early Faust was, in that it teases the brain, but certainly ain't the Grateful Dead.
In the halcyon days of finish freak folk, the group could at times be the size of up to 15 people. However, the core unit has been a tighter and a bit more focused entity for several years now.
Line-up of tonight: Arttu Partinen, Roope Eronen, Tero Niskanen and Antti Tolvi.
Nuslux
Nuslux, the solo act of Roope Eronen, started in 2006 as an experimental electronic music project. Nuslux has been going through many phases in his sound, starting from experiments with self made gear to his current use of analogue synths, tapes and loops.
Roope Eronen has been working widely with underground culture in Finland since the year 2000: organizing international alternative music shows, playing experimental music (in groups Avarus, Pylon, Maniacs Dream, Kemialliset Ystävät and solo as Nuslux) and making comics.
Arttu Partinen
Arttu Partinen has been making music around 15 years now. Some of his projects (most visible being the long-lived band Avarus) were central in the international breakthrough of the "New Weird Finland"-genre around 2005-2006. Solo, he has been known as Amon Düde, but in recent times also under his own name.
In his performances, he combines noise dynamics with slapstick moves. He often seems to struggle with his gear, surprising himself as well as the audience. As sound sources he uses found tapes, his own recordings, world music cassettes, nature sounds, human voice, processed live percussion etc.
