Venture Proudly Presents
On March 8, composer, producer & multi-instrumentalist BINKBEATS will unveil the remarkable final chapter of his
Private Matter Previously Unavailable
EP-trilogy. Pt. 3 marks a surprising shift in the Dutch sound wizard’s body of work.
Renowned for translating live instrumentation into baffling sonic abstractions, Frank Wienk now leans more than ever
into his instincts as a composer, applying brass, strings, and textural soundscapes to create a gripping, cinematic listening
The ‘cinematic’ part of that assessment is no aberration either, as Wienk has avidly nosedived into the field of film scores in
2018. The most notable example here is his involvement as a composer for American Jail, a CNN documentary helmed by
Academy Award-winning director Roger Ross Williams about the calamitous cycles of the U.S. prison system.
After establishing an unmatched prowess for loop-based live instrumentation – punctuated by his 2015 Boiler Room set at The Royal Albert Hall –BINKBEATS devised the Private Matter Previously Unavailable project as a creative self-interrogation of
sorts, a quest to find his definitive voice. The results revealed a proclivity towards an abundance of styles and forms. On Pt.1 ,
widescreen floor-fillers (‘Jake’s Journey’) alternated hot-blooded jazz/breakbeat hybrids (‘Little Nerves’, whose live-rendition assembled over 1,6 million YouTube hits). Pt.2 unfolded with even more intrepid firsts: the atmospheric bare-bones slow burner ‘Earth’ is the first BINKBEATS-track built around the more traditional pop idiom of vocals and lyrics.
The conclusion of BINKBEATS’ EP-trilogy finds Wienk pushing his music to unnerving new depths. Opening cut ‘9INE FO4R,
4OUR’ is a claustrophobic abomination of neo-jazz and Reichian minimalism that derails into a manic primal scream of synths.
The EP bookends with ‘Drones In My Bones’, a textural beast that utilizes guitar feedback, Indonesian percussion, and electronic noise, romped up with a menace apropos to Fuck Buttons at their most wayward.
In the past, Wienk was always keen to pull the curtain from his magic act, showing his steady following how his inventive sound
concoctions materialize. But on Pt.3, BINKBEATS banks predominantly on the emotive quality of the tracks themselves.
‘Bylina’ – a more vocal-based track inspired by ancient Russian literature and folklore – offers a heart-stopping listen from start
to finish: its brawny triphop-leanings briefly dissolve into a luscious tapestry of strings like a river valley between two mountains, climaxing with juggernaut-like momentum. ‘Chapel Of The Blind Cathar’, featuring Jaga Jazzist’s Lars Horntveth on
bassclarinet, channels some of David Lynch’s most unnerving film work, shapeshifting promptly into creepy upper-register vocal drones and throbbing tribal beats.
With Private Matter Previously Unavailable now in hindsight, BINKBEATS has explored the full range of where his many
talents can take him, all while acquiring some new skills along the way. On a stage with myriad tools, instruments, and objects,
there really isn’t much that exists beyond Wienk’s imagination. For the final act of this elaborate two-year soulsearch, however,
BINKBEATS proves that we don’t always need to look over his shoulder to be astonished by his unspeakably awesome abilities.
Frank Wienk spent a good chunk of his life studying the relationship between object and sound. As Binkbeats he first made his mark with the Beats Unraveled series, which found him translating such paragons as Flying Lotus, Aphex Twin, and J. Dilla to acoustic, tactile realms. Utilizing a vast collection of instruments, Wienk rapidly gained a steady online following.
Now composing original material and soundtracks, Wienk expanded his sonic purview with a triptych of EPs called
Private Matter Previously Unavailable, bringing in new harmonics, lyrics, and voice into the mix. Wienk naturally surrounds himself with a dazzling amount of toys, instruments, and gear: a physical performance that ranges from daredevil to introspective, exploring a nexus of possibilities
Plus very some special guests:
A one-man surplus of impressive tunage, Steve Strong will enlighten and charm all.Tapped with a guitar, preciously seasoned drumbeats, and textured melodies, Steve Strong’s music is as swanky as it is skeletal. It doesn’t really matter what
you’re into it, Steve will have you hooked almost instantly.
Like a panorama of unique sounds blended and ignite the indie alternative scene, Strong has been hard at work and it's paying off. With 4 digital albums of recognition and a
growing fanbase: musicheads take notice. Having Appeared on Balcony TV, completed a full European and American tour.
The precision breakbeat math is emotionally driven, drawing on influences from his rebellious teenage years, he plays live instruments in a way that still achieves an electronic IDM
With his trusty drumkit, noise guitar, a sizzling synth, he loops and dips through a set in a way that gets audiences immediately engulfed. He glides through songs with careful
parts mixed between shimmering and pulsing. It glimmers, swings an explodes in all the
Its cinematic postrock that experiments with your daydreams, making it easy to sway, pop, and drive through the Sonisphere.
Alex Smyth is an Alternative Instrumentalist at the forefront of the Ambient Cinematic scene in Ireland. Equipped solely with a Guitar, Electronic Drum Pad and a suitcase full of FX pedals, Alex is capable of soundscapes Nialler9 has described as being “A little bit Low-Fi, a little bit Baleric and a little bit Chill-Wave”. Hailing from Dublin, Alex says his motivation comes from Ambient and Electronic Music, Naming Tycho and Explosions in the Sky as huge inspirations.
General Admission: €25.00 incl. booking fee.