Fri 06.04.18

Aaron Roche + Eric Chenaux

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BRDCST: pure (folky) songwriter glory injected with layers of avant-garde

BRDCST is AB’s outstanding indoor spring festival spotlighting musical boundlessness.
The name is a direct reference to the retro futuristic electronica-pop of English band Broadcast that released inspiring albums like ‘Haha Sound’ and ‘Noise Made By The People’ over the past decade. Artists who feel strongly about musical innovation form the focal point for BRDCST. Our musical gut-feeling does the rest.

And suddenly there was ‘HaHa HuHu’, the second album by Brooklyn songwriter & multi-instrumentalist Aaron Roche, that gave us a glorious emotional uppercut around the turn of the year. What’s more: ‘HaHa HuHu’ landed in our year-end chart aside the beauty of Mount Eerie’s ‘A Crow Looked At Me’. Roche actually plays a contemporary version of American folk, but smuggles subtle layers of avant-garde into his songs so that the final result sounds like ‘lo-fi folk with drones’. Yet another attempt: ‘HaHa HuHu’ can be situated between the most wonderful of Sufjan Stevens and ‘an acoustic Animal Collective’.

Roche may initially seem unfamiliar to you but he has already played guitar in the backing bands of the likes of Laurie Anderson, Sufjan Stevens & Anohni and composed music for The American Ballet Theatre. In short: an absolute BRDCST favourite! And with 3 or 4 more hard drives full of unreleased material up his sleeve, Roche is an artist to keep an eye on for the future.

Postmodern troubadour associated with Canada’s Constellation label (see: Godspeed You! Black Emperor, Thee Silver Mt. Zion,...) that just recently made it onto the cover of The Wire. Chenaux hung around in the experimental improv scène of Toronto for a long time before he moved to Paris. After the release of his key album ‘Skullsplitter’ (’15), Uncut summed up the spirit of Chenaux’s work perfectly: ‘In the field of avant guitar wrangling, Chenaux’s style is genuinely distinctive… His latest is an(other) effortlessly lovely solo set that recalls John Martyn, Marc Ribot, Arthur Russell and the Hardanger fiddle tradition, as it weaves trippily between improv jazz, electronica, folk-drone and lounge balladry.’

Entry is free of charge according to the principle ‘First come, first served.’
This also applies to those bearing a Limited BRDCST Festival Pass.


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