Share – all night A/V openjam
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Andrew Barker Quartet + Ricardo Gallo
Andrew Barker
Andrew Barker is a drummer / multi-instrumentalist, and composer living in Brooklyn, NY. He studied percussion with drum corps virtuoso Glen “Turtle” Carter, Jack Bell, the principal percussionist of the Atlanta Symphony, multi-percussionists Warren Smith, Andrew Cyrille, and Randy Peterson.
Barker has appeared on recordings with singers Kelly Hogan, Tara Jane O’Neal, and Chris Lee, the bands Melts, The Holy Childhood, bassist William Parker’s Little Huey Creative Music Orchestra, saxophonists Rob Brown, Daniel Carter, Sabir Mateen, and Charles Waters – with whom Barker founded the durable Gold Sparkle Band in 1994. He has performed with artists Sonny Simmons, Sirone, Ken Vandermark, Thurston Moore, Butch Morris, John Zorn, Joe McPhee, Matthew Shipp, and Roy Campbell. He has appeared at the Victoriaville Festival in Canada, Festival Sant’Anna Aressi in Sardinia, Italy, the Vision Festival and What is Jazz? Festivals in NYC, as well as performing extensively in Europe, most recently with Virginia Genta and David Vanzan (Jooklo Duo) in Portugal.
Barker also occasionally makes music for TV and film, and has composed and recorded music for The Sundance Channel, Style, CMT, and Food Nework.
Barker plays in a wide variety of musical settings, most recently
with his experimental electro-acoustic trio ACID BIRDS, and writing and playing guitar for his new slow and low metal band, Hallux.
Tonight the quartet of Andrew Barker, Daniel Carter, Tanya Kalmanovitch, and Hill Greene presents it’s first meeting. A genesis of total improvisation.
Daniel Carter
Daniel Carter was born in Wilkinsburg, Pennsylvania, in 1945. He is both a writer and a musician. His publications include The Tinker: Innovative Arts and Literature Magazine, 50 Miles of Elbow Room, Number One (2000), Callaloo: A Journal of African Diaspora Arts and Letters, Dyed-in-the-Wool (2000), Intervalsss: The Poems and Words of Musicians (2000) Wandering Archive One (1998). He has performed, recorded, and/or toured with many musicians through the decades since the mid 60s, including TEST, Other Dimensions in Music, Matthew Shipp, Reuben Radding, Federico Ughi, Sun Ra, Cecil Taylor, Sam Rivers, Alan Silva, John Blum, WAKE UP! (Federico Ughi, Demian Richardson, David Moss, Daniel Carter), and many others. He lives in Manhattan with his wife, visual artist, Marilyn Sontag, and their two cats, Minnie and Sophie.
Hilliard (Hill) Greene
Hilliard Greene has been performing music for more than 30 years and has been playing professionally over twenty. Greene has performed/recorded with Jimmy Scott, serving as his Musical Director and with Cecil Taylor where he was Concert Master for his group “Phtongos”. He is currently a full-time faculty member at the Bass Collective in New York City.
Tanya Kalmanovitch
Born in Fort McMurray, Alberta, violist and violinist Tanya Kalmanovitch performs contemporary jazz, classical music, and many things in between.
Tanya has performed in Europe and North America with a diverse range of artists including Mark Turner, Benoît Delbecq, Mark Helias, Dominique Pifarély, Andy Laster, Tom Rainey, Ernst Reijseger, Mat Maneri, and the Turtle Island String Quartet, Martin Hayes, John Cage and Shujaat Husain Khan.
She has travelled frequently to India where she has studied Karnatic music with violinist Lalgudi G. J. R. Krishnan and veena player Karaikudi S. Subramanian while conducting doctoral dissertation research on jazz exotica.
Tanya is Assistant Chair of the department of Creative Improvisation at Boston’s New England Conservatory, and is a regular instructor at the Guildhall School of Music and Drama in London UK and the Koninklijk Conservatorium in Den Haag NL.
Born in Bogotá, Colombia, Ricardo Gallo is active as a composer of contemporary concert music, both acoustic and electronic, and as a pianist performing jazz and improvised music. He leads different projects that relate aspects of Colombian folklore to contemporary musical expressions, and performs with several improvisational groups. Gallo started his undergraduate studies in composition and jazz piano at Universidad Javeriana in his native city of Bogotá, and then transferred to the University of North Texas (UNT), where he graduated in 2002, and was honored Outstanding Composition Student the same year. Ricardo is at the moment a PhD candidate in composition at Stony Brook University. He has been awarded a scholarship from the university and has been an assistant for the Computer Music Studio, as well as assistant of the Jazz Department under the direction of trombonist Ray Anderson.
He leads since 2004 his Bogotá-based quartet with which he has developed original compositions and a way of improvising that integrates an avant-garde and free language with rhythmic and melodic elements from Colombian traditions. The Quartet is formed along with some of the best musicians from the scene in Colombia: Jorge Sepúlveda on drums, Juan Manuel Toro on double bass, Juan David Castaño on percussion, and Ricardo Gallo on piano. With this group Gallo has released two albums as leader: “Los Cerros Testigos” (December, 2005), and “Urdimbres y Marañas” (December, 2007), both with great critical acclaim.
In New York he has performed his music with several groups including musicians such as: Ray Anderson, Mark Helias, Pheeroan akLaff, Dan Blake, Satoshi Takeishi, Jorge Roeder, Tom Blancarte, Sam Sadigursky, Franco Pinna, among others. He has performed with Ray Anderson’s groups and is currently member of Peter Evan’s Quartet. Ricardo has also collaborated with other Colombian musicinas’ projects. His most recent release is a CD of his duo with guitarist Alejandro Flórez, titled “Meleyólamente”. His music appears in several compilations in Colombia, U.S. and Europe.
At Issue Project Room Ricardo Gallo will present “El Hotel de los Musicos”, an electro-acoustic piece for clarinet, percussion and electronics; “We will meet again”, a composition shaped through improvisation; as well as improvised pieces. This music will feature the performances of: Mike McCurdy on vibraphone and percussion, Christa Van Alstine on clarinet, Tom Blancarte on bass, Ricardo Gallo on piano and electronics.
