{"id":160352,"date":"2026-03-10T08:26:40","date_gmt":"2026-03-10T12:26:40","guid":{"rendered":"https:\/\/panm360.com\/?post_type=agenda&p=160352"},"modified":"2026-06-25T08:34:39","modified_gmt":"2026-06-25T12:34:39","slug":"suoni-per-il-popolo-lucas-granpa-abela-alex-motta-aleida-perez-et-death-kneel-a-la-sotterenea","status":"publish","type":"agenda","link":"https:\/\/panm360.com\/en\/agenda\/suoni-per-il-popolo-lucas-granpa-abela-alex-motta-aleida-perez-et-death-kneel-a-la-sotterenea\/","title":{"rendered":"Suoni Per Il Popolo : Lucas ‘Granpa’ Abela, Alex Motta\/Aleida Perez et DEATH KNEEL \u00e0 La Sotterenea"},"content":{"rendered":"\n

Les performances de\u00a0Lucas \u00ab Granpa \u00bb Abela<\/strong>\u00a0(anciennement Justice Yeldham) sur son instrument f\u00e9tiche, des \u00e9clats de verre amplifi\u00e9s, sont l\u00e9gendaires. Leur pratique singuli\u00e8re est n\u00e9e de la sc\u00e8ne noise underground, o\u00f9, en plus de vingt ans, le verre a \u00e9volu\u00e9, passant d’un moyen de cr\u00e9er des cacophonies extatiques de free noise \u00e0 un instrument marginal produisant une sorte d’\u00e9lectro organique. Abela fait vibrer le verre vocalement pour contr\u00f4ler un patch modulaire qui n’utilise aucune technique de synth\u00e8se traditionnelle ; le verre sert \u00e0 la fois de source sonore et de modulation. Le patch extrait des tensions de contr\u00f4le de la dynamique et de la fr\u00e9quence du verre afin de se moduler en synchronisation avec la performance, fa\u00e7onnant six cha\u00eenes d’effets st\u00e9r\u00e9o parall\u00e8les qui fusionnent en d’\u00e9paisses couches d’une musique atypique.
Alejandro Motta<\/strong>\u00a0est un contrebassiste de formation classique, sp\u00e9cialis\u00e9 dans la musique contemporaine, l’exp\u00e9rimentation sonore et la performance sc\u00e9nique. Cofondateur de l’ensemble d’improvisation libre Algo Cruje, il a collabor\u00e9 avec divers orchestres nationaux, dont l’OFUNAM (Orchestre philharmonique de l’Universit\u00e9 nationale autonome du Mexique). Il a r\u00e9cemment particip\u00e9 \u00e0 la repr\u00e9sentation de Memor I.A. dans le cadre de l’atelier de composition de l’UNAM et est actuellement membre de l’ensemble CEPROMUSIC. Son \u0153uvre explore un r\u00e9pertoire allant du classique \u00e0 des cr\u00e9ations plus libres, int\u00e9grant le son et la pr\u00e9sence.
Aleida Perez\u00a0<\/strong>est une violoniste et improvisatrice qui s’int\u00e9resse \u00e0 la musique contemporaine et aux formes exp\u00e9rimentales telles que l’improvisation libre. Elle collabore actuellement avec l’ensemble Liminar. Parmi ses prestations les plus r\u00e9centes, on peut citer une r\u00e9sidence avec le collectif norv\u00e9gien Verdensteatret, le concert Epiciclos dans le cadre du cycle Diferencial, et La escucha infinita.
Aleida est dipl\u00f4m\u00e9e de violon classique de l’Escuela Superior de M\u00fasica (INBA). Elle a d\u00e9but\u00e9 ses \u00e9tudes musicales au sein du programme de base du Centre culturel Ollin Yoliztli et a poursuivi sa formation \u00e0 l’ESM (\u00c9cole sup\u00e9rieure de musique), o\u00f9 elle a obtenu son dipl\u00f4me sous la direction du maestro Cuauht\u00e9moc Rivera. Elle a particip\u00e9 \u00e0 divers festivals, notamment la Rencontre nationale du violon de l’Universit\u00e9 de Zacatecas, le Festival des expressions contemporaines d’Aires Nacionales (FAM-UNAM) et le Festival international de musique de chambre de l’Universit\u00e9 de Quer\u00e9taro. Elle s’est produite dans des lieux prestigieux tels que l’Auditorium Blas Galindo, le Palacio de Bellas Artes, le Teatro de la Ciudad, le CCU-BUAP (Centre des Beaux-Arts), la Casa del Lago, l’Ex-Teresa et la Sala Silvestre Revueltas-CCOY. Elle a suivi des masterclasses avec Jorge Rici, Renata Knific, David Colwell, le Trio de l’Universit\u00e9 du Kansas, Erika Dobociewicz, Ron Francois et Ryu Gotto, entre autres.
Aleida est une figure active de la sc\u00e8ne musicale exp\u00e9rimentale de Mexico, participant \u00e0 divers forums et festivals ind\u00e9pendants sp\u00e9cialis\u00e9s dans les pratiques contemporaines, tels que Material Art Fair, Index, Arte Book Fair, le Museo Anahuacalli, Arte Alameda, la Galer\u00eda Kurimanzutto, El Nicho Experimental et le Vernacular Institute.
DEATH KNEEL<\/strong>\u00a0est le principal label de Max Klebanoff, musicien bas\u00e9 \u00e0 Toronto. Sa musique se caract\u00e9rise par une manipulation binaurale sans concession et une utilisation abusive et assum\u00e9e de l’octatrack. Des sons fortuits et des dessins \u00e9lectroacoustiques automatiques sont d\u00e9construits et r\u00e9utilis\u00e9s \u00e0 l’infini. Depuis 2014, Klebanoff a collabor\u00e9 avec des labels reconnus tels que Chondritic Sound, Total Black, White Centipede Noise et son propre label, Life Of Sensation. De nouvelles sorties sont \u00e0 venir sur Students of Decay.<\/p>\n\n\n\n

