LEM spring programme

Programme

Fridays, 23 and 30 April and 7 May, at 9 pm

April 23
Cabo San Roque:Cebos Enrique delateralises
Cabo San Roque was created in 2001 as a meticulous and surrealist musical atelier project and as a chamber and dining room orchestra. With time, their sonic and scenic approach has increased in complexity, giving way to extremely unique technical and artistic universes (França xica, Música a màquina, La caixeta), until in 2009 they premiered their latest performance Torn de Nit (“Night Shift”). Searching for yet another approach to their art, tonight Cabo San Roque will be stripped of the comfort of their signature automated instruments and also of the playing dynamics generated thus far and is proposing an acoustic revisitation to some of their pieces, freeing them of their original mechanical context, and together with their own seldom or never before seen instruments they will embark on an unprecedented exploration the confines of which are unknown even to themselves.

April 30
Antorcha Amable
Antorcha Amable is a musical duo consisting of cello (Andrés Blasco, aka Truna) and voice (Begoña Tena), accompanied by instrumentation that moves between tradition, toy reverie, the found object and sound artefacts invented by Truna in his guise of electronic luthier. The result of these encounters is a hybris, a sound multiplicity that integrates melody and noise, man and machine, the popular and the experimental. Since 2005, their musical investigation has led them to shape a personal style that they call, most appropriately, “fantastic”, populated with registers and genres that coexist in the quantum folds of almost impossible worlds and imaginary folklore: from hypnotic cabaret to the atmospheres of deep space through futuristic exoticism.

May 7
Pascal Comelade and Carlos Pazos, with the participation of Evru: On ne mange jamais la décoration; performance for plastic battery powered guitar solo and orchestra
Pascal Comelade and Carlos Pazos propose a catastrophic revisitation to the boundaries between babbling and the maturity of the musical act through a performance project with quasi senseless syntax. It is an ensemble in several parts, heterodox and of disturbing immediacy fuelled by hundreds of toy guitars and an ensemble of (relatively) conventional instrumentation to give shape to a sound pathology with a volatile nature and terrifying humour, like a Kafkaesque nightmare; a musical Odradek shamelessly showing its seams. In this passage, Pazos and Comelade with its usual formation are joined in collaboration by mediating agents with an imaginary that is also steeped in serious bias: Enric Casasses and Evru.