Blank Forms in November

Source: New York’s Blank Forms.

Kazuki Tomokawa
Thursday, November 2nd, 2017
8:00 PM
Venue Greene Naftali / 508 W 26th St, New York, NY 10001

Known as the “screaming philosopher” for the guttural exorcisms of his voice at its most extreme, Kazuki Tomokawa’s mercurial songs in turn exude the soulful lyricism of a troubadour’s life lived to its fullest, on the furthest edge. A poet, singer, artist, bicycle race tipster, essayist, actor, and drinker, Tomokawa’s devastating music radiates such immediacy that it begs for the authentification that his down-and-out vagabond’s biography can’t help but verify. He found his voice in Tokyo’s freewheeling 1970’s underground, setting harrowing verse inspired by Osamu Dazai and Hideo Kobayashi to primal guitar playing for an ongoing string of avant-folk recordings as frenzied as they come. Until recently sung exclusively in Japanese, both the madness and introspection of his ragged delivery transcend the limitations of any individual language. Since 1993 he has recorded, alongside artists like Fushitsusha, Keiji Haino, and High Rise, for the venerable PSF Records label. His New York appearance with Blank Forms marks his first-ever performance in the United States.

Dominique Lawalrée
Saturday, November 18th, 2017
8:00 PM
San Damiano Mission San Damiano Mission
$20 General / $15 Members

Dominique Lawalrée (b. 1954) is a Belgian composer and keyboard player, often associated with the New Simplicity movement, with over 500 compositions and 29 albums of hermetic, euphonic minimalism to his name. While pursuing a career as a music educator in his native Brussels, Lawalrée founded the Editions Walrus imprint in 1976 as a vehicle for non-commercial music, privately releasing a string of intimate solo records throughout the ‘80s featuring his own multi-tracked piano, synthesizers, tape, percussion, Wurlitzer, organ, and voice. Littered with references to forebears like Erik Satie (“Musique Satieerique”), Brian Eno (“Listen To The Quiet Voice”), Morton Feldman (“Morton A Fait Peur À Karlheinz”), and The Beatles (“Now Peace For Beatle John”), Lawalrée’s whimsical music of this period makes no secret of its influences. Yet while the elegant consonance of his recordings owes much to ambient or furniture music, a more apt metaphor would be that of wallpaper. Ornate and repetitive, its casual patterns can invite careful admiration from the willful listener or provide a subtle, comforting framework for domestic life.

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