Am Wednesday 30.3.2011 im Chelsea:
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Eric D.


Wednesday, 30.3. 21:00 // Party

DENDRITIC SHOWS präsentiert:

IMMANU EL is one of Sweden’s most active independent export acts right now. With more than 120 concerts in 22 countries for the last two years, the band has gained a growing reputation from both audience and media to be one of the most promising bands from Scandinavia today. The music of IMMANU EL is a wide spectrum of harmonic expressions and sounds in high quality that moves between presence and ambience in varying dynamics. Originally the band was inspired by early post rock and experimental music. Combined with more pop influences IMMANU EL found an expression and a sound of their own that became the fundament for their debut album (released 2007). The ambition has since the start in their mid teens been to create something captivating, beautiful and moving, but the way to perform this is always evolving. As the band members have grown older and turned into young men, the music as well has grown stronger, more mature and more unique. The core of melody and beauty is still there, but what we hear now – on IMMANU EL’s second album ‘MOEN’, released in November 2009 - is a rock band with bigger maturity, presence and potential. The result is a sound more touching and experimental than in classic pop/rock, but at the same time with more attitude and presence than in the soundscapes of post rock. ‘MOEN’ is without doubt one of the most interesting albums from the Swedish independent scene this year.
“One of the biggest Swedish pop-hopes right now” - METRO
“Immanu El is an affair of the heart.” – VISIONS (DE)

This Viennese guitarist has been working quietly, in all senses of the word, for just over a decade now. Samarium is his fourth solo release in that time and showcases a patience and clarity of technique. As the lengthy title hints, a tonally complex yet scrupulously observed phenomenon continually unfolds until it inhabits a wide vista of sound. In the musical world this is revealed through initially delicate and deliberately plucked notes against a rising hum of chorus. Stigler stretches the first two long pieces into divided movements, suggesting natural process, before releasing a more synthesized arrangement for radio static saturated guitar and piano harmonics. Stigler’s compositions have a little in common with Oren Ambarchi’s more restrained moments or Giuseppe Ielasi at his least abstract. But truthfully his music is on it’s own track… one that is less interested by the density of structures and with a simplicity that is more about clarity than minimalism for it’s own sake. These are themes for traveling deep into the heart of things or observing the sweep of great distances.

1080, Lerchenfelder Gürtel 29-31, Wien

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