I have performed contemporary compositions for Bass Clarinet, with or without tape. At the moment i mostly study extended playing techniques and freeform improvisation, departing from the tone richness and complexity of the instrument into a deeper understanding of music and contemporary experiencing of linear, non linear and simultaneous forms of expression within the realms of sound and within the limits my possibilities.

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Besides being an instrumentalist and researcher I am engaged in making and producing (and performing live when possible) radioplays and docufictions for radio. In these forms places, people and words share time and space with literal and abstract forms of fieldrecordings and music. I find it a challenging and rewarding playing field, where the audiences are seduced but also expected to come further.

I compose and perform music for modern dance, film and installation art. (more info on my project page on my website) because of the universal connectivity between movement and sound, movement and image, image and sound, sound and sound i feel i cannot get enough diversity in my projects and encounters with other arttists, how brief they may be, it will enrich us ever more. I believe also as i have learned and practiced in my years as a theater composer and performer (within multimedia theater installations) that the way to be in modern performing art is addressing the lack of concentration on a global scale – that has to come from the artist and must be within a relentless simultaniousness in our artworks just as in live itself. Concentration means paradpoxically also tthat i am equally fascinated by simplicity and detail, and love repetitif behaviour of melodic and rythmic figures. But at the same moment someone else may play a typewriter, preach a sermon, eat a peach

I have performed contemporary compositions for Bass Clarinet, with or without tape. At the moment i mostly study extended playing techniques and freeform improvisation, departing from the tone richness and complexity of the instrument into a deeper understanding of music and contemporary experiencing of linear, non linear and simultaneous forms of expression within the realms of sound and within the limits my possibilities.

I refuse to narrow down my musical options and or possibilities, nor do i like it when i meet cliche expectations concerning instrument or style (especially from within myself).

Besides being an instrumentalist and researcher I am engaged in making and producing (and performing live when possible) radioplays and docufictions for radio. In these forms places, people and words share time and space with literal and abstract forms of fieldrecordings and music. I find it a challenging and rewarding playing field, where the audiences are seduced but also expected to come further.

I compose and perform music for modern dance, film and installation art. (more info on my project page on my website) because of the universal connectivity between movement and sound, movement and image, image and sound, sound and sound i feel i cannot get enough diversity in my projects and encounters with other arttists, how brief they may be, it will enrich us ever more. I believe also as i have learned and practiced in my years as a theater composer and performer (within multimedia theater installations) that the way to be in modern performing art is addressing the lack of concentration on a global scale – that has to come from the artist and must be within a relentless simultaniousness in our artworks just as in live itself. Concentration means paradpoxically also tthat i am equally fascinated by simplicity and detail, and love repetitif behaviour of melodic and rythmic figures. But at the same moment someone else may play a typewriter, preach a sermon, eat a peach

The X-static Tics, Touring with the Gazers….

Lukas Simonis and Henk Bakker also known as the X-tatic Tics and more recently as Dr Klangendum live and work in Rotterdam. They are producers and performers of radioplays and of stage performances in colaboration with many poets from all over the globe. They also produced a long string of radiodocumentaries such as the Perverse Animals- a series of coloured documentaries covering cities and art scenes in Dublin and Tblisi. They also collaborators in the Radia Network. They are now on tour with their latest production The Gazers (the end is near).

The Gazers is a musical and vocal composition rooted in radioplay tradition- although denounced by radiophonic puritsts- may they burn in hell-, with soundscapes and fieldrecordings as backdrop. In a string of songs and spoken word compositions the words and practises of some contemporary and proclaimed prophets and healers and their followers and bystanders get all mixed up in a realtime drama of deceit and forgery. Beware of the poet. The end of civilisation does’nt come unannounced. Madness precedes its final stages of transition. Underpayment of artists too, altho that is rumoured to be of all times.

The Gazers

A free form radioplay and free jazz chamber opera, performed by Lukas “See through” Simonis and Henk “Smal Change” Bakker. Staging the lies and lives of some gazers, spies, undercover healers and murdering poets.

Act One: The Garden Hose Gathering Ring

DD Meets the maestro of radiesthesia

Singing: A practitioner of radiesthesia claims to detect the interplay of these radiations. Thus radiesthesia is cited as the explanation of such phenomena as dowsing by rods and pendulums in order to locate buried substances, diagnose illnesses, and the like.

Choir: We do not recognize any legitimate medical uses for such devices.

Bring us the dynamizer, (which is attached by wires to a string of other devices and then to the forehead of a healthy volunteer, facing west in a dim light. By tapping on his abdomen and searching for areas of “dullness”, disease in the donor of the blood is diagnosed by proxy.)