Dougie Bowne
I’m a musician/composer/producer. I’ve worked with a ton of people you might know, among them- Iggy pop, John Cale, Chris Whitley, Marrianne Faithfull, Ryuichi Sakamoto, Jack Bruce, Brian Eno, Arto Lindsay, Casandra Wilson, Laurie Anderson, Marissa Monte, Caetano Velosa, Tom Verlaine, Marc Ribot, John Zorn, Dave Douglas, Cibo Matto, I was a member of the Lounge Lizards for much of my adult life… blah blah… too many others to think of right now. By the way, when I say worked with, I mean worked with, not been in the same room with once.
Eran Sachs + Lary 7
Eran Sachs
works as composer, improviser, sound-artist and curator in Jerusalem and Jaffa. Originally coming from a classical background, he turned his attention towards Metal and Modern music, and started performing at the age of 14. As an improviser Sachs has collaborated with Philip Jeck, Keith Rowe, Jerome Noetinger, Daniel Padden, Oren Ambarchi, Mattin, C. Spencer Yeh, Thomas Koener, Adam Bohman, Arnaud Riviere, Ignatz Schick, Sophie Angel, Marc Behrens, Achim Wollscheid, Damon Smith, Birgit Ulher, Robert Piotrowicz, Peter Jacquemyn, @c, Eric Boros, Prell and many others, mainly playing his self-developed system, the No-Input-Mixer, which he has been playing since 1998. He plays this machine regularly in the Doom-Dub-Noise outfits Lietterschpich Diet and Lietterschpich, (whose album “I Cum Blood in the Think Tank” was recently described as “Noise album of the Year” by Aquarius Records in SF) and John Zorn’s “Cobra” improvising ensemble in Israel. Recently, he toured the US with his Experimental Doom Duo Cadaver Eyes, playing alongside such artists as Ruins, Can’t (Jessica Rylan), Uz Jzme Doma and many others, and has performed in Europe alongside such artists as Chris Corsano, Philip Jeck, Chris Cutler, Audrey Chen, Marcus Schmickler and Leafcutter John to name but a few. A Cadaver Eyes track has been released recently on a compilation by WMFU alongside such artists as Mudhoney, Circle, Lau Nau, Half Japanese, The Ex, Psychadellic Horseshit, Steve Mackay and others.
He has presented his works, lectures and compositions in such festivals as Sonorities (Belfast), Transmediale/CTM (Berlin), Festival for Jewish Culture (Krakow), Theaterformen (Hannover), Musica Genera (Sczeczin) andSkanu Mesz (Riga) as well as spaces and platforms such as Sonic Square, RecycleArt (Brusseles), Podewil, Haus der Kulturen der Welt, O Tannenbaum, M-12 (Berlin), Melkweg (Amsterdam), ITP-NYU “guest speaker”program at NYU, Death By Audio (NY), Kulturbunker (Cologne), Muffathalle (Munich), Worm (Rotterdam), THE WIRE magazine (London), Upgrade!, Sonic Process, Heara, Israeli Cinemateques (Israel) and many others. His work “Studio” with sculptor Eytan Ronel was awarded the Excellence Award by the NY International Fringe Festival. He also has collaborated extensively with sound artist Sebastian Meissner (Klimek, Random INC.), with whom he has recently released “Into The Void” (on Sub Rosa), a reflection on the old abandoned Jewish quarter Kazimierz in the city of Krakow. His works have been released on Mille Plateaux and Sub-Rosa and, as well as various labels in Israel.
As a sound-artist his works tend fuse the sonic with the political, as in the case of “Yannun Yannun”, which portrays the harassment of Palestinian villagers by fanatic right-wing settlers and “Dead News”, recently released on Basque artist Mattin’s online label Desetxea. Sachs curates events and programs which blur the dichotomy between music and art, such as “Which Way Out?”, the first event to focus on sound installations in Israel, as well as a long running series of experimental music performances which he co-curates with conductor Ilan Volkov. He is also the co-curator of last year’s ctrl-alt-del program (Istanbul). Along with sound poet Alex Drool, he is currently the co-curator of “Primate Arena” – a bi-weekly platform for experimental and way-off music in Tel-aviv Zimmer studios, which also spans a radio program and an online archive.
In the past, he founded and managed the Yad-Vashem bookstore – the only holocaust dedicated bookstore in Israel.
READ: www.myspace.com/eransachs
SEE: play loud – http://www.youtube.com/watch?v=0JS5B4U3lUs
play not loud-http://www.youtube.com/watch?v=S2NYT2a2qm8
SOUND ART: http://no-org.net/artist.php?id=11
REMINISCE: http://sound.kein.org/whichwayout
RADIO 1: http://freemusicarchive.org/music/PRIMATE_ARENA
RADIO 2: http://www.halas.am/#/search/TrackName=primate%20arena
Lary 7 is a co-founder of Plastickville Records and is a major figure in the New York experimental music underground. He has worked with Jarboe and Jimi Tenor, and has appeared on Touch Records, UK. He succeeded in upstaging Arto Lindsay at their 2003 concert at the Barbican Theatre in London, by getting the most jeers for his ground-breaking style of irritainment.
Chris Brokaw Performs “CANARIS”
Chris Brokaw is a New York-based singer/songwriter/composer/guitarist/drummer. He has released six solo albums of instrumental and vocal music. He is widely known as a founding member of the bands CODEINE and COME; currently he plays with THE NEW YEAR, DIRTMUSIC, and FFLASHLIGHTS. He has also performed and recorded recently as an accompanist to THURSTON MOORE, CHRISTINA ROSENVINGE, EVAN DANDO, STEVE WYNN, and JENNIFER O’CONNOR. He has composed music for the Dagdha Dance Company (Ireland) and Kino Dance Co (Boston), and scored the films “Road” (Leslie McCleave) and “I Was Born, But…” (Roddy Bogawa). Chris played drums with THE BOREDOMS in their performance 77 BOADRUM, for 77 drummers; and will perform this summer at Lincoln Center in RHYS CHATHAM’s performance for 200 guitarists.
In September 2008 Chris released CANARIS, an album entirely for solo acoustic guitar. The first half is unplugged acoustic guitar; the title track is an extended piece for electrified acoustic guitar. This will be his first performance of the album in its entirety.
