Sunday, January 12th, 2020

Sounds of the Dutch Underground:Tin Men & The Telephone, Tineke Postma Freya, Niels Broos & Jamie Peet, Binkbeats

$20 ADV, $25 DOS // 7pm Doors

Tin Men & The Telephone

Tin Men and the Telephone present the GREATEST show - Global Relocation of Evolved Apes Towards Exoplanet Suitable for Terraformation: a new immersive multimedia performance that combines improvised music, visuals, and audience participation via a smartphone app to address the very timely topic of climate change in a uniquely interactive, fun and thought-provoking way.

Still driving your non-electric car, eating dairy or meat at every meal, taking long showers, and enjoying your last-minute flights to tropical holiday destinations? Then you are the perfect candidate for this special mission: heating up a brand-new planet! Tin Men welcome you to the GETAWAY SPACE AGENCY - Global Evacuation Transport Authority Way Ahead of You.

“Interactive innovation allows you to enjoy a whole new and unique experience” – BBC

Tineke Postma Freya

Saxophonist, composer and Rising Star - Soprano Saxophone (Downbeat Polls 2019) Tineke Postma toured and recorded as a band leader and featured artist with artists such as Terri Lyne Carrington, Herbie Hancock, Kenny Barron, Geri Allen, Esperanza Spalding, Dianne Reeves and Wayne Shorter. Tineke lived and studied in NYC between 2001-2013 and is currently based in the Netherlands. Tineke released six albums as a leader which received great critical acclaim and she is part of Grammy-winning albums by Terri Lyne Carrington (Mosaic Project) and Dianne Reeves (Beautiful Life). On March 20, 2020, Tineke's seventh album Freya (Edition Records) will be released. It features prominent New York City musicians Ralph Alessi, Dan Weiss, Matt Brewer and Kris Davis. Tineke’s music has been called "edgy and hip, dark and devious, grooving and untethered all at once" (All About Jazz). Downbeat called her "personal on all fronts" and Greg Osby quoted "Tineke’s voice is all hers."

Niels Broos & Jamie Peet

Niels Broos and Jamie Peet are two child prodigy musicians, hailing from The Netherlands. Niels started playing keys at the tender age of four, and Jamie started off behind the drumkit at 5. Both have their signature sound and style, which have forged them as two of the most influential musicians in The Netherlands today, when it comes to fusing contemporary styles like jazz, hiphop and electronics. They started performing together just recently, but within a couple of months have made quite an impression across bigger festivals like Transition Festival and Mondriaan Jazz Festival 2017, that brought these two together on stage for the first time. The music is totally improvised, with some melodic and rhythmic hooks, with an original analog approach, reminiscent of the New York based duo of Taylor McFerrin and Marcus Gilmore. But Niels and Jamie are less urban and build endless amounts of tension, that reminds the listener of groups like Aphex Twin, Squarepusher and early Autechre. This is the sound of the Dutch underground, the sound of today.

Binkbeats

Frank Wienk spent a good chunk of his lifetime studying the relationship between object and sound. Predominantly, his well-honed and peerless prowess of virtually any type of drum or percussion instrument served the artistic vision of others. As Binkbeats, Wienk snowballs his wide-eyed relationship to sound into a fully-formed, highly personal brainchild. Binkbeats previously made his mark with the Beats Unraveled series, which found him translating such paragons as Flying Lotus, Aphex Twin and J. Dilla to acoustic, tangible realms. And impressively enough, Beats Unraveled achieved this feat without sacrificing the amorphous nature of the respective original works. Utilizing a vast collection of instruments – ranging from vibraphone, guzheng (Chinese harp) and yes, even typewriters – Wienk rapidly gained an impromptu following. To him however, Beats Unraveled marked an exploratory phase of how to recreate certain sounds with his own instruments and gear. Now composing his original material, Wienk began stretching his sonic purview beyond just his vast array of percussion, and completely disregarding any parameters.