
Ki: Mico, Tamio Shiraishi & Fritz Welch
Fritz Welch Mico Tamio Shiraishi
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
A dance party love letter to our community, expressing the joy of relation in the abstract and through actual physical proximity.
An original and beautifully simple performed installation forging a direct link between sound and image.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
The Experimental Improvisers Association of Japan, [EXIAS-J] are a loose collective of musicians and dilettantes who seem to represent an entire and self sufficient scene in one band.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.