Invocation to my demon brother

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AV Performance
A tribute to Kenneth Anger and to the occult instigation of antisocial behaviours.

Following V.Vale thought, a prank can be defined as an invocation to imagination, poetic landscape, the unexpected, a deep level of irony and social criticism. If great pranks create synaesthestesic experiences based on exciting, original and reverberating perfomances, then those criteria can be easily applied to the practice of backmasking. This media jamming involves the action of producing a subliminal message which can be heard by slowing or accelerating a record or spinning it at its contrary. Back masking is done for different purposes but especially to tease the music market and to pump paranoia in the fears of religious fanatists. If we consider its penetration into commercial music production and distribution, we can define it the as one of the last expressions of XX century Pop Art. We recently had been able to slide inside a back masking database of an italian integralist christian association who spent ages to cathalogue every backmasked track. We descovered an incredible treasure of art fragments that we could not resist to steal and play with. We are dedicating this work, through its title, to Kenneth Anger, another visionary poet of incredibly strange culture and subliminal lover of chaos, in his crowliean floating period. Join us for a vynil travel into the darkest sides of pop culture. Celebrate Satan and Krispy Kreme Doughnuts.

"Invocation to my Demon Brother" had been presented as premiere at " Nacht Bar", the Berlin Porn Film Festival official Party. Two months later it had been coproduced and re-edited with the californian plagiarist group National Cynical Network and presented inside a bigger work called "Invocations" as american premiere inside their digital radio broadcast called: Plundercast.


LPM 2007 - Live Performers Meeting
  • 20.09.07 | Linux Club, Rome


Bellevilloise - Paris

Vagevuur - Eindhoven

Technical rider

  • Duration: 20 min.
  • Type: AV Performance
- At least 1 projctor VGA o RCA cabled

- 1 Mixer Allen & Heat Xone 92

- 2 CDJ Pioneer 400 or 800 or 1000

- 1 Microphone

- Rca cables

- 1 Fomet or table 1x2 m


Registered by
15 April 2009
30 November -1

  • France Paris


Parisian tenor Guy Flechter studied singing with Anna-Maria Bondi and since then has sung numerous roles both in France and further afield. Guy's most recent roles include Essex at the Liceu in Barcelona in Opera North's production of Britten's Gloriana; the Money Lender in The Miserly Knight (Rachmaninov) for Teatro Sao Carlos in Lisbon; Alessandro in Mozart's Il Re Pastore in Belgium and in concert at the Concertgebouw in Amsterdam; Weill's Seven Deadly Sins with the Israel Chamber Orchestra; Berlioz' Romeo and Juliet at the Budapest Festival; and Police Chief in The Nose (Shostakovitch) for Teatro Sao Carlos in Lisbon. Concert appearances include Berlioz' Te Deum at the Kiev Festival and Berlioz performances in Poland; a re-invitation to the Prague Autumn Festival with a recital of Die Schone Mullerin; Haydn's Creation with the Israel Chamber Orchestra in Tel Aviv and Haifa and with the Orchestre de Paris-Sorbonne in Paris; and numerous Lieder and French song recitals, particularly in Ontario with pianist Clark Bryan.

Guy has a strong commitment to contemporary works. He has performed in premieres of Duhamel's Quatre-Vingt-Treize, Prodromides La Noche Triste, and Mion's Leone, as well as performing in Chaynes Noces de Sang and most recently Le Juge in Peter Eotvos' Le Balcon at Besancon and Dijon Operas.

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