⑈| Sult album ᗚ Bark | GrimmusiK | Dobra |⑉
4/3 8-10pm @ Dobra Tea
SULT
BROTHERS GRIMM + ERIC MILLER
Suggested $5 donation
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▓ Free Improv’ers & Tea Drinkers of Madison ⇝ Join us for a special night of improvising trios next Wednesday, April 3rd at the tea room.
8pm Eric Miller (bass viola da gamba, trumpet) will join the Brothers Grimm ∱ at 9pm the space-aware, contemplative music of Sult will bloom through the room (see below) ∯ For those who have supported Watercourse Q4 Dobra experiences in the past ≽ you won’t want to miss this show! Sult is most certainly a kindred spirit to the WCQ4 sound.
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Sult (Oslo/San Francisco)
Jacob Felix Heule percussion
Guro Skumsnes Moe contrabass
Håvard Skaset acoustic guitar
Sult is a Norwegian/American trio playing sound-oriented improvised music: Acoustic noise drawing inspiration from contemporary music, electroacoustic improv, and drone. Their music reflects great patience, deep listening, and complete trust in one another. Their individual sounds alternately cohere into unified group textures, and run precariously aside one another as independent streams.
The group has been working together since January 2008, and has played throughout Europe and America. They are dedicated to developing their band through touring, in order to explore their music as deeply as possible. In the spring of 2012, they toured the US and Scandinavia, and released their first album, Bark, on Bug Incision. A new LP, Harm, is forthcoming this spring on Bocian Records.
Members of the trio have performed extensively with their own projects Ettrick, Basshaters, Bluefaced People, and MOE; and have collaborated with musicians such as Fred Frith, Bill Orcutt, Maja S. K. Ratkje, Okkyung Lee, Ikue Mori, Barn Owl, Michel Doneda, Jack Wright, and Gino Robair.
↜Oslo, May 2012
“a precise gravitude whose nodes, voltages, rails and landfills, are the bulk of the speech.” — Guillaume Belhomme, Le son du grisli (via Google Translate)
↜Phoenix, March 2012
“music with a preponderance of fundamentally rich percussive traits and sneering anti-melodies … Sult [has existed] since 2008… and it shows: their interplay – in spite of the timbral jaggedness – is solid, even precise, musical in the right spots and also in the ‘wrong’ ones. The quartet is positively willing to let room for a listener to break through the secret corners of what gets conceived on the spot, which is basically the raison d’être behind the enjoyableness of the whole.” — Massimo Ricci, Touching Extremes
“These compositions sound at once orchestral and also mechanistic – a natural industrial sound. Several compositions on Bark reminded me of listening to a wooden boat hull adjusting at sea or a house’s walls shifting. There is an unpredictable yet organic tendency to the creaks and drones.” — Thomas John Filardo, Suave Citation
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