Here is what the critics had to say:
–”Half of his forthcoming solo guitar record, Canaris (Capitan), is acoustic, even the cover of “Drink the Poetry of Celtic Disciple” by French black metallers Vlad Tepes; throughout its gorgeous 13 minutes, he slaloms from simple fingerpicking to monolithic strumming, creating a near-cinematic narrative more nuanced and expressive than anything I’ve ever heard a metal band do. ” – Chicago Reader
–”Deep in the heart of Canaris is the title track, a heroic slab of treated drone rock that sounds like Brokaw has been inhaled by a colossal black hole and is performing as all the atoms in his body slowly separate. At other times it sounds like he’s cleaving through a colossal piece of metal with an industrial power saw.” – Prefix
–”Brokaw always excelled as part of bands like Codeine and Come in the past, but here, with no bass or drums to work with his guitar, with his sound left to stand alone, he still sounds like one of the most compelling guitarists in music today.” – Dusted
Gleason’s Twins + Michael Beharie
Gleason’s Twins is an ensemble obsessed with the blur between speech and music, word and sound. The duo performs a kind of modern art song in which the group sets its own poems, infusing pre-composition with improvisation. With an unusual and spare instrumentation, voice and trumpet, they seek to expand the sonic ranges of their respective instruments while finding ways for the two sounds to mingle, contrast, and collapse. The work of Steve Lacy and Irene Aebi is a major inspiration and point of departure for the duo, as well as the compositions of Morton Feldman and György Kurtág, and the poetry of Robert Creeley and George Oppen.
Gleason’s Twins have appeared at The Stone, Goodbye Blue Monday, and Stain Bar in New York, and Mobius and the Outpost Gallery in Boston. The group was also invited to perform on Anthony Coleman’s “Barbaric Yawp,” which took place in New England Conservatory’s Jordan Hall in 2008.
Michael Beharie is a composer and songwriter interested in multiplicity, noise and drones. Michael studied classical guitar and composition at Oberlin Conservatory and is dedicated to expanding the vocabulary of the bowed guitar through the use of extremely light and extremely heavy bow pressure. Michael has composed chamber music for various mixed ensembles and is also interested in combining simple song forms with noise. His primary collaborations include the groups ‘beijaflor you hummingbirg’ with Thomas Arsenault and ‘sugaring seasons’ with Jonah Rossenberg.
At Issue Michael will be joined by Amanda Wolman (violin), Brendan Evans (guitar), Ted Rankin-Parker (cello) and Jonah Rossenberg (piano) in a led improvisation based loosely on Alejandro Jodorowski’s classic film The Holy Mountain. Arranged as a series of vignettes, and controlled through text instructions, hand signals and sonic cues, the piece attempts to reconcile sounds from different worlds by simply letting them coexist.
David First’s Gestural Improv Group + Kurt Wolf’s Lapis Lazuli
David First’s Gestural Improv Group – an evening of searching for perfect frozen moments through hyper-sensual tuning systems and black holed rhythms. Featuring Jane Rigler/flute, Chris McIntyre/trombone, Reuben Radding/bass, Michael Evans/drums & percussion and D.F. on guitar & laptop.
David First’s musical life is filled with opposites and extremes. At the age of twenty he played guitar with Cecil Taylor in a legendary Carnegie Hall concert. Two years after that he was creating electronic music in the studios of Princeton University and leading a Mummer’s String Band in Philadelphia parades. He has played in raucous drunken bar bands and in pin-drop quiet concert halls with classical ensembles. As a composer First has created everything from finely crafted pop songs to long, severely minimalist drone-works. His performances often find him sitting trance-like without seeming to move a muscle, unless he is playing with his recently re-formed psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactive energy. First has been called “a fascinating artist with a singular technique” in The New York Times, and “a bizarre cross between Hendrix and La Monte Young” in The Village Voice. A single released in 1980, The Zipper, by Notekillers, was cited by Sonic Youth’s Thurston Moore as one of the songs he played for the rest of the band when they were starting out. Moore called it a “mind-blowing instrumental single” in the British rock magazine Mojo and “a big influence” in the Philadelphia Inquirer. The Notekillers have released an archival CD on Ecstatic Peace and recently participated in the All Tomorrow’s Parties’ Nightmare Before Christmas Festival in Great Britain. First received Honorable Mention from Leonardo/ISAST for his article “The Music of the Sphere: An Investigation into Asymptotic Harmonics, Brainwave Entrainment, and the Earth as a Giant Bell”. He has received grants from the Foundation of Contemporary Performance Arts, the National Endowment for the Arts, the Copland Foundation, the Mary Flagler Cary Charitable Trust and the Meet the Composer Commissioning USA program. Upcoming releases include a 3-CD compilation of First’s drone-works, Privacy Issues (1996-2009) on Phill Niblock’s XI label and a new lp by the Notekillers.
http://www.myspace.com/davidfirst
http://www.myspace.com/notekillers
http://www.facebook.com/dvd.1st
Flutist, composer and educator Jane Rigler is known for her innovations in flute performance, techniques and musical vocabulary. She performs widely as a soloist in contemporary music festivals, as well as with ensembles. Rigler’s compositions explore language, social games, painting, poetry and dance and has received numerous awards supporting her work. Together with artist-programmer Zachary Seldess, Jane is developing the Music Cre8tor (patent pending), an interactive, sensor-driven music composition program for young people with disabilities. She is a Japan-US Friendship Commission Fellowship winner for 2009, where she will be working with electronic musicians, dancers and traveling to Buddhist temples during her 6-month residency in Japan. http://www.janerigler.com
Christopher McIntyre leads a multi-faceted career as performer, composer, and curator/producer. The diversity of his activities led Time Out New York to note that “…with every passing week, trombonist-composer Chris McIntyre becomes more central to the new-music experience in New York.” (2/08) He interprets and improvises on trombone and synthesizer in projects including TILT Brass Band and SIXtet, Ne(x)tworks, and 7X7 Trombone Band. He has contributed compositions to Lotet, TILT, Ne(x)tworks, 7X7 (for choreographer Yoshiko Chuma), Flexible Orchestra, and B3+ brass trio. McIntyre is also active as a curator and concert producer. He is currently Artistic Director of the MATA Festival, with independent projects at venues including The Kitchen, Issue Project Room, and The Stone (June 2007). Visit cmcintyre.com for more info.