Lucas \u2018Granpa\u2019 Abela<\/strong>\u2019s (fka Justice Yeldham) performances on their signature instrument; shards of amplified glass are the stuff of legend. Their singular practice spawned from the noise music underground, where over twenty years the glass evolved from a means to create ecstatic free-noise cacophonies into an outsider instrument that produces some kind of organic electronica. Abela vibrates the pane vocally to control a modular patch that uses no traditional syntheses techniques, instead the glass acts as both sound and modulation source. The patch extracting control voltages from the glass\u2019s dynamics and frequency in order to modulate itself in synchronicity with the performance, shaping six parallel stereo effects chains that merge into dense layers of anomalous music.
Alejandro Motta<\/strong>\u00a0is a classically trained double bassist with a focus on contemporary music, sound experimentation, and stage performance. He is the co-founder of the free improvisation ensemble Algo Cruje and has collaborated with various national orchestras, including the OFUNAM (National Autonomous University of Mexico Philharmonic Orchestra). He recently participated in the performance of Memor I.A. as part of the UNAM Composition Workshop and is currently a member of the CEPROMUSIC Ensemble. His work ranges from traditional repertoire to more free-flowing creation, integrating sound and presence.
Aleida Perez<\/strong>\u00a0is a violinist and improviser interested in new music and experimental forms such as free improvisation. She currently collaborates with the Liminar ensemble. Her most recent performances include a residency with the Norwegian collective Verdensteatret, the Epiciclos concert as part of the Diferencial series, and La escucha infinita.
Aleida holds a degree in classical violin from the Escuela Superior de M\u00fasica (INBA). She began her musical studies in the basic program at the Ollin Yoliztli Cultural Center and continued her training at the ESM (Educational School of Music), where she completed her degree under the guidance of maestro Cuauht\u00e9moc Rivera. She has participated in various festivals such as the National Violin Encounter at the University of Zacatecas, the Contemporary Expressions Festival, Aires Nacionales (FAM-UNAM), and the International Chamber Music Festival at the University of Quer\u00e9taro. She has performed at venues such as the Blas Galindo Auditorium, the Palacio de Bellas Artes, the Teatro de la Ciudad, the CCU-BUAP (Center for Fine Arts), the Casa del Lago, the Ex-Teresa, and the Sala Silvestre Revueltas-CCOY. She has taken master classes with Jorge Rici, Renata Knific, David Colwell, the University of Kansas Trio, Erika Dobociewicz, Ron Francois, and Ryu Gotto, among others.
Aleida is active in Mexico City’s experimental music scene, participating in various independent forums and festivals specializing in contemporary practices such as Material Art Fair, Index, Arte Book Fair, Museo Anahuacalli, Arte Alameda, Galer\u00eda Kurimanzutto, El Nicho Experimental, and the Vernacular Institute.
DEATH KNEEL\u00a0<\/strong>is the primary recording outlet of Toronto based musician Max Klebanoff. His output is characterized by unyielding binaural manipulation and unapologetic octatrack abuse. Incidental sound and electroacoustic automatic drawings dismantled and deconstructed to be recycled, again and again. Since 2014, Klebanoff has been featured on notable labels Chondritic Sound, Total Black, White Centipede Noise and his own imprint Life Of Sensation, with new releases forthcoming on Students of Decay.<\/p>\n\n\n\n

POUR ACHETER VOTRE BILLET, C\u2019EST ICI!<\/a><\/strong><\/p>\n\n\n\n