For Lampo, marking time is anything but waiting idly for something to happen. We are dedicated to supporting time-based artworks; we have been working diligently on the coming season of events; and we never miss an opportunity to call out one of our milestones. Today Lampo announces its WS20 season, which begins in late February … Continued
Kasper T. Toeplitz presents his own compositions and the first U.S. performance of Yam Almost May, a new Phill Niblock piece written for the Paris-based composer and electric bass player.
KTT produces music of long waves of sound. He makes both monumental, low-end “BassSculptures” for bass and computer as well as solo laptop works with complex structures. His catalog includes music for Sleaze Art, a French electric guitar and bass orchestra, and pieces for chamber ensemble, symphony orchestra and contemporary dance.
In his Chicago debut, Toeplitz performs Demonology #10 for bass and computer, and Marine, a dense computer work with 444 different pitches playing together in real time. He also performs the U.S. premiere of Yam Almost May, which uses multitrack recordings of Toeplitz made by Niblock last year at CCMIX, the Paris studio founded by Iannis Xenakis.
Kasper T. Toeplitz (b.1960, Warsaw, Poland) is a composer and electric bass player, influenced by Penderecki, Scelsi and rock bands like the Swans. He writes music of long sound waves, suggesting an interest not so much with notes as with time, its oscillations and vibrations. His output includes chamber music, works for large orchestra, music for an electric guitar orchestra, and compositions for dance, as well as purely electronic music created with computers. He has received grants and commissions from several French institutions (IRCAM, GRM in Paris and the GMEM in Marseille). Collaborators include Aube, Rhys Chatham, Tetsuo Furudate, Zbigniew Karkowski, Joelle Leandre, Merzbow and Atau Tanaka. He lives in Paris.