Reuben Radding is a bassist/improviser/engineer and writer who has performed all over the world for 20 years. His latest CD is Crackleknob w/ Mary Halvorson and Nate Wooley on the Hat Art label. His website is at www.reubenradding.com
Michael Evans is an improvising drummer / percussionist / multi-instrumentalist / composer whose work investigates and embraces the collision of sound and theatrics, combining ordered systems with intuitive choices of sound making using found objects, homemade instruments, and various digital and homemade analog electronics. He has worked with a wide variety of artists nationally and internationally.http://www.michaelevanssounds.com
Lapis Lazuli is a solo instrumental project written, produced, and performed by Kurt Wolf on laptop, guitar, and analog synth. Kurt Wolf is known for his contributions to downtown noise rock acts, Pussy Galore, Boss Hog, Loudspeaker, Emma Peel, Foetus Inc. Kurt Wolf was given the name by his good friends Antony and the Johnsons, hence the brand.
Lapis Lazuli music exists in kind of a parallel universe were soundtrack composers dominate the later part of the 20th century musical landscape. A warped vision of what music from the era may have sounded like minus the utopian hippy hegemony of the late sixties and early seventies.
http://web.mac.com/kwolf13/iWeb/wolfmusic/Welcome.html
http://www.lapislazulimusic.com
http://www.myspace.com/kurtwolflapislazuli
NY1 Interviews Floating Points curators Suzanne Fiol and Stephan Moore
07/12/2009 02:37 PM
Sound Artists Raise Volume At Brooklyn Exhibit
By: Stephanie Simon
From avante garde music to noise you hear on the street, sound artists are creating new worlds to enjoy in Brooklyn. NY1′s Stephanie Simon filed the following report.
The folks at ISSUE Project Room have made a very sound investment in sound. They’ve created a one of a kind audio immersion room. This month, sound artists from around the world will playing their work inside the space.
“The speakers are overhead here, and you can see them from the audience perspective, they have the sound that goes in all directions as opposed to one direction, so they fill the room in a unique way,” said ISSUE Project Room Co-curator Stephan Moore. “I can show you the software that I use to control the room. I can do circles with it, execute different kinds of curves. So it lets artists work with this dimension, two-dimensional movements of sound.”
The dangling speakers are called “Floating Points” and that’s the name of ISSUE Project Room’s month-long Sound and Music Festival. Founder Suzanne Fiol says the festival gives sound composers a place to create and display work that is really cutting edge.
No doubt many people have heard of surround sound. But the latest installation is taking that idea to the extreme. It actually lets people fall asleep, surrounded by speakers, though not all of the sounds are soothing.
“We really wanted to create a place where composers can come and use this system and learn about it,” said Fiol. “So Stephan and I just put this together and it was easy and fun and a wonderful festival and now we’re on our fourth year.”
The piece, by artist Kaffe Matthews, is called “Sonic Bed Marfa.”
“The bed is eight speakers that surround you as you lay in the bed,” said Moore. “And then six subwoofer speakers that sit under you, these are the ones that do the low frequencies that sort of shake things, like the surround sound on a movie or the explosion that makes a rumble and make the low sounds. She takes advantage of all the things that speakers can do.”
Since it started in the East Village in 2003, ISSUE Project Room has been about giving artists a place to do experimental work. With a grant from the Manhattan Borough President’s office they will be moving to a new space next year. The festival runs through the end of the month, but the bed may stay even longer — allowing more time for a sonic snooze.
Marc Ribot
Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 – 1989, of John Lurie’s Lounge Lizards. Between 1979 and 1985, Ribot also worked as a sidemusician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.
Ribot’s recording credits include Tom Waits, Soloman Burke, John Lurie, Elvis Costello, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, David Sylvian, Susana Baca, McCoy Tyner, T-Bone Burnett, The Jazz Passengers, The Lounge Lizards, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, Cibo Mato, Medeski Martin & Wood, James Carter, Vinicio Caposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Joe Henry, Alan Toussaint, Marisa Monte, Allen Ginsburg, Trey Anastasio, Madeline Peyroux, Patti Scialfa, Sam Phillips, Akiko Yano, The Black Keys, and many others. Ribot frequently collaborates with producer T Bone Burnett, most recently on Alison Krauss and Robert Plant’s grammy award winning “Raising Sand” and regularly works with composer John Zorn.
Ribot’s own recording projects have included the bands Rootless Cosmopolitans (Island Antilles), Shrek (Tzadik), and Los Cubanos Postizos (Atlantic). Marc’s solo recordings include “Marc Ribot Plays The Complete Works of Frantz Casseus” (Les Disques Du Crepuscule), “The Book of Heads” (Tzadik), “Don’t Blame Me” (DIW), described as “a record filled with savory and unlikely amusements” by Village Voice, “Saints” (Atlantic), and most recently “Exercises in Futility” (Tzadik).
Marc has performed on scores such as “Walk The Line (Mangold),” “Everything is Illuminated,” and “The Departed” (Scorcese).” Marc has also recently composed original scores for the PBS documentary “Revolucion: Cinco Miradas,” and the film “Drunkboat,” starring John Malkovich and John Goodman. Past scoring project include Yoshiko Chuma’s “Altogether Different” dance piece, a documentary film by Greg Feldman titled “Joe Schmoe,” a feature film by director Joe Brewster titled “The Killing Zone”, and “In as Much as Life is Borrowed”, a dance piece by famed Belgian choreographer, Wim Vanderkeybus.
Marc’s talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.
Marc is currently touring with two bands, the Albert Ayler tribute project “Spiritual Unity” (Pi Recordings), featuring original Ayler bassist Henry Grimes, and Ceramic Dog featuring bassist Shahzad Ismaily an drummer Ches Smith. Ceramic Dog will release their debut album “Party Intellectuals” this May on Pi Recordings in the North America, and Enja in Europe and Japan.
