M. Stratosphere
New Member
MAXIMUM JOY
OORUTAICHI (Okimi/Bear Funk) (Live)
GLISSEN (Live)
Micí & Darren (Maximum Joy)
Underground @ Kennedys, Westland Row, Dublin
From 10 til late; September 7th; €10
www.myspace.com/maximumjoyclub
OORUTAICHI
OORUTAICHI began recording and performing in 1999, inspired by The Residents, The Doors, Tyrannosaurus Rex, Aphex Twin and Dancehall Reggae. Initial recordings were multi-layered improvisations using “real” instruments, toys and voice, evolving to composed songs using midi triggered instrumentation. His first album, “YORI YORI”, was released in 2003 to acclaim by Yamatsuka EYE (BOREDOMS), FREEROM (Skam Records) Daniel Wang and others, and received airplay on BBC Radio. He has been profiled in a number of Japanese magazines, and is very active in Japanese underground music. His second CD on Okimi Records “Drifting My Folklore” includes four songs from his first domestic release and six new tracks. Composed, played sung, and mixed entirely by OORUTAICHI, the strong melodies, wide ranging beats and free style chorus work create an original sound that could almost be traditional music from a fictitious country called “OORUTAICHI”. His is a progressive style that will be appreciated by dance music listeners, free folk fans etc.
Press for OORUTAICHI “Misen Gymnastics”
Hailing from Japan these guys don’t muck around, the even make up there language and sing what ever comes to there heads whilst recording and underpin it with beeping, quirky melodies sounding as if played on kids instruments - a loose percussive disco rhythm tries to keep everything together a bit but stumbles from time to time - cute, oddball and over the top at the same time like a Takashi Miike comedy. the IDJUT BOYS stretch the cut to a maximum disco workout and even generously treat us with a sizzling, stripped down and abstract bonus version. BEARFUNK
“"Misen Gymnastics" takes a crisp hi-hat pulse, a touch of bongo, digital fuckery, and a synth riff that sounds like a fanfare announcing cosmic dragons with glass confetti, and mixes them with enough whimsy to fend off Max Tundra's cronies for months. The kiddie chorus shouts in unison between Oorutaichi's elfin verses, with deft rhythmic patterns all synched up like he rehearsed these guys a week before pressing "record." Bent wind chimes and Fender Rhodes fill in the blank spots, while driving it all is a bass line that curves up like it'd been warped by the sun. Underneath it all, a good, old-fashioned disco kick; the modern dance composer refuses to die, again and again and again.” PITCHFORK.COM
youtube
oorutaichi web
http://www.okimirecords.com
www.myspace.com/oorutaichi
GLISSEN
Glissen are Kate McKeon and Jimmy Behan, who met while studying Music & Media Technologies in Trinity College Dublin in 2005. Through a shared love of combining acoustic and electronic sounds they began recording together in 2007. Typically their working method involves one or the other coming up with an idea for a track, be it on the guitar, computer or even a visual cue. That will then be bounced back and forth between them until the overall structure and instrumentation becomes more defined. They will then sit down together and decide what direction to take it in next and work towards a finished track.
While Kate supplies the vocal element and most of the acoustic instrumentation, both get involved in the programming and arranging. While the guitar often features strongly in their work, they also like to use a variety of acoustic sources which may include bells, ethnic percussion and salterio among a selection of sampled found sounds. These are then mixed along with processed versions of the acoustic sources and various electronic sounds, providing a rich and varied palette of colours. Their work also features a strong visual element as a reflection of these colours in an effort to provide a full sensory environment.
Onstage, both use networked laptops running AudioMulch software for playback and processing while Kate also runs the visual software. Each piece is accompanied by a video which is as much part of the track as the audio. Live acoustic instrumentation is also used which is often processed live by AudioMulch.
While they have just begun performing live, their work has already been well received by a variety of sources. They hope to complete the recording of their first album sometime in the new year.
Jimmy Behan: live electronics, programming, mixing.
Released his debut album ‘Days Are What We Live In’ on Elusive Recordings in 2004 and has been featured on a number if Irish compilations, including the new ‘An Taobh Tuathail’ compilation compiled by Cian O Ciobhain. He is currently working on a second album and a remix project involving a number of Irish artists.
Kate McKeon: vocals, guitar, various acoustic instrumentation, programming, visuals.
Has been writing and performing occasionally for several years, and has been involved in various video/tv productions. Her video 'Carnival' featured at Darklight 2006 and her intermedia installation 'Voice Box' was documented at the Prague Quadrennial 2007.
