ROOM 237 / OPERA NORTH / RECON: ONEOHTRIX POINT NEVER + CUT HANDS + HELM @ Howard Assembly Rooms (Thursday 26th September) £12.50 Advance
ONEOHTRIX POINT NEVER (USA, Warp/Editions Mego)
New album on Warp due in September 2013. Oneohtrix Point Never is Daniel Lopatin, a US native at the forefront of the modern electronic composition scene. Though Lopatin’s rise felt meteoric following his 2009 double-disc anthology ‘Rifts’ and its 2010 follow-up ‘Returnal’, (praised by the likes of Wire, Pitchfork, Fader, Guardian UK, The Quietus, and XLR8R) his love of polyphonic synthesizers dates back to childhood jam sessions with his father’s Roland Juno-60, an instrument which, like B.B. King’s ‘Lucille’, he has never left behind.
CUT HANDS (UK, Blackest Ever Black)
The Cut Hands project itself was founded by William Bennett in 2007 initally to experiment further with his obscure collection of Ghanaian percussion instruments in free-form work-outs alongside other types of (genuine) sound experimenting.
In 2002, being inspired by Haitian vaudou musicians' capacity to make intensely powerful music with almost no technology, William Bennett first employed djembes and doundouns on the classic Wriggle Like A Fucking Eel 12" by Whitehouse, in what was seen as a radical musical direction by many in the wider noise/industrial scene.
The project name is derived from the song Cut Hands Has The Solution.
The fruit of 8 years of recordings finally culminated in 2011's critically acclaimed and best-selling release Afro Noise I – the new Black Mamba album followed on from the eponymous 12" single released by Blackest Ever Black summer 2012.
The music of Cut Hands features as soundtracks to award-winning VBS docmentary films (also shown on CNN): Siberia: Krokodil Tears (2011); Inside Syria (2011); Mandingo (2010); Liberia (2009); and the just-released highly-acclaimed Snoop Dogg documentary Reincarnated (2012).
HELM (UK, Pan Records)
Helm is Luke Younger - a sound artist and experimental musician based in London, working with a vast array of revolving instrumentation and abstract sound sources. Younger's compositions build a dense aural landscape which touches on aspects of musique concrete, uncomfortable sound poetry, industrial, and hallucinatory drones.