Sestdien, 19. oktobrī, plkst. 12.30* klubā The Mill, Tallinas ielā 10

Rīdziniece Elizabete BALČUS augusi radošā vidē – gan teātrī, gan arhitektu birojā, agri uzsākusi mācības mūzikas skolā, studējusi flautas spēli un džezu Latvijas Mūzikas akadēmijā, kā arī vokālu Romas Sv. Cecīlijas Konservatorijā.  Saņēmusi virkni balvu, koncertējusi Kanādā, Apvienotajā Karalistē, Itālijā, Portugālē, Francijā, Vācijā, Rumānijā, Ungārijā. Rada sirreālu, avangardisku, eksperimentālu, psihodēlisku mūziku, izceļas ar uzstāšanos avangardiskās, pašas veidotās cepurēs.

Balčus muzikālajā kosmosā atļauts ir it viss: frīdžeza flautas improvizācijas, cilpoti efekti, pārpasaulīga balss, elektropopa bīti un pat organiski augļi un dārzeņi, kas tiek pārveidoti midi signālos un spēlēti kā sintezators. No pārsteidzošām, kolāžveidīgām žanru pretējībām Elizabete prot radīt psihodēlisku, melodisku un eksperimentālu elektro-drīmpopu. Balčus performances, kuru spēcīgā vizuālā estētika levitē modernā sirreālismā un ģeometriskā iztēlē, skatītājus ievelk teatrālā stāvoklī, kas ir gan apdullinoši, gan valdzinoši!
October 19 12:30 * at The Mill club, Tallinas Street 10
Free jazz improvisations performed by Elizabete BALČUS (flute, voice, electronics)
“The vibe is so transcendent in places you feel you are in motion listening to it, transported in a stupor through some faerie glade and awake before you have time to register what has happened.” /The Quietus/

“Blissed out electronics with heavenly melodies, 'IKA' soars outward to the sun with that lingering sense of dangerous descent underneath.” /Clash Magazine/

“While the likes of Bjork, Efterklang and Braids are audible influences, Balčus is creating her own path in music that feels unique and has the potential to see her become a major international star.” /Gigwise/

“There’s a lot of clever pedal trickery here as she loops her trusted flute against a wall of synthesizers and the veg plot. It’s like crazy guitar shredding but on a wind instrument and it’s genuinely hypnotizing.” /The 405/

“A performance closer to performance art rather than conventional music. I was fascinated to see what was coming next. Definitely a “marmite” act (i.e. you’ll either love it or hate it), but either way she is not likely to care too much.” /Art in Brighton/

“From just down the road in Riga and dealing in sparse freak electronics creating sparse and tripped out soundscapes, Elizabete Balčus delivers her wonk digital with a perfect kooky dress code and stage presence.” /Louder than War/

“Overall the album is a hazy, dreamy sonic delight (with just enough surprises) which leaves the listener in a blissed out trance like state, somewhere between the waking and sleeping as the album title suggests.” /Sounds Magazine/

“Creating each song live with loops, ethereal vocals and live flute playing, the result was an art-piece mesmerising to watch and to hear.” /Bloop Magazine/
“Here are thirteen avant garde dream-snippets that weave bewitchingly between classical chamber music and ultra-modern electronica, a collection suggesting that Elizabete’s standard stress dream involves Bjork chasing Sufjan Stevens, Grimes and Anna Calvi back and forth across a gigantic synthesizer keyboard, occasionally beating them about the head with a blunt flute wrapped in chrysanthemums.” /Gigwise/

“Cocteau Twins meets Bjork. Great arrangement and gorgeous vocals” /Vehlinggo/

“Elizabete Balčus’s album ‘Conarium’ is a must for anyone with a fondness for odd pop. A classically-trained flautist, on the record she twists this instrument and her impressive voice around other-worldly electronics.” /CMU/

“Someone could compare Elizabete Balčus to Bjork, but I think she`s more like grown-up Lewis Carroll’s Alice.”  /Beehype/

“Elizabete Balčus with her otherworldly voice and quite supernatural visage digs really deep the matter on her new full length album called “Conarium”. The album is merely fantastic: partly incisive, partly impulsive, partly vague.” /Cloudberry Mornings/

“Delicate harmonies intertwine, as sounds merge with moments of pure industrial experimentation.” /Gigslutz/

“Balčus sowing together total opposites, putting herself in untenable positions -- free jazz jams and stringent rhythmic policies -- in the name of a very particular kind of pop music. It’s a fantastic, weird record, possibly unlike anything you’ve heard. A triumph of fanfare and fury with a patchwork discipline.” /Norman Records/

“Rich in psychedelic textures, it mixes the organic with grippy computer generations with visual echoes of Future Sound of London’s most adventurous films, with Elizabete Balcus herself making a cameo appearance in typically outlandish fashion close to the end.” /God Is In The TV/

"I have never seen someone perform such art alongside their music. It was transformative and quite frankly mesmerising. Filled with a new style of music and performance – a true theatrical production and one I wouldn’t forget for some time." /Ginfold/

“Life appears to be merged with art, merged with entertainment and merged with whatever you have lying around for Ms Balčus; and anything seems to be possible in her mesmerising world.” /Indie Midlands/

“Transfixing dream pop arrangements.” /Gigwise/

“There’s a surprise cameo from Latvian freak pop hero Elizabete Balčus – she steps on the stage to play the flute, dressed like a mermaid, with giant sea shells covering her breasts.” /Europa Vox/

“Elizabete Balcus from Latvia – imagine Kate Bush inhabiting a parallel universe in which she is signed to electronic anarchos Digital Hardcore Recordings – does a good job of getting things going, finishing her set by pelting the audience with fruit she’d previously been using to trigger her samples.” /Subba-Cultcha/

“Her set tonight much more of a freeform affair, switching mood and tempo unexpectedly, the rumbling sub-bass and machine code melodies augmented perfectly by her ethereal voice and occasional flute solos. It's like listening to early Genesis rewired and remade by Throbbing Gristle, and you'll definitely be hearing more of it.” /Subba-Cultcha/