Wednesday 10 July 2019, 7.30pm
Don the Tiger is the solo project of Adrián de Alfonso, an ubiquitous presence in Barcelona's underground of the 00s, and the nomadic guitarist who has played with the likes of Lydia Lunch, Mark Cunningham (Mars), Robert Forster (Go-Betweens) and Carla Bozulich.
Having relocated to Berlin in 2011, he now takes inspiration from everything he misses in that city -be it bolero, rumba, MPB, baroque fantasy, guabina, flamenco or Fania Records- and mixes it with musique concrète and elaborate sampling techniques, delivering it all in a way that owes more to avant-rock than to anything else.
"Matanzas", his second album to date, was mixed and produced with the help of Lucrecia Dalt, and mastered by Rashad Becker.
Live he's accompanied by Andi Stecher, who plays Latin percussion, synths and tape delay.
Miguel Prado (Nzumbe) and Dali de Saint Paul (EP/64, Viridian Ensemble & DSC) are HARRGA (‘a burn’ in the Moroccan Darija dialect).
The project began mid-2017 as an outlet to create, without a motive or political intention. Soon though, the escalating Migration Crisis could no longer be ignored. They felt compelled to pay tribute to the ‘Harragas’ (people who cross borders illegally and must burn their papers, thus losing their identity.)
Héroïques Animaux de la Misère’s music is a meditation on the horror of that which crevasses borders. A great deal of state refugee policy is aimed at the silencing, repression or denial of the horrors of migration. The anxieties connected to and generated by refugee movement reflect the transgression of borders, including borders between the human and inhuman, as well as the failure of containment, borders and border walls as a response to crisis.
Turning white innocence in the Black Mediterranean into a survival horror show, Harrga tries to hijack the diasporic sound trajectories. The nomad war machine and all the Swarmachines from the liminal space of exchange and migratory fluxus.
Dali de Saint Paul mixes poetics and politics, singing in French, Darija and some English. She spits with fire and fury, though there is a tangible compassion in her pained lamentations. Paired with Miguel Prado’s singular, amorphous noise-design, they conjure a seething and thoroughly anomalous vision of contemporary industrial music.
Far Rainbow is the duo of Emily Mary Barnett and Bobby Barry. Improvising using drums, electronics, and household objects like sellotape, tinfoil, shaver, sandpaper, electric toothbrush, tin opener, whisk, mousetraps, hairbrush, etc., Far Rainbow approach their arsenal of intonarumori as if they were alien artefacts or ritual paraphernalia, operating according to recursive logics only partly determinable. In the spring of 2015, they started Zero Wave as a concert series, cassette label, and curatorial platform and have since released several tapes of collaborations with Colin Webster, Cath Roberts, Tullis Rennie, and John Doran alongside further releases as a duo on Fractal Meat Cuts, Linear Obsessional, and Slightly Off Kilter. In addition to their improvising practice, Far Rainbow have also performed scores by Christian Wolff and Alison Knowles.