OWN YOUR BONES freuen sich an diesem Abend auf dem Rückweg von ihrer Baltikumtour ein abschließendes Konzert im LOFT zu spielen. Hier wurde auch drei Tage und drei Konzerte nach der Gründung der Band das erste Album eingespielt. Viele Konzerte und Tourneen später haben sie nun ihre neueste Einspielung dabei.
„From the first minute, the exceptional imposed itself! A sound, a flow, a musicality that carried me away.“
Franck Bergerot, Jazz Magazine

Diese Intensität trägt das Quartett in jegliche Spielsituation, ohne sich auf herkömmliche Klangerzeugung zu beschränken oder sich vor Krawall und Intimität zu scheuen. Auf der Suche nach dem spannenden Moment führt der Weg durch Einfachheit, komplexe Komposition und freie Improvisation, strotzend vor Spielfreude und Ironie im Leisen wie im Lauten.

Klingt so:
youtu.be/LYw-TaYHiqQ


Unterstützt durch das
Goethe-Institut


Informationen zu den Preisen, Karten-Reservierungen und den Öffnungszeiten hier:
www.loftkoeln.de/de/karten/



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How does improvised music sound in 2022? Has everything already been done? Are there any new sounds to explore? These are big question, but any musician working seriously with original music must ask him-/herself these questions now and then. But quickly another question arises: does an artpiece hold a value just because it’s new? Probably not necessarily, but the idea of searching for new territory is a basic human activity that we need to maintain in order to stay vital as a culture. We want to travel as far as we can in outer space and as deep as we can into the sea. Not because we know exactly what we are looking for, but because the idea of finding something new is too thrilling not to be doing it. If money becomes an obstacle and science cannot do it for us we keep on doing it in our minds, dreaming of unimaginable landscapes.
As improvising musicians it’s the same idea that keeps us going – we want to challenge the very core of music itself.
Since the introduction of computers and electronics in music, the game has changed drastically – it’s no longer the physical limits of our instruments that keeps us from reaching our desires, and for a long time one could seem to think that the creations of new pieces making use of technology kept us excited and would be doing so forever. But creation is one thing and perception is another, and we need the struggle. What is interesting about the tape loops by John Cage is not so much the actual music that came out of it as it is the process of manipulating technology at hand and it’s relation to what had already been done and what imagined future music could sound like.
So where does this leave us now in 2022? Perception is closely connected with recognizability, and by approaching the classic instruments and their physical limitations with ears that are up to date we dream of impossible music and our attempt leads us to a voltage field. The music of Jonas Engel and Asger Thomsen is acoustic but it is operating in a sonic territory very far from the standard forms of interactive music. With heavy use of preparations their sounds are thus often more related to those of electronic music but being freely improvised it is deeply dependent on experience, intuition and the awareness of being.

Information about prices, ticket reservations and our opening times can be found here:
www.loftkoeln.de/en/tickets/ weniger