MEM (Soundart in the Basque Country today) + Baseline
Lecture: “Soundart in the Basque Country today” by Txema Agiriano
A short lecture explaining sound art in the Basque Country today: Artists, labels, works, festivals,…
Presentation of MEM Festival Bilbao. Video
MEM is an annual cultural festival celebrating local and international electronic, extreme and experimental acts. MEM festival happens in November in Bilbao (Basque Country Spain). There you can find dance, theatre, music, environment art, video, film, net-art, performance, readings, master classes and a lot of fun. MEM support transgressor projects in a moment in which creation don¹t take many risks. MEM combine high technology with a counter-culture view, punk heritage, “do it yourself”, and thought and criticism. MEM state a Bilbao between two worlds, a reminiscence of industrial pollution and a new Bilbao of the information era and new technologies. MEM combine international and local views, looking for a fruitful dialogue among all different participant artists. MEM show aggressive and experimental projects that other festivals hardly hold in, but it¹s hardly valued the conceptual reflection, artists meetings and ludic moments. MEM is critical, transgressor and funny festival. MEM has also his own webspace: www.musicaexmachina.com and his own publication: MEM Codex (in spanish, basque and english).
Selection of Video Works by four artists of the basque country:
Bubi Canal “Polavision” 2’16”
Iván Gómez “Recuerdos de un tacto / “Recollection of a Touch” 2’56”
Daniel Llaría Gaspar “A forest / a theatre” 4’09”
Ignacio Sáez (aka La Lengua Obesa / Thick tongue) “Studio” 5’00”
Jesús Pueyo & Oier Etxeberria “Sin titulo. Super 8″ 2’30″
Live Concert of BASELINE (Pilar Baizan)
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Baseline is the sound-art project, work of the polifacetic artist from
Bilbao, born in Gijón, Pilar Baizán. Baseline is electronic industrial
sound, of deep and dense textures; her work is rhythmic, noisy, emotional,
visceral, sensualŠ ³It¹s necessary to listen, to feel.² Baizán started by
including sound in video-art, where she already used loops and her own
recordingsŠand little by little, she developer her musical side until she
formed Baseline, which really came about as an independent Project in 2004.
Baseline is electronic noise. She starts working with glitchs, field
recordings, sounds of synthesisŠ She manipulates loops and sound fragments
to make dense and heavy compositions. She often accompany her shows with
video, which are intended to provide more depth to the sound, an idea which
comes from video-art. She has played in the Festivals of experimental Music
as: Festival MEM (Bilbao – Spain), Festival LEM (Barcelona – Spain),
Festival SONAR (Barcelona – Spain), SONIC CIRCUITS FESTIVAL (WASHINTONG
D.C.), EXPERIMENTACLUB (Madrid – Spain) Š among others . In addition, she
has taken part with her sound in artistic projects, as “GALLETERAS.MEMORIA
ACTIVA”, Exhibition “ALLENDE LA PUENTE” etc
http://www.baselinenoise.com
Robbie Lee
For this performance, Brooklyn multi-instrumentalist Robbie Lee leaves behind most of his usual odds and ends to focus on the extraordinary portative organ, a Medieval-style miniature pipe organ. Pumped by hand, this instrument is capable of an expressive sensitivity unique in the keyboard world. Expect the swirling sounds of non-Equal Temperament, and a mix of improvised pieces, hints of early music, and 1930s cowboy songs.
When not making new music on old instruments, Robbie Lee is also a member of H.M.S. Beagle (with Che Chen), and records with the likes of The Howling Hex, Baby Dee, Love As Laughter, Talibam!, and collaborates with all sorts if improvising musicians.
NY Times features ISSUE’s new home at 110 Livingston
An Avant-Garde Arts Group Bites Off a Lot to Chew
When it comes to the avant-garde side of the arts, the numbers tend to be pretty small. Record sales of a thousand or two, if you’re lucky; theater audiences in the dozens, not hundreds.
But last year Issue Project Room, a nonprofit arts space that was founded in the East Village and for the last four years has been in Brooklyn, was dealt a dauntingly large number. As part of a city deal, a developer that was converting the former Board of Education building in downtown Brooklyn into condominiums was required to offer 5,000 square feet on its ground floor to a cultural group on a 20-year, rent-free lease.
Issue Project Room won the bid. (Yes!) But then found that the space needed $2.5 million in renovations. (No!)
The organization’s leaders managed to raise about $350,000 but finally were able to exhale when Marty Markowitz, the Brooklyn borough president, called late last month with the news that he was allocating $1.1 million for Issue Project Room’s renovations, as part of the $37.7 million in capital funds that he has the authority to distribute for the current fiscal year.
The building, at 110 Livingston Street, was designed by McKim, Mead & White and opened in 1926 as a home for the Elks club. By 1940 the Board of Education had taken it over, and the city sold it six years ago to the Brooklyn developer Two Trees Management for more than $45 million.
With Issue Project Room, whose proposal to Two Trees won over those from more than 100 other organizations, the building will become a home for all kinds of experimental music, theater, dance, literary readings and film. “A Carnegie Hall for the avant-garde,” Suzanne Fiol, the group’s founder and creative director, said.
“I truly believe that this is the work that keeps our culture going forward,” Ms. Fiol said. “We want to be an important space for music and film and literature and poetry and video and sound art. And a little bit of dance.”
Most of the space is a wide, marble-lined room somewhere between a courtroom and a dance hall, said Sarah Garvey, an Issue Project Room spokeswoman. In addition, there is room for offices and an additional space that could be used for a library.
Ms. Fiol opened the first Issue Project Room in 2003 in a former garage on Sixth Street in the East Village and two years later moved to a former oil silo on the Gowanus Canal in Brooklyn, where she put on shows like an extremely rare visit by the reclusive Texas musician Jandek.
In 2007 Issue Project Room had to move again, to the former Old American Can Factory, nearby in Carroll Gardens. This month that space has its Floating Points Festival, with experimental musicians like Alan Licht and Tony Conrad (who is an Issue Project Room board member) making use of a custom-built hemispherical speaker system that hangs from the ceiling.
Whether the idea of a big, official institution like Carnegie Hall is antithetical to the spirit of the avant-garde is an open question. But with Manhattan rapidly losing performance spaces devoted to experimental arts — like Tonic on the Lower East Side, which closed in 2007 — some kind of home is necessary, and Mr. Markowitz believes that Brooklyn is the perfect place for it.
“Issue Project Room is well respected, avant-garde, cutting-edge, in-your-face — you know what? That’s Brooklyn too,” Mr. Markowitz said. “I don’t understand half the things they do, and when they tell me about them, they lose me. But that’s not the point.” The point, he added, was that “the arts create jobs.”
His contribution brings the renovation budget to within about $300,000 of what it needs for the nuts-and-bolts first phase.
