SuperDeluxe presents: SupernaturalDeluxe Vol.11Tetuzi Akiyama + Toshimaru Nakamura + Martin Taxt

SuperDeluxe presents:
SupernaturalDeluxe Vol.11

Martin Taxt, head of the adventurous Norwegian music label SOFA returns to Japan for the first time in 5 years! Join us as Taxt reunites with Tetuzi Akiyama and Toshimaru Nakamura for their first performance in Kamogawa!

This summer evening at SupernaturalDeluxe the trio consisting of Tetuzi Akiyama, Toshimaru Nakamura and Martin Taxt will present two sets of music. The first set is a new adaption of Taxt’s composition First Room (2020), where the floor plan of a Japanese tea ceremony room serves as a graphic score. The piece also seeks to highlight the unique sonic qualities of the materials brass, wood and glass. In the second half the three musicians will present a set of improvised music. Akiyama, Nakamura and Taxt first performed as a trio in Tokyo in 2006. Since then they have collaborated in different settings, touring the US, Europe and Japan several times. Their last live performance in Japan was in February 2019.

Wednesday July 10
Open 17:00 / Live 18:15 & 19:15 (2 sets) / Close 20:30
Advance: ¥3000 | Student & Local: ¥2000 | Door: ¥3500
Tickets On Sale Now via Peatix

* Local discount is for people living or working in Kamogawa City. ID required.
* Student discount is for High School and under. Student ID required.
* Parents of children in preschool or under may bring 1 child per 1 parent.
* Tickets required for elementary school age children and older.

Live:

🎶 Martin Taxt First Room (2020)
Video by Kjell Bjørgeengen

🎶 Tetuzi Akiyama + Toshimaru Nakamura + Martin Taxt improvised music

Food:

Ban Ban (Kamogawa)

DJ:

meme kurage (Kyonan)

Artist Information:

Tetuzi Akiyama

Akiyama is adept at coaxing a primal, tactile musicality from the guitar by subtly infusing his own minimalist, straightforward musical longings into the inherent qualities of the instrument. Centered on unadorned, bluesy acoustic guitar, along with heavy, psychedelic electric guitar, unreasonable and cryptic musique-concrète / electro-acoustic sounds utilizing turntables and objects, and more – he delicately yet boldly controls volume levels ranging from microscopic to macroscopic in an effort to electronify his physical form.

Toshimaru Nakamura

Toshimaru Nakamura has been producing electronic music on self-named “no-input mixing board.” The name describes the method of his music. “No” external sound source is connected back to “inputs” of the “mixing board”. Nakamura’s principle is being an improviser, probably because of his naive utopian idea. No-input mixing board is the best vehicle so far to realise his attitude toward music. According to the nature of the set-up, Nakamura always has to deal with unpredictability, therefore, he is willing to abandon his control over the instrument to some extent, and place himself in the realm of obedience and resignation.
He has been performing live concerts in Tokyo and elsewhere by traveling around Europe, North America, Argentina, New Zealand, Australia, Korea, China, Singapore and Malaysia since the middle of 1990’s until now, for meeting, working and playing concerts with local musicians from those places and ones from different places.

Martin Taxt

Martin Taxt (b.1981) is a renowned Norwegian tubist, improvisational musician, and composer known for his exploratory approach to the instrument. Taxt’s music is characterized by subtle soundscapes and a unique understanding of spatial dynamics. His compositional work often draws themes from architecture, as evidenced by his two releases “First Room” and “Second Room”. Taxt is also known for his work with the microtonal tuba trio Microtub and the artist collective Verdensteatret. Since 2010, he has also run the Norwegian record label SOFA.

Kjell Bjørgeengen

Kjell Bjørgeengen (b.1951) ‘s art practice is an investigation of reality. Recently Kjell has put an emphasis on working live with a wide range of musicians. The live works feature the production of flicker videos, which have also been presented in various exhibitions since 2002.
The flicker is sound given video sync, thus becoming video and revealing the self-identity of the two. The flicker image is perhaps the most simple and fundamental image we can think of, the oscillation between shades of light and darkness, given from the outside as a simple binary pairing of the visual experience. The flicker videos came about as a counteraction to an easy intellectual approach to art viewing.
The flicker works can be harsh to watch, as they are perceived on a physical level. The black and white works are often perceived in colours. There is a threshold that needs to be overcome. A still image from the video reads like a minimal work; set in motion the work turns into its opposite. The art work, having all the traditional marks of the art-making process, turns into a phenomenon and touches the demarcation line between art and non-art.

meme kurage
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