CILANTRO
(ANGELICA CASTELLO & BILLY ROISZ duo)
BILLY ROISZ (projection)
ANGELICA CASTELLO & JÉRÔME NOETINGER duo

Une soirée en trois parties avec deux duos inédits : Cilantro (Angélica Castelló & Billy Roisz) puis Angélica Castelló & Jérôme Noetinger. Deux performances live entrecoupées d’une projection de trois films courts de Billy Roisz.
Un moment immersif autour de trois personnalités : Jérôme Noetinger, l’une des figures les plus marquantes de la musique expérimentale contemporaine ; Angélica Castelló (compositrice et improvisatrice) et Billy Roisz (artiste, musicienne et réalisatrice), soit deux activistes de la scène expérimentale et underground viennoise.

© Billy Roisz

© Havránková

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1- concert
CILANTRO
Angélica Castelló & Billy Roisz
Électroniques, basse, magnétophones, ukulele, couteaux et +

CILANTRO aime les sytèmes instables.
CILANTRO joue de la musique non parfumée.

 http://castello.klingt.org/projects/cilantro

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2- projection
BILLY ROISZ

> Paris (2017, 4min)
musique : MoE

> Close Your Eyes (2009, 13min)
musique : dieb13
Une vidéo inspirée par els expériences d’Henri Michaux’s sous mescalinedans les années 50.

> TOUTES DIRECTIONS (2017, 14min)
Un road movie expérimental par Billy Roisz & Dieter Kovacic
son : Radian, Dieter Kovacic, Billy Roisz.

* En bas de page, plus d’infos sur les films (en anglais).

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3- concert
ANGÉLICA CASTELLÓ paetzold, bandes, radios
JÉRÔME NOETINGER Revox B77, électroniques

Des centaines de mètres de bandes créant un labyrinthe, ou plutôt un réseau capturant des sons provenant des instruments à vent et des ondes radio…

http://billyroisz.klingt.org/

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JÉRÔME NOETINGERNé en 1966, Jérôme Noetinger est compositeur et improvisateur. De 1986 à 1988, Jérôme Noetinger suit des cours de composition et improvisation avec Xavier Garcia au COREAM (Collectif de Recherche Électroacoustique et d’Action Musicale2).
En 1987, il crée, aux côtés de Christophe Auger et Xavier Quérel, la cellule d’intervention Metamkine. Le trio mélange projection 16mm et dispositif électroacoustique.
Il collabore avec Lionel Marchetti depuis 1993.
Il a été membre du collectif MIMEO, avec Phil Durrant, Christian Fennesz, Cor Fuhler, Thomas Lehn, Kaffe Matthews, Gert-Jan Prins, Peter Rehberg, Keith Rowe, Marcus Schmickler, Rafael Toral et Markus Wettstein. Il joue ou a joué avec Nachtluft, Voice Crack, Tom Cora, Michel Doneda, Lê Quan Ninh, Sophie Agnel, Daunik Lazro, Martine Altenburger, Emmanuel Petit, Marc Pichelin, Jean Pallandre, Dominique Répécaud, Peter Hollinger, etc.
Sa technique musicale se base sur un dispositif électroacoustique regroupant magnétophones à bande Revox, table de mixage, micros-contacts et haut-parleurs.Parallèlement à ses activités de musicien, il à dirigé le catalogue de vente par correspondance Metamkine, spécialisé dans les musiques électroacoustiques et improvisées jusqu’en janvier 2018. Il a fait partie du comité de rédaction du magazine trimestriel Revue & Corrigée jusqu’en 2014.

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Plus d’infos sur les films de Billy Roisz :

About ‘Paris’ :
The lyrics focuses around being seduced by war and the fight between judgment and salvation. An imaginary total collaps of the world or a prewarning of judgement day, tangled around and brought to it’s surface by misuse of power and power of religion; like a cut up news report or a musical of a documentary by Adam Curtis.

Somehow the musical ideas behind «Paris» combines inspiration from Dan Lilker-related projects, such as Nuclear Assault and SOD, to our more «traditional» noise and experimental influences. The track was untiteled until the Paris attacks November 13th 2015. (Guro S. Moe)

Paris is in a literal sense made out of the music. MoE gave me the separate tracks of all intruments which they recorded in their studio – and out of this single soundtracks I was weaving this video. (B. R.)

About MoE:
The Norwegian band MoE has focused on expanding DIY attitudes from the 80s and 90s, especially inspired by great thinkers and autonomous musicians like Steve Albini, Greg Ginn and Ian MacKaye. Mixed with their own attitudes and with their background from noise and contemporary music.
With countless collaborations exceeding the borders of rock and noise, MoE seeks the absolute presence in the execution of the music.
The intensity of the music has created resonance in China, Japan, Vietnam, Mexico, Thailand, Malaysia, Australia and numerous other countries and makes the band one of the most adventurous DIY bands in Europe.

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In Billy Roisz’s ‘Close Your Eyes’ knocking and rhythmically vibrating sounds take us from a black picture into a darkened room, its shades pulled down. At the film’s beginning a positive and negative image of a window that references this space reveals its function as a projection screen in hypnotic, almost psychedelic audiovisual compositions. Roisz skillfully takes us further, from this real space in the beginning sequence to abstract black-and-white images composed of fine lines that move in time with the fragile soundtrack, turn into dotted lines, then immediately puncture this linearity. High-frequency sounds and scratching noises by the musician dieb13 and arrangements of images that dazzlingly flare up cover these vertical lines to an ever greater extent. At first, a shadowy detail of the window leads back, again and again, from the fast pace of abstract images to that of the private space for brief moments. Accompanied by shrill high-pitched sounds, distorted brass instruments and gentle psychedelic noises, the viewer is lead into hypnotically colorful graphic compositions. Occasionally recognizable in a trance-like flurry of images, at second glance an image of a herd of hippopotamuses or grazing giraffes, tinted pink, reveals itself for a few seconds at a time. Vibrating yellowish-gray stripes flow into a black-and-white striped pattern, calling a herd of zebras to mind. Black frames punctuated in staccato fashion then show the window, heralding the end of the delirious dance: the return to the “real space.” Billy Roisz, inspired by the hallucinogenic experiences of painter, writer and poet Henri Michaux, has undertaken a fascinating trip into the abstract and absurd and to the limits of our perceptive ability. 
(Christa Auderlitzky)

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Billy Roisz´s and Dieter Kovacic´s most recent ‘TOUTES DIRECTIONS’ work contemplates the moving image – in a close association with the avant-gardes of the 1920s – as visual music, more precisely: as music that originates in the visual, produces itself from the visual. In contrast to most works by the two, it is not abstract forms but streets and landscapes that dominate the image; shine through relatively clearly, to then pass over into the abstraction of the sound world. In this way, the picture becomes a sound space (generated by the two artists in collaboration with the trio Radian) in which rhythm, timbre, and noise connect along the horizon to a timeline. 

« All directions, » as the title states, describes both the movements of the image (along the world, into the pictorial depth, upward in treetops rushing by, and downward, gazing at the crumbling patina of the country road) as well as an aesthetic experience, which is presented by the visual as music, the acoustic as motion picture, and the real world as abstract pattern. A thirteen-minute road movie into the night in which real things blur in order to appear as pure form, pure movement, pure light, and pure sound. 
(Alejandro Bachmann)