Ms. Fiol said she was at first reluctant to apply for the new space because at the time her organization had no money. But having three homes in six years taught her to keep an open mind.
“Everybody gets kicked out of their space, or they end up shutting down,” Ms. Fiol said. “But instead of getting all flipped out about that, I took the road of just finding a new space. And I’ve been really lucky.”
Sportsman’s Paradise + Cotton Museum + Sick Llama
Sportsman’s Paradise
Sportsman’s Paradise is a large-ensemble project currently consisting of Kate Bell, Sommer Browning, Rob Fellman, Pete Fonda, Colin O’Con, Val Opielski, and Mathias Sias. Our stated purpose is to create music that merges minimalist practice (Rhys Chatham, Charlemagne Palestine) with the current freakout scene (Sunburned Hand of the Man, Yellow Swans, Vibracathedral Orchestra) to generate bliss-outs and psychedelic mayhem through controlled compositional techniques. At the Issue Project Room, SP will perform their Tibetan-bells-and-six-guitars half-hour piece XEAEX and debut a shorter composition for six guitars as well.
Cotton Museum
COTTON MUSEUM is a solo electronic sound project by visual artist Chris Pottinger (Tasty Soil Records, Slither, and Odd Clouds) hailing from Detroit, Michigan. His music generates sounds of decomposing swamps with rotting, cancerous beasts and swarms of buzzing insects. Chris Pottinger began this project in 2002 after years of exploring his interest in experimental electronic sounds. His music has been released on various labels including Qbico Records (Italy), American Tapes, Hanson Records, and SNSE Records. As well as recording many albums, he has shared a release with Thurston Moore of Sonic Youth, and has appeared in various publications such as the New York Times and the Wire magazine (U.K.). Cotton Museum’s name stems from the deformed cloud-like beasts that adorn all of the album covers, and the sounds created, are inspired by the artwork that he’s developed for each release. For more information on Cotton Museum’s sounds & art, check out http://www.tastysoil.com.
Sick Llama
SICK LLAMA is the Michigan psychedelic noise punk solo project of Heath Moerland who is also the Fag Tapes label head. First recording released 12/03 on American Tapes with releases on Gods Of Tundra, Hanson Records, Chondritic Sound to follow. Heath opened for Wolf Eyes on their 2006 tour, played No Fun Festival in NYC and recently played Suoni Per Il Popolo Festival in Montreal with C. Spencer Yeh and Hive Mind. Established in 2004, Fag Tapes has put out over 250 releases and there’s no end in sight. Sick Llama uses tapes, clarinet, and whatever else is laying around to balance a fine line between composition and improvisation.
Sensorium Saxophone Orchestra + William Hooker w/David Soldier Sabir Mateen Braithwaite
Brooklyn, NY, July 6th, 2009 —-When composer and musician Ben Miller takes the stage at the Issue Project Room in Brooklyn on Friday August 7th, he will trade his guitar for a conductor’s baton, and lead his 15-piece saxophone ensemble, the Sensorium Saxophone Orchestra (SSO), through a rousing evening of musical offerings that will no doubt turn the audience on its collective ear. Best known for his work in the genres of punk/avant rock, avant-jazz/free improv., and electronic/noise, Miller’s latest musical venture marries his love of orchestral and 20th century art music with his own unique “all-intervallic” compositional technique. The result: intricately crafted works of art, written for and played by the SSO, believed to be NYC’s first and only recording saxophone orchestra.
Honed by months of rehearsal, SSO now brings the fruits of its hard work to public performance. The August 7th show will feature their interpretation of IN C by Terry Riley, the “Grandfather of Minimalist Music”. Riley’s wife Ann notes enthusiastically, “Although IN C has been performed hundreds (maybe thousands) of times, I’m sure this will be a first for saxophone orchestra.” The play-list will also include three of Miller’s own compositions, Glow White (recorded for composer Glen Branca’s In-Search-of-The-Lost-Chord-Contest), Switch (a sound-painting improvisation) and sections of Symphony of Suspicious Activity, slated for a vinyl release later this year.
SSO is the latest evolution in Miller’s three-decade career, which began in 1969 with the formation of the psych-rock band, Sproton Layer, with brothers Roger (Mission of Burma, Alloy Orchestra) and Laurence (Destroy all Monsters), with whom he played sax in the mid-1970’s. The 1980’s saw Miller exploring abstract minimalism in GKW with language artist Robert Currie. By 1997 Miller was composing and performing with Chicago’s The Eleven Mirrors Ensemble; more recently he has engaged in collaborations with author Carol Novack, filmmaker Matt Kohn, playwright Lori Borts, and multimedia artist Orin Buck. In addition to SSO, Miller is currently active in several other creative entities; Ben Miller/degeneration, Third Border and M3, an ongoing recording project with brothers Roger and Laurence.
For some, the road from punk progenitor to post classical modernist composer may seem an unlikely one. Miller cites growing up in a musical household as a formative influence on his eclectic career. “My father’s love of classical and 20th century music played a big part in my appreciation of orchestral music. In college, I listened to a lot of Eric Satie, Edgar Varese, and Olivier Messiaen.” An opportunity to record with Glen Branca’s 100 Guitar Orchestra in 2004 and 2006 opened Miller’s eyes to the untapped potential of a saxophone orchestra. “I discovered that by using an entire orchestra with only a single instrument type, the end result was incredibly cohesive and in no way limiting. With the uniformity of timber, range and technique, the over-all sound is as if one gigantic instrument is playing”.
On August 7th, the Issue Project Room audience will hear the gigantic instrument that is SSO.
Future SSO performances are set for later this year at the Brooklyn Lyceum (SSO’s NYC premiere of Symphony of Suspicious Activity Sept. 17th), the Brecht Forum (October), and the Brooklyn Academy of Music (December).
William Hooker is an artistic whole, a vast circle of vision and execution. A body of uninterrupted work beginning in the mid-seventies defines him as one of the most important composers and players in jazz. As bandleader, Hooker has fielded ensembles in an incredibly diverse array of configurations. Each collaboration has brought a serious investigation of his compositional agenda and the science of the modern drum kit. As a player, Hooker has long been known for the persuasive power of his relationship with his instrument. His work is frequently grounded in a narrative context. Whether set against a silent film or anchored by a poetic theme, Hooker brings dramatic tension and human warmth to avant-garde jazz. His ability to find fertile ground for moving music in a variety of settings that obliterate genre distinctions offers a much-needed statement of social optimism in the arts. A disciplined, adaptive, and energetic approach to his medium insures that the oeuvre of William Hooker will continue to grow thicker and richer.
