Kristoff K. Roll | Theater Critic's Choice | Chicago Reader

Kristoff K. Roll 

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It's hard to tell exactly what the French duo Kristoff K. Roll does to make its richly textured music, and that's part of the point. Jean-Christophe Camps and Carole Rieussec started their careers in the 80s studying acousmatic music, a close cousin to musique concrete's manipulations of found sounds, before they began working together in the early 90s. One of their earliest pieces, 1993's Corazon Road, mixed bits of conversations, street sounds, and general environmental ambience recorded while traveling through Mexico and South America; 1997's Des Travailleurs de la Nuit, a l'Amie des Objets (Metamkine) assembled recordings of street demonstrations, monologues, and political chatter in France, Sarajevo, and South America into a cohesive collage. Camps and Rieussec are capable improvisers as well. On 1999's La Piece (Potlatch) they create delicate but detailed backing for Xavier Charles's weightless, striated clarinet improvisations; on 2003's Tout le Monde en Place Pour un Set Americain (Victo), Charles, sound artist Diane Labrosse, and turntablist Martin Tetreault join the duo, who use homemade electronics and an assortment of objects to help shape the flurry of herky-jerky cut-ups, creating an ineffable sensation of dislocation and confusion. This is Kristoff K. Roll's U.S. debut. Sat 4/22, 9 PM, 6Odum, 2116 W. Chicago, 773-227-3617, $12. All ages.

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