Zeropunkt | Eris 136199
Improvised Music Company in association with Note Productions are delighted to present a double header from Eris 136199 (Han-earl Park, Nick Didkovsky & Catherine Sikora) and Zeropunkt (Fergus Cullen, Jamie Davis & Damien Lennon)
Eris 136199 plays on the crossroads of noise, melody, rhythm, space, density, contrast, synchronicity, asymmetry, serendipity and contradiction. Eris 136199 is the corporeal, cyborg virtuosity of constructor and guitarist Han-earl Park; the noisy, unruly complexity of composer, computer artist and guitarist Nick Didkovsky; and the no-nonsense melodic logic of composer and saxophonist Catherine Sikora.
Described by Brian Morton as “a musical philosopher… a delightful shape-shifter”, Han-earl Park is drawn to real-time cyborg configurations in which artifacts and bodies collide. He has performed with some of the finest practitioners of improvised music, leads Sirene 1009 with Dominic Lash, Mark Sanders and Caroline Pugh, and is part of Numbers with Richard Barrett.
A composer who enjoys blurry boundaries, Nick Didkovsky founded the avant-rock big band Doctor Nerve, and is a member of Swim This with Gerry Hemingway and Michael Lytle. He is a pioneer of small-systems computer music, and has composed music for ensembles including Bang On A Can All Stars, ETHEL, and the Meridian Arts Ensemble.
Catherine Sikora is “a free-blowing player’s player with a spectacular harmonic imagination and an evolved understanding of the tonal palette of the saxophone” (Chris Elliot, Seacoast Online). She has a long-standing duo project with Eric Mingus, and has performed as part of ensembles led by Elliott Sharp, François Grillot, Ross Hammond, and Ursel Schlicht.
Together, Park, Didkovsky and Sikora forge an improvisative space where melody can be melody, noise can be noise, meter can be meter, metal becomes metal, bluegrass turns to bluegrass, jazz transforms into jazz, all there, all necessary without imploding under idiomatic pressures.
Side effects of Eris 136199 may include temporary deafness, involuntary teleportation, spontaneous combustion, and molecular implosion. In addition, lab animals have been shown to dance without skill to the sound of double guitars and saxophone.… But you’ll love what it does to your mind & body!
“In a field of experimentation and free music, Eris 136199 stands as singular.” John Pietaro, New York City Jazz Record
“Exquisitely constructed, spontaneously messed-up, endless depth, kind of like letting an insane brain surgeon in through your ear.” Dave Foxall, a Jazz Noise
Zeropunkt = Psychiatric Music ÷ 3 x history²
Zeropunkt plays freely improvised expressivist psychedelia tinged with the digressive energies of free jazz and no wave. The trio operates instinctively, without charts, heads, precepts or concepts, in performances that respond directly to the space they find themselves in. Despite a para-generic approach, their music springs from a deep bedrock, at times recalling the meditativeness of Alice Coltrane, the frenzy of Faust, or the chaos of the Contortions. Ultimately though, all Zeropunkt performances bind band and audience in a moment that will not be repeated. Under their previous guise as ¡NO! the band issued ten album length releases between 2014 and 2017 - including LPs, CDs, limited edition CDRs and cassettes, and digitally released radio sessions. Their first release as Zeropunkt was the digital single Bitch Nails, issued February 25th 2019. They are currently in post-production with two albums which will appear in 2019 and 2020.
Zeropunkt is: Fergus Cullen: saxophones, guitars, voice, keys, synthesizer, clarinet, piano, flutes; Jamie Davis: drums, percussion, saxophone; Damien Lennon: bass, effects.
"A subdued & organic, yet affected nine minutes of hauntological glow, as if to evoke every wordless Sunday sunrise you’ve shared with people both old and new". The Thin Air
"Free-form post-rock, serialist grooves, industrial noise, spoken word and electronic processing are all part of the ¡NO! arsenal, along with good old-fashioned guitar distortion, all delivered with the burning conviction of the anti-commercial musical evangelists that they are." ☆☆☆☆ The Irish Times