William Hooker has released over 20 critically acclaimed CDs. As a composer, he has received commissions from Meet the Composer, the NY State Council on the Arts, Real Art Ways and others, and has led many creative ensembles with musicians from diverse backgrounds, including Lee Ranaldo, David Murray, David S. Ware, William Parker, DJ Spooky and Thurston Moore. Hooker often reads his poetry during performances as part of the musical compositions.
FLOATING POINTS Festival 2009
THE FLOATING POINTS FESTIVAL RETURNS
FOR ITS FOURTH YEAR AT ISSUE PROJECT ROOM
July 1, 2009 – Brooklyn, NY – A month-long program experimenting with and utilizing ISSUE Project Room’s custom-built 15 channel hemispherical speaker system, the Floating Points Festival returns this year with a line-up of luminary sound artists including Hisham Bharoocha, Morton Subotnick, Stephen Vitiello, Zeena Parkins, Suzanne Thorpe, C. Spencer Yeh, and Tony Conrad.
Also on display throughout the month, Kaffe Matthews’ multichannel sound installation “Sonic Bed Marfa” will be on display before each performance starting at 7 pm.
All performances begin at 8 pm and are $15 (ISSUE members, $12) unless otherwise noted. Please visit the web site for more information at www.issueprojectroom.org.
WEEK 1
Thurs Jul 2
Hisham Bharoocha w/Ben Vida
+ Ateleia and Sadek Bazaraa
Fri Jul 3
Alan Licht and Loren Connors + Evidence
WEEK 2
Tues Jul 7
Wed Jul 8
See Hear Now (David and Gisele Gamper)
Fri July 10
Lesley Flanigan w/ Luke Dubois
WEEK 3
Wed Jul 15
Mari Kimura
Thurs Jul 16
MV Carbon + Okkyung Lee
WEEK 4
ISSUE Artist-In-Residence: Ha Yang Kim
ISSUE’s AIR program made possible, in part, through generous support from the Jerome Foundation.
Thomas Ankersmit + Tony Conrad
WEEK 5
Wed Jul 29
Suzanne Thorpe + Zeena Parkins
Thurs Jul 30
Dan Senn + Stephen Vitiello with Molly Berg
CLOSING NIGHT!
Reception 7:30 pm
Performance 8:30 pm
Tickets $15
Available at Door
Purchase in advance online
yoga with liz kresch
Liz teaches Iyengar-based vinyasa yoga and pilates.
She has maintained a dedicated yoga practice since 1996. Her teacher training was completed with Adrienne Burke at Atmananda currently Centerpoint Studio in early 2004. She is certified in pilates mat and equipment through the Kane School of Core Integration and appreciates the support that pilates offers a yoga practice and movement in general as well as the profound physical results of the discipline. Her Wat Po Thai massage work, certified at the Pai Spa in Bangkok and the Swedish Institute in NY and her bellydance work with Dunya McPherson also inform her teaching. Liz‘s B.A. (1993) is from Sarah-Lawrence College where she majored in art & philosophy of religion. More recently she has completed both Nalandabodhi and New York Shambhala’s Buddhist study courses which have illuminated ground to her asana practice.
Liz has taught previously at Finetune Pilates, Omala, Body Elite Fitness, Vayu Yoga and Jaya Yoga in Brooklyn, The Standard Hotel, Brown’s Apothecary, and the Nirvana Spa in Miami, the Caribo B&B in Cozumel, Mexico, The United Nations, The Urban Justice Center and The New York Studio School for Painting & Sculpture. She currently works privately with students of varying experience, strengths & challenges.
Liz strives to create the support to let our own evolutionary capacity surprise us.
She is Yoga Alliance certified at the 500 hour level and a member of the International Dance Exercise Association. She adheres to their ethical guidelines. CPR certified.
Franck Vigroux (electronics, guitar) Matthew Bourne (piano, synth) featuring Ellery Eskelin (saxophone) + Lambic Jones
Following the release of their highly acclaimed duo album ‘me madame (good news from wonderland)’ on D’Autres Cordes (d’ac 5002) earlier this year, Franck Vigroux (France) and Matthew Bourne (UK) make their debut appearance here in New York. A passion for intense counterpoint, analog synthesizers and extremes of texture ensure that this concert will be mindfucker of unbelievable breadth and power. They will also be joined by
pioneering NY saxophonist Ellery Eskelin.
“Like some electrifying new form of freak jazz, Me Madame literally fills all available space with its mutant genome. Vigroux and Bourne are the
sonic
geneticists that are to be credited with the discovery” (Exclaim)
“Franck Vigroux and Matthew Bourne” the pair of them using synths, keyboards, voice, guitar, turntables and ferocious electro-acoustic processing
to create a delicious, fast-edit structure that, through rigorous planning, conveys exciting sensations of utter chaos, a helter-skelter ride to emancipation for your mind” (The sound projector)
Lambic is a style of Belgian ale that is spontaneously fermented from wild yeasts. Lambic is also a band featuring Paul Sullivan on guitars and effects, and Stephen Moses (alice donut) on drums, trombone, and effects. Lambic is spontaneously fermented music, free improvisation with a groove. Its joyful music that can and does go everywhere. Like it’s namesake, Lambic is always changing and evolving, often unpredictable but always exciting. We never know where it’s going to go, and that is the point. For the past year or so we’ve been joined by Percy Jones (Brian Eno, Brand X etc) on bass.
Lambic Jones:
Paul Sullivan – guitar and effects
Stephen Moses – drums / trombone
Percy Jones – bass
ISSUE Soundwalk-a-thon in the New Yorker
Two Sundays before Make Music New York, the Brooklyn-based venue Issue Project Room, an indispensable site of offbeat programming, organized its own sonic jamboree. Twenty-one musicians led groups on “soundwalks” around Brooklyn and other boroughs, treating the city either as an audio source or as a stage for their work. (The term “soundwalk” was popularized by the Canadian composer R. Murray Schafer, who, in the spirit of Ives and John Cage, has long blurred distinctions between composed music and ambient sounds.) Two dozen people signed up for a soundwalk with Betsey Biggs, a young Princeton-trained composer and interdisciplinary artist who often creates site-specific performances. Beforehand, Biggs directed participants to a Web site where they could download “Detox Project,” an electronic piece that she had assembled for the occasion. It consisted largely of sounds recorded in and around the murky old Gowanus Canal, in Brooklyn: machine noises, trucks backing up, the bell of a rising drawbridge, sirens, pedestrian chatter, and, for a long while, a voice softly humming a childlike, three-note melody.
