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Arrington de Dionyso
RYBKA
41 Meeting House Ln and Hove
8 de jul. de 2023
20:30 GMT+1
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About this concert
An uncompromising voice in contemporary music, Arrington de Dionyso integrates ancient soundmaking techniques with trans-modernist inquiries into the nature of consciousness. His propulsive improvisations utilise voice and reeds (primarily bass clarinets and his invention the Bromiophone) as multiphonic tools in the navigation of liminal spaces between shamanic seance and rock and roll ecstasy.
While deeply rooted in the punk inclination to tear down musical standards in an effort for liberation, Arrington's music weds no-wave iconoclasm with the spiritual searching of Albert Ayler-era free jazz to reach towards an unveiling of primordially potent universalities. His compositions embrace sounds as colours, placing emphasis on the complimentary spectrums- from circular overtones whispered through bamboo flutes to the penetrating and deeply guttural howls of amplified throatsinging- all with the lungs of an Olympiad.
Born in Chicago in 1975, this son of Methodist ministers later attended theatre school in Arkansas and taught himself seven languages. After moving to the Pacific Northwest, as a youth Arrington supported himself as a travelling busker selling cassette tapes until he arrived in Olympia to study ethnomusicology at the Evergreen State College. In 1995 he founded the trance-funk-gospel-punk band Old Time Relijun which garnered critical praise and a loyal fanbase over the course of endless tours of the US and Europe, releasing several dozen albums on K Records. In 2009 he created Malaikat dan Singa (?Angels and Lions?), a powerful new project integrating dancehall rhythms with gamelan scales, using the Indonesian language to interpret the Zohar and the mystic poetry of William Blake.
In 2011 Arrington was invited to do an artist residency in Indonesia that initiated the first of many tours in Java, Bali, Lombok, Sulawesi and Kalimantan with the groundbreaking indigenous metal-art-noise band SENYAWA. It was during these travels that Arrington deeply investigated the Javanese Horse Trance ritual known as Jathilan and began to organise collaborations with traditional village musicians throughout Indonesia, as part of a lifelong obsession with the powerful ability of certain kinds of ?intense music? to alter ordinary awareness and induce spiritual initiations. Travels such as these, oscillating between the extremes of the contemporary avant-garde and ancient trance music traditions, helped Arrington develop a unique approach to using music as a bridge between diverse global cultures while interrogating and rejecting the domination of Western definitions of what music can even be. He has played in ceremony with the Master Musicians of Jajouka in Morocco, Bauls in Bangladesh, throat-singing shamans in Tuva, and ancient instrument reconstructionists in Peru.
Whether as a band leader or solo performer Arrington's music evokes an Ancient Future, sometimes shocking and hallucinatory, always aiming to channel Spirit.
www.arrington.bandcamp.com
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Arrington de Dionyso Biography
Arrington de Dionyso (b. January 4th, 1975) of Olympia, Washington uses performance as a vehicle for driving through the nameless territories held between surrealist automatism, shamanic seance, and the folk imagery of rock and roll.
After living in Chicago, Arkansas, and Spokane, Arrington moved to Olympia in 1992 to attend the Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater. In 1995 he founded the avant-rock group Old Time Relijun, which has since toured and recorded throughout the US, Europe, and Israel, and has released eight albums on the K Records label from Olympia, enthralling audiences with an approach to performance described as deep hermetic practice and/or "some fuckin' scary shit" by critics in the know.
As a solo artist, Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly multiphonic ability inspired by Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van Vliet. Pushing the envelope between musicality and pure energy, between shamanic ecstacy and lunacy, he enwraps rooms with resonant sound. His devotion to bringing traditional Tuvan musics into an experimental music context has been acknowledged by Tran Quan Hai, the famous ethnomusicologist and the world's leading expert on throatsinging.
In addition to Old Time Relijun and his solo projects, Arrington devotes a significant amount of his time to furthering the cause of free improvisation. He is the founder and curator of the Olympia Festival of Experimental Musics, in its twelth year. Arrington tours constantly, and has performed or/and recorded with notable improvisers throughout the U.S.A., Canada, Italy, France, Israel and Lithuania. He presents workshops on improvising with the human voice in conjunction with his touring around the world.
Arrington has received increased attention for his visual artwork, which deals with many of the same themes of spirit, sensation, and improvisation as his music. Recent exhibits have been held in Los Angeles, New York City, Vancouver BC, Paris, Bologna, and Beijing, China. A series of several dozen ink drawings is on view at www.krecs.com/oldtimerelijun. His work is represented in Paris by Atelier Cardenas Bellanger. (www.ateliercardenasbellanger.com)
Ler maisAfter living in Chicago, Arkansas, and Spokane, Arrington moved to Olympia in 1992 to attend the Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater. In 1995 he founded the avant-rock group Old Time Relijun, which has since toured and recorded throughout the US, Europe, and Israel, and has released eight albums on the K Records label from Olympia, enthralling audiences with an approach to performance described as deep hermetic practice and/or "some fuckin' scary shit" by critics in the know.
As a solo artist, Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly multiphonic ability inspired by Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van Vliet. Pushing the envelope between musicality and pure energy, between shamanic ecstacy and lunacy, he enwraps rooms with resonant sound. His devotion to bringing traditional Tuvan musics into an experimental music context has been acknowledged by Tran Quan Hai, the famous ethnomusicologist and the world's leading expert on throatsinging.
In addition to Old Time Relijun and his solo projects, Arrington devotes a significant amount of his time to furthering the cause of free improvisation. He is the founder and curator of the Olympia Festival of Experimental Musics, in its twelth year. Arrington tours constantly, and has performed or/and recorded with notable improvisers throughout the U.S.A., Canada, Italy, France, Israel and Lithuania. He presents workshops on improvising with the human voice in conjunction with his touring around the world.
Arrington has received increased attention for his visual artwork, which deals with many of the same themes of spirit, sensation, and improvisation as his music. Recent exhibits have been held in Los Angeles, New York City, Vancouver BC, Paris, Bologna, and Beijing, China. A series of several dozen ink drawings is on view at www.krecs.com/oldtimerelijun. His work is represented in Paris by Atelier Cardenas Bellanger. (www.ateliercardenasbellanger.com)
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