Silence Presents: Breath Fractals – Xuan Ye & Chik White

Silence Presents: Breath Fractals – Xuan Ye & Chik White

November 22, 2019
Doors 7:30pm

Show 8:00pm

$15 tickets at the door or Eventbrite

Xuan Ye 叶轩 (CN/CA) is the prototype of many objects.
 
Performer X is techne agnostic. Object sounds, sound improvises, body transmutes, space resonates. Indeterminate. Stuttered. Overflown. At the mountains of madness. As the definition of (soma/sound) experiences morphs, situations bent. Ideas dying aborning.
 
X’s installations have been exhibited and featured internationally. X’s live sound and body improvisation has been lauded as “one of Canada’s most exciting voices in textural soma” by OBEY Convention. X has made appearances at Music Gallery (CA), Goethe-Institut (CN), Suoni Per Il Popolo (CA), OBEY Convention (CA), Kazoo! Fest (CA), Electric Eclectics Festival (CA), Downtown Music Gallery(US), 21C Festival in partnership w/ MOCCA (CA), Zoomin’ Night (CN), Le Festival Croisements (CN), etc. X’s performances and releases have received accolades from Bandcamp, Musicworks and Exclaim!
 
Xuan Ye is represented by Pari Nadimi Gallery in Tkranto/Toronto, and is expecting her first LP release “xi xi“ at the end of 2019.
 
 
chik white
Darcy Spidle has long used the moniker chik white for various art projects. His latest efforts centre around the jaw harp, a pancultural, ancient instrument steeped in mystical allure. Inspired by sound poetry, noise, free improvisation, Dada, nature, psychogeography, and the human voice, chik white harp explorations aim to conjure visceral experiences. Performances can be chaotic, comedic, and even bloody. Each live engagement is different. chik white has released over a dozen albums on various labels, including a retrospective LP on Feeding Tube Records and a CD on the renowned Belgian label Kraak. He has toured throughout Canada and Europe. And his work has been covered by The Quietus, Tiny Mix tapes, The Wire, CBC, Exclaim!, and Musicworks, among others.
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“A thoroughly unique and brilliant experiment with the instrument that proves less is more.” The Quietus
 
“Some passages are so glumpsy they are hilarious, others have a darkly industrial vibe, and the bulk is righteously freaked. A fine thing.” The Wire
 
“Spidle’s wheezing gasps circle around the plastic pops and clicks of his harp in a quizzical dance, a surreal duologue spouting forth like twin streams of organic data.” We Need No Swords
 
“A jaw harp is a memento mori of instruments, a metal doodad in a head cavity, reminding the thing-ness of your skull of the fact it’ll someday hollow. And a jaw harp’s equally hilarious, a funny little spring making funny little sounds. Instant slapstick. A metal hinge with a Chaplin or a chaplain down the split, and chik white (jaw harpist and writer a.k.a. Darcy Spidle) senses both avenues, combining the jaw harp’s capabilities into something frightening, funny, wild, and weird.” Tiny Mix Tapes
 
“Darcy Spidle finds a perplexing array of strategies to make what should be a very limited instrument engaging and surprising. With a contact mic on his throat and another sensitive mic capturing the
instrument and his vocal tics, Spidle twangs, and burps, and heaves, and breathes his way through a set of short sharp metallic shocks. Acknowledging the humour in the situation, some of the pieces have a cartoonish tinge, recalling Yosemite Sam in the midst of a particularly venomous stream of vocal distress. Other passages take a more menacing, guttural approach, conjuring a beast expressing a warning via low groans and rattles. Through it all Spidle risks injury as he vigorously swipes the instrument, bloodying
lips and hyperventilating for our enjoyment, which is considerable, and worth it.” Exclaim!
 
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