Web:
www.myspace.com/glissenmusic
OORUTAICHI (Okimi/Bear Funk) (Live)
GLISSEN (Live)
Micí & Darren (Maximum Joy)
Underground @ Kennedys, Westland Row, Dublin
From 10 til late; September 7th; €10
www.myspace.com/maximumjoyclub
OORUTAICHI
OORUTAICHI began recording and performing in 1999, inspired by The Residents, The Doors, Tyrannosaurus Rex, Aphex Twin and Dancehall Reggae. Initial recordings were multi-layered improvisations using “real” instruments, toys and voice, evolving to composed songs using midi triggered instrumentation. His first album, “YORI YORI”, was released in 2003 to acclaim by Yamatsuka EYE (BOREDOMS), FREEROM (Skam Records) Daniel Wang and others, and received airplay on BBC Radio. He has been profiled in a number of Japanese magazines, and is very active in Japanese underground music. His second CD on Okimi Records “Drifting My Folklore” includes four songs from his first domestic release and six new tracks. Composed, played sung, and mixed entirely by OORUTAICHI, the strong melodies, wide ranging beats and free style chorus work create an original sound that could almost be traditional music from a fictitious country called “OORUTAICHI”. His is a progressive style that will be appreciated by dance music listeners, free folk fans etc.
Press for OORUTAICHI “Misen Gymnastics”
Hailing from Japan these guys don’t muck around, the even make up there language and sing what ever comes to there heads whilst recording and underpin it with beeping, quirky melodies sounding as if played on kids instruments - a loose percussive disco rhythm tries to keep everything together a bit but stumbles from time to time - cute, oddball and over the top at the same time like a Takashi Miike comedy. the IDJUT BOYS stretch the cut to a maximum disco workout and even generously treat us with a sizzling, stripped down and abstract bonus version. BEARFUNK
“"Misen Gymnastics" takes a crisp hi-hat pulse, a touch of bongo, digital fuckery, and a synth riff that sounds like a fanfare announcing cosmic dragons with glass confetti, and mixes them with enough whimsy to fend off Max Tundra's cronies for months. The kiddie chorus shouts in unison between Oorutaichi's elfin verses, with deft rhythmic patterns all synched up like he rehearsed these guys a week before pressing "record." Bent wind chimes and Fender Rhodes fill in the blank spots, while driving it all is a bass line that curves up like it'd been warped by the sun. Underneath it all, a good, old-fashioned disco kick; the modern dance composer refuses to die, again and again and again.” PITCHFORK.COM
youtube
oorutaichi web
http://www.okimirecords.com
www.myspace.com/oorutaichi
GLISSEN
Glissen are Kate McKeon and Jimmy Behan, who met while studying Music & Media Technologies in Trinity College Dublin in 2005. Through a shared love of combining acoustic and electronic sounds they began recording together in 2007. Typically their working method involves one or the other coming up with an idea for a track, be it on the guitar, computer or even a visual cue. That will then be bounced back and forth between them until the overall structure and instrumentation becomes more defined. They will then sit down together and decide what direction to take it in next and work towards a finished track.
While Kate supplies the vocal element and most of the acoustic instrumentation, both get involved in the programming and arranging. While the guitar often features strongly in their work, they also like to use a variety of acoustic sources which may include bells, ethnic percussion and salterio among a selection of sampled found sounds. These are then mixed along with processed versions of the acoustic sources and various electronic sounds, providing a rich and varied palette of colours. Their work also features a strong visual element as a reflection of these colours in an effort to provide a full sensory environment.
Onstage, both use networked laptops running AudioMulch software for playback and processing while Kate also runs the visual software. Each piece is accompanied by a video which is as much part of the track as the audio. Live acoustic instrumentation is also used which is often processed live by AudioMulch.
While they have just begun performing live, their work has already been well received by a variety of sources. They hope to complete the recording of their first album sometime in the new year.
Jimmy Behan: live electronics, programming, mixing.
Released his debut album ‘Days Are What We Live In’ on Elusive Recordings in 2004 and has been featured on a number if Irish compilations, including the new ‘An Taobh Tuathail’ compilation compiled by Cian O Ciobhain. He is currently working on a second album and a remix project involving a number of Irish artists.
Kate McKeon: vocals, guitar, various acoustic instrumentation, programming, visuals.
Has been writing and performing occasionally for several years, and has been involved in various video/tv productions. Her video 'Carnival' featured at Darklight 2006 and her intermedia installation 'Voice Box' was documented at the Prague Quadrennial 2007.
Web:
www.myspace.com/glissenmusic
