zho 29
RACHAEL DEASE/SCHVENDES ENSEMBLE, KING WASABI, JONATHAN MUSTARD
FEBRUARY 18 2002
Rachael Dease / Schvendes Ensemble
Rachael Dease formed Schvendes Ensemble in 1997 after riding on the crest of boredom. Staying true to the personality of its creator, the ensemble has had numerous genre, line-up and attitude changes. Using a string ensemble as its basis and enhanced live and/or sampled vocals, Rachael has created beautiful, epic pieces that move through and beyond the music of Contemporary Classical, Pseudo Pop and Gothic Culture. The constant, however, is the high calibre of its members and acclaim locally and internationally. With the addition of percussion, guitar, samples, piano and visuals to the core string/vocal section, Schvendes Ensemble presents an as yet unnamed abstract fairytale of love, loss, suburban horror and disillusionment.
King Wasabi Trio
From music hall to matters of the heart... ...from expressionism to existential hi-jinx to surreal soundtracks for the imagination...
"Some romance if you please"
Normally an 11-piece band, King Wasabi performs Zho in trio form, with renditions of songs from both their first and second CD releases, as well as some as yet unrecorded tracks and some brand newies.
The songs speak tales of love, life and darl recesses of the subconscious. With snatches of jazz, pop, cabaret, klezmer and with other less definable styles, King Wasabi's music has been described as 'tumultuous' and 'moody jazz cabaret'. Perhaps the most fitting description of all, however, is INDESCRIBABLE!
Jonathan Mustard
Mustard will present with his intense and exciting flute and live electronics piece "Flutebyte" - a wild and shaggy rollercoaster ride exploring every orifice of the flute that can be blown, popped, fingered and struck, then bent and distorted with a dizzying battery of live electronic mutations.
Mustard backs up his largely improvised playing with a pre-recorded CD of sounds made up of various instruments and domestic implements ranging from drill-bits and glasses to brass ornaments and ceramic chopstick holders. Each of these hundreds of sound samples are finely manipulated, giving them their own distinct identity and space while imbuing them in the piece with musical qualities normally associated with the craft of orchestration.
