Tag Archives: concerts

Some kind of musical peace: Ólafur Arnalds in concert

“Fuck!” was, somewhat surprisingly, the first thing Ólafur Arnalds said once he stepped on the stage of The Odeon of Herodes Atticus, the ancient Roman stone theater right beneath the Acropolis in Athens. “It’s the first time we play live after almost 2 years, and this place is beautiful”, he continued.

It was a hot summer night, and the Icelandic composer quickly made it clear this was not his preferred climate: “It is too warm here, thank God the sun went down!” Having taken his seat at the grand piano, he went on to perform some of the music from his latest work Some Kind of Peace together with a string quartet comprised of Petur Björnsson and Viktor Orri Arnason (violins), Unnur Jonsdottir (cello), and Karl James Pestka (viola).

Ólafur’s delicate harmonies and elegant melodic lines were in tune with the serenity of the surroundings, and the sporadic singing of the cicadas complemented the music perfectly. The blend of piano, strings, loops and beats created a special ambience that captivated the audience, which responded enthusiastically throughout the evening.

The Icelandic musician and producer has had an exciting journey so far, marked by collaborations with artists such as Nils Frahm and pianist Alice Sera Ott. His latest album is a personal statement, a way for him to express his creative development amid a rapid-changing and chaotic world.

A way, as its title implies, to create some kind of peace – both for him and the listeners who find solace in his delightful, meditative music.

Psychedelic geometry: Kikagaku Moyo in concert

A few years ago in Tokyo, following an intensive all-night jam, various patterns of geometric nature began to form on the back of Go Kurosawa’s eyelids. That’s what gave the young drummer the idea for a band name: Kikagaku Moyo, Japanese for “geometric patterns”.

The Tokyo-based psychedelic band, originally formed by Go Kurosawa (drums/vocals) and Tomo Katsurada (guitar/vocals) in the summer of 2012, gradually morphed into its current extended line-up, which includes three more members: Daoud Popal (guitar), Kotsu Guy (bass), and Go’s brother Ryu (sitar), who joined the band after studying with acclaimed classical sitar player Manilal Nag in India.

The band recently released its fourth album Masana Temples, recorded in Lisbon and produced by jazz musician Bruno Pernadas, in a conscious effort on behalf of the group to work with someone from a different background and challenge their own perceptions and ideas about psychedelic music.

An exotic -and at times explosive- blend of krautrock, folk, and Indian music, Kikagaku Moyo’s largely Improvisational music is an attempt to liberate both mind and body and create a “bridge between the supernatural and the present”.

This slideshow requires JavaScript.

In their highly energetic live performance in Athens (which took place just a few weeks after another excellent concert by fellow Tokyo post-rockers MONO), the band brought successfully together all these diverse elements, rewarding their Greek fans through creating their very own kind of peculiar psychedelic geometry.

Music of transcendence: MONO in concert

Formed in 1999 in Tokyo, Mono developed into one of the most prominent names in post-rock music, releasing 9 much acclaimed albums over the last couple of decades, with their 10th studio album scheduled to be released early next year.

Post-rock, however, is too vague and restrictive a term to fully do justice to Mono’s unique soundscapes, which seem to spring from a different dimension, taking their audiences to hitherto unexplored worlds.  As an enthusiastic NME reviewer once put it: “Screw ‘Music For The People’, this is music for the gods.”

Indeed, as testified my Mono’s recent live performance in Athens, the band’s mind-blowing blend of experimental, ambient, and classical elements offers an experience that goes beyond mere musical satisfaction. The band’s dedication, seriousness and intensity signify some sort of musical ritual or initiation rather than just a live show, thus encouraging the audience to partake in a truly uplifting communal experience. Music, thus, seems to become a means to something higher rather than an end in itself.

This slideshow requires JavaScript.

Mono’s guitar-based, lengthy instrumental pieces -kind of miniature ambient symphonies with rich dynamics and extensive use of reverb, distortion and delay effects- slowly take you in until you are, slowly but surely, completely absorbed into the magnificent and otherworldly atmosphere they evoke.

In the end, Mono’s music is about evolving, going deeper, and reaching higher. In a word, it’s about transcendence. As Takaakira Goto, the band’s lead guitarist, has put it: “Music is communicating the incommunicable; that means a term like post-rock doesn’t mean much to us, as the music needs to transcend genre to be meaningful”.

A brief history of Greek rock: Spyridoula’s special birthday concert

Some forty years ago, in November 1977, the band Spyridoula is formed in Athens by brothers Nikos and Vasilis Spyropoulos. It was a decisive moment that would forever change the face of rock music in Greece.

Following in the footsteps of Greek rock bands with English lyrics that first emerged through the 1960s (such as MGC, Socrates Drank the Conium, and Aphrodite’s Child), Spyridoula started out with live gigs playing guitar-based rock and doing covers by American blues and rock bands such as The Doors and The Velvet Underground.

Their collaboration with legendary frontman, lyricist and composer Pavlos Sidiropoulos in the late 1970s resulted in the use of Greek lyrics, and their landmark debut album with Sidiropoulos as vocalist has been widely regarded as one of the most important rock albums with Greek lyrics ever recorded. In the ensuing decades, Spyridoula would further collaborate with several important Greek musicians and, despite many adversities, continue with both live performances and studio recording.

With a little help from its -many and distinguished- friends, the band celebrated its 40th birthday with a special live concert that took place at Gagarin 205 Live Music Space in central Athens.

This slideshow requires JavaScript.

Featuring an epic set lasting nearly 4 (!) hours and spanning almost 4 decades of music, Spyridoula and their notable guests (including seminal figures of the Greek rock scene such as Dimitris Poulikakos and Giannis Aggelakas) gave a truly memorable appearance, effectively presenting the audience with a brief history of Greek rock from its early days to its current state. A history full of hopes and dreams, anger and pain, illusions and disenchantment – but, above all, full of music that reverberates across today’s empty streets and lonely hearts, forever shaking and moving us.

The Cinematic Orchestra in concert (Apolo, Barcelona)

I first got to know The Cinematic Orchestra through their album Man with a Movie Camera, which served as a soundtrack to a re-released version of the experimental 1929 silent documentary film of the same name by Soviet director Dziga Vertov.

Although they have been around since 1999, The Cinematic Orchestra have only released 3 studio albums (Motion – 1999, Every Day – 2002, Ma Fleur – 2007) next to other projects such as remixes, soundtracks, or live recordings.

I had the chance to watch the British nu-jazz/electronic band perform live in Barcelona’s Apolo venue, and it was quite an experience. Although their studio recordings are perfectly capable of creating a unique atmsophere and setting the mood, watching them on stage felt different and somewhat special.

Cinematic_Orchestra_Apolo

Led by founder Jason Swinscoe, the band was joined by a number of highly skilled instrumentalists including violinist Miguel Atwood-Ferguson, saxophonist Tom Chant, drummer Luke Flowers, as well as vocalists Heidi Vogel and Larry Brown who added an ethereal tone to the performance. Next to more well-known and classic numbers, the setlist also included some pretty impressive new material (such as J Bird), which left me looking forward to their next album release.

The band’s way of combining live jazz improvisation with electronica was a pleasure to watch, and though the show could have been longer, it was nevertheless an excellent performance from a group of truly remarkable musicians.

[As a side note, since this was my first time at Apolo: at times the hall resembled a classroom where the kids had to be shushed by the teacher -in this case the artist- in order to make silence. Not sure yet if this is typical Barcelonan audience behavior, but I suspect so!]