11.04.17 – Kazuki Tomokawa / Bill Orcutt / Itasca

November 4, 2017, 9:00 pm - 11:30 pm

Bootleg Theater
2220 Beverly Blvd.
Los Angeles, CA

Kazuki Tomokawa, a true legend of Japanese outsider-folk music and art performs in Los Angeles for the very first time. An emotionally intense and raw artist by any measure, Tomokawa is a “Poet, singer, artist, bicycle racer commentator, essayist, actor, drinker. An artist who miraculously embodies the romance of the vagabond poet, a rarity in an age where our very freedom means we have forgotten how to live.” Tomokawa first established himself as one of Japan’s great idiosyncratic singers in the 1970’s. He became more widely known for his haunting performance as the mysterious singer that mirrored the killers’ conscience in Takashi Miike’s cult classic film Izo. This reach was only furthered by his powerful soundtrack to Cycling Chronicles: Landscapes the Boy Saw by the late, pioneering and controversial director Koji Wakamatsu. Tomokawa’s performances are known for their unmatched intensity and intimacy- this will perhaps be the only opportunity to ever see him in person on the West Coast.

Bill Orcutt returns to Los Angeles for an acoustic set of his completely one of a kind take on deconstructed blues and experimental guitar. From the ashes of the legendary Harry Pussy, Orcutt returns as a solo guitarist unlike any other. His recordings for VDSQ, Editions Mego and his own Palilalia Records are essential entries to any 21stCentury music library. We are beyond excited to host his next Los Angeles visit.

Itasca is the musical identity of Los Angeles-based guitarist, singer, and songwriter Kayla Cohen. Just as the name itself is ambiguous—a 19th-century pseudo-Ojibwe place name and portmanteau of the Latin words for “truth” (veritas) and “head” (caput)—so too is Cohen’s musical project mutable and multivalent: fundamentally unconcerned with genre, but richly allusive of the hermetic worlds of private-press canyon-cult mystics and East Coast noiseniks alike. Though deeply informed by the mythology and iconography of the modern American desert West, Cohen likewise finds kinship with a lineage of English iconoclasts such as Michael Chapman and Bridget St John. Her adept fingerstyle guitar work—nimble but unshowy, always at the service of framing her plaintively unspooling modal progressions and gorgeous, moonlit voice—centers Itasca’s melancholy pastorales in a hazy, heat-mirage space equally suggestive of familiarity and distance, community and anomie.