27 Feb
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Fri 27 Feb 8pm
4hrs
Contains theatrical smoke and haze, loud sound levels, strobing and high intensity lights.
As darkness falls, the frayed edges of noise, metal and avant-audiovisual art will coalesce for an evening of ritual and sonic transgression, headlined by the seismic collision of two cult icons of Japanese noise and metal, Boris and Merzbow, in a world premiere Australian exclusive.
A monolithic collision of distortion and devotion, Dronevil marks the 20th anniversary of one of Japan’s most uncompromising unions in sound. Across two decades, Boris and Merzbow have mapped the outer edges of sonic extremity - where metal, noise and drone collapse into a single, tectonic body. For this rare world premiere performance, the pair summon their full gravitational weight of feedback, resonance, and vibration; a towering wall of sound that engulfs, dissolves and transfigures. Exclusive to Adelaide Festival, co-presented with Room40.
A playfully eccentric, pulsating mass of polyrhythms and DIY drone, Takkak Takkak is a new collaboration from prolific Berlin-based Japanese producer Shigeru Ishihara (DJ Scotch Egg) and Vilnius-based Indonesian composer and instrument builder Mo’ong Santoso Pribadi (Raja Kirik). Built on a shared appetite for unstable tempos and unruly textures, Takkak Takkak fuses eardrum-piercing club music, hypnotic gamelan patterns, xenharmonic chimes and howling vocals to create an utterly singular vortex of sound. Tryp plays host to the duo’s psychoactive A/V show, featuring visuals by visionary Singaporean VJ Brandon Tay.
A new audiovisual work from Jannah Quill (Melbourne) and Matthew Adey (House of Vnholy - Adelaide), continuing their longstanding exploration into photovoltaic transduction – the translation of light to sound. Through the interplay of electronic synthesis and solar panels, light waves are transduced to audio and back, creating a continual feedback loop in which each waveform contains its own unique sonic profile. Between Jannah Quill’s extensive practice in modular synthesis and electronic music and Matthew Adey’s prolific history in production and lighting design, the performance is set to be a cutting edge, all-encompassing sensory A/V experience.
Enveloping audiences in an avalanche of deep physical sound, percussionist Harry Freeman (Adelaide) presents an interstitial performance utilising percussive elements to build a wall of rich resonant sound. An exercise in subtlety, Freeman guides a harmonious drone that expands to completely inhabit the space, constructing a thunderous soundscape that washes over the audience with distinct physicality.
