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Yasuaki Shimizu
De Japanse saxofonist, componist en producer Yasuaki Shimizu is al bijna vijftig jaar actief in de muziekwereld. Zijn werk beweegt zich moeiteloos tussen pop, jazz, minimalisme, soundtracks en pure experimenten. Hij werkte samen met o.a. Ryuichi Sakamoto, Björk en Van Dyke Parks. Cultalbums ‘Kakashi’ en ‘Utakata No Hibi’, meesterlijke kruisingen van Japanse folk- en popelementen, vonden de voorbije jaren een nieuw publiek dankzij heruitgaven op Palto Flats. Door de verfijnde elektronische/disco-productiestijl, klinken ze nog even fris als in de vroege jaren ‘80.
Na een volledig uitverkochte eerste Noord‑Amerikaanse tour ooit in 2025 staat hij nu voor het eerst in onze RUISKAMER, een unieke kans om een levende legende van dichtbij te horen en zien.
Yasuaki Shimizu is a maverick saxophonist, composer and producer whose almost 50-year career spans an impossibly broad range of genres. He is a well-known musical presence in Japan recognised for his crossover pop hits, film soundtrack work and a host of high-profile live commissions, installations and collaborations with the likes of Ryuichi Sakamoto, Björk, Van Dyke Parks and David Cunningham. Shimizu’s music reached a wider audience in the West following the reissue on Palto Flats of his iconic 1982 solo album Kakashi and his band Mariah’s classic 1983 record Utakata No Hibi – masterful hybrids of Japanese folk and pop idioms filtered via a honed electronic/disco production aesthetic that make them sound fresher than ever today.
Shimizu embarked on his first North American tour in 2025, selling out every show. Don’t miss his stop at RUISKAMER, to witness his ever-evolving artistry.
Catharina Evens
Catharina Evens (1997°, Brussel) is een Belgische experimentele elektro-akoestische pianist die op zoek gaat naar een alternatief klankenpalet voor de akoestische piano. Dit doet ze onder meer door akoestische klanken live te manipuleren via elektronica en deze te versterken en te laten resoneren door de volledige klankkast en snaren van de piano. De typische pianoklank, die we doorgaans associëren met de akoestische piano, vervaagt en maakt zo plaats voor een eigenzinnig klankuniversum waarvan ze de verschillende muzikale mogelijkheden via improvisatie en compositie verder verkent.
Aan de hand van granulaire texturen, speelse wispelturigheid, meeslepende pianistieke passages, naïeve frases, percussieve accenten, pianopreparaties, ritmische sequenties en het aftasten van de speelruimte tussen verschillende muziekgenres, creëert Catharina zo haar eigen absurde klankenwereld vol verhalende fragmenten.
Catharina Evens (b. 1997, Brussels) is a Belgian experimental electro-acoustic pianist who seeks to explore an alternative sonic palette for the acoustic piano. She achieves this, in part, by manipulating acoustic sounds live using electronics, amplifying them and allowing them to resonate through the piano’s entire soundboard and strings. The typical piano sound, which we usually associate with the acoustic piano, fades away, making way for a unique sonic universe whose various musical possibilities she further explores through improvisation and composition.
Using granular textures, playful capriciousness, compelling pianistic passages, naive phrases, percussive accents, piano preparations, rhythmic sequences and exploring the space between different musical genres, Catharina creates her own absurd world of sound, full of narrative fragments.
Yasuaki Shimizu
The Japanese saxophonist, composer and producer Yasuaki Shimizu has been active in the music world for almost fifty years. His work moves effortlessly between pop, jazz, minimalism, soundtracks and pure experimentation. He has collaborated with artists including Ryuichi Sakamoto, Björk and Van Dyke Parks. Cult albums ‘Kakashi’ and ‘Utakata No Hibi’, masterful fusions of Japanese folk and pop elements, have found a new audience in recent years thanks to reissues on Palto Flats. Thanks to the refined electronic/disco production style, they sound just as fresh as they did in the early 1980s.
Following a completely sold-out first-ever North American tour in 2025, he is now set to perform at our RUISKAMER for the first time, a unique opportunity to hear and see a living legend up close.
Yasuaki Shimizu is a maverick saxophonist, composer and producer whose nearly 50-year career spans an impossibly broad range of genres. He is a well-known figure in the Japanese music scene, recognised for his crossover pop hits, film soundtrack work and a host of high-profile live commissions, installations and collaborations with the likes of Ryuichi Sakamoto, Björk, Van Dyke Parks and David Cunningham. Shimizu’s music reached a wider audience in the West following the reissue on Palto Flats of his iconic 1982 solo album *Kakashi* and his band Mariah’s classic 1983 record *Utakata No Hibi* – masterful hybrids of Japanese folk and pop idioms filtered through a honed electronic/disco production aesthetic that make them sound fresher than ever today.
Shimizu embarked on his first North American tour in 2025, selling out every show. Don’t miss his stop at RUISKAMER, to witness his ever-evolving artistry.
Catharina Evens
Catharina Evens (b. 1997, Brussels) is a Belgian experimental electro-acoustic pianist who seeks an alternative sound palette for the acoustic piano. She does this, among other things, by manipulating acoustic sounds live via electronics and amplifying them to resonate through the piano’s entire soundboard and strings. The typical piano sound, which we usually associate with the acoustic piano, fades away, making way for a unique sonic universe whose various musical possibilities she further explores through improvisation and composition.
Through granular textures, playful capriciousness, compelling pianistic passages, naive phrases, percussive accents, piano preparations, rhythmic sequences and the exploration of the space between different musical genres, Catharina creates her own absurd sonic world full of narrative fragments.
Catharina Evens (b. 1997, Brussels) is a Belgian experimental electro-acoustic pianist who seeks to explore an alternative sonic palette for the acoustic piano. She achieves this, in part, by manipulating acoustic sounds live using electronics, amplifying them and allowing them to resonate through the piano’s entire soundboard and strings. The typical piano sound, which we usually associate with the acoustic piano, fades away, making way for a unique sonic universe whose various musical possibilities she further explores through improvisation and composition.
Using granular textures, playful capriciousness, compelling pianistic passages, naive phrases, percussive accents, piano preparations, rhythmic sequences and exploring the space between different musical genres, Catharina creates her own absurd world of sound, full of narrative fragments.
i.s.m. VIERNULVIER