Late in the afternoon, we met at a boarded-up house at the corner of Third Street and Third Avenue and began following Biggs’s lead, listening to “Detox Project” on earphones. The streets were deserted, except for a few hipsters pushing strollers. It was unsettling to hear loud sounds without seeing their source. Conversely, certain noises that seemed to emanate from the soundtrack actually came from real life: I was surprised to see live birds in a dead tree. The experience proved to be psychologically complex, exposing how we orient ourselves with our ears. And, as Biggs notes in her Princeton dissertation, this kind of work plays off Internet-era listening habits—the use of manicured playlists to create what she calls a “cinematic lull,” a “solitary dream state.” When the walk curled through the quiet streets of Carroll Gardens, the collage of noises subsided and the human voice took over. Biggs began banging on a tin drum that she’d brought along, and a friend played an accordion. An electronically mediated experience veered toward old-time music-making. At the end, we stood on the Third Street drawbridge and applauded the composer, who smiled bashfully, nodding toward the strangely beautiful ruined landscape behind her. ♦
Jacob Ciocci (Paperrad) presents 2 Blessed 2 B stressed + Fortress of Amplitude
“Pittsburgh artist Jacob Ciocci will present a new 20-minute mix of original videos and animations. He will also be presenting his new performance I Let My Nightmares Go which uses a video projector and live dance moves to grapple with mental demons, web 2.0, G.O.D., 21st-century breakdown, real lies and fake truths, cartoon violence, and awareness bracelets.
David Wightman will perform as Fortress of Amplitude, a guitar wielding minstrel from another time and place. Accompanied by a blast beat playing drum machine, He will execute a musical composition focusing on fantasy, repetition and ecstacy.”
Michael Gira + Wooden Wand
Special Event with Rooftop Films (Stars Like Fleas @ 8:30 & Stay the Same Never Change @ 9:00)
Buy Tickets for both events $20
See information below
Show starts @ 6:00 Doors @ 5:30
Michael Gira (Angels Of Light / Swans)
Michael Gira founded the seminal NYC band Swans in 1982. Quickly infamous for their punishing, brutal and repetitive onslaughts of sound, extreme volume levels, and the self-abusing, abject shouts and growls of Gira’s sloganeering vocals, Swans gradually transformed over 15 years, ultimately venturing into harsh mechanical proto-industrial rock, to sprawling shifts of texture and perspective (see the bucolic atmospheric folk idles and martial stomps of their much heralded Children of God double LP from 1987), to gentle acoustic-based songs, and finally on to their ultimate statement, Soundtracks For The Blind (1997) which somehow incorporated all of these elements at once, across well over 2 hours of music in one album. At this point, Gira called it quits after 15 years of relentless touring and productivity, and disbanded Swans. Since 1999 Gira has released his music under the name Angels Of Light. He writes the songs for Angels Of Light on acoustic guitar and orchestrates them using a shifting cadre of musicians, employing a wide variety of instrumentation such as strings, wind, brass, electric guitars, electronics and choral vocals. The songs are often eccentric and extreme, in keeping with Gira’s love of soundtrack music. Though nominally more traditional than Swans, Angels Of Light is often just as hard hitting through different means. The most recent album by Angels Of Light is We Are Him. Though Angels Of Light recordings are often elaborately orchestrated, Gira has recently chosen to tour exclusively solo, using acoustic guitar and voice. The performances are raw, to the point, and emotionally powerful. When not recording, writing music, or touring, Gira spends his time producing and releasing music through his label Young God Records. He’s been responsible of late for such notable talents as Devendra Banhart, Lisa Germano, Akron/Family, Fire On Fire, and most recently, Larkin Grimm. In early 2009 Young God will release the YGR debut by the acclaimed composer/guitarist James Blackshaw.
TIME OUT NY/ CONCERT PREVIEW (excerpt) 2008, by Jordan Mamone:
” Armed with only an acoustic guitar and a commanding baritone, Michael Gira
could make mincemeat out of the most “extreme” metal and punk bands. His
heavy-handed strumming and clear, virile voice—not to mention his impeccable, neatly pressed appearance—lend ample gravitas to even his prettiest folk ballads. (Lyrics like “When you open your mouth you’re too stupid to scream” will seduce misanthropes who dig Thomas Bernhard novels rather than pixies who worship Joanna Newsom CDs.)…’ It’s heartening to see that Gira, the erstwhile East Village confrontationist, now in his early fifties and living upstate, has reached one more peak in his long, unpredictable career. ”
TIME OUT LONDON / CONCERT PREVIEW 2007, by Sophie Harris
“No-one – but no-one – does menace like Michael Gira. Not Liars, not Black Dice, not Selfish Cunt or indeed any of today’s confrontational young bucks. None of the bands that Gira has influenced, in his thirty-odd (and they are odd) years making music comes close to the
darkness that bubbles so deliciously through his music. But then, Gira’s life story so far is nothing short of extraordinary.
A ‘difficult’ child (born to difficult parents), he ran away from home at 14, ended up at a kibbutz in Israel, selling drugs and his own blood on the streets, in jail, and then working in a copper mine. His father eventually tracked him down through Interpol, and Gira was shipped back to California to go to high school. He dropped out, and by the time he arrived in New York in ’81, Gira describes himself as ‘boiling over with non-specific rage’.
Enter then, Swans, legendarily the Loudest Band Ever. To this day, rock nerds’ faces light up as they remember the inter-crowd injury/vomiting/deafness that characterised the art rockers’ live shows; Gira would be physically pummelled by the drone, hurling himself at the ground repeatedly, knocking out teeth in the process (it rather puts Richie Manic’s ’4 Real’ to shame).
But musically, there’s so much more to Gira than these shock-horror stories. Perhaps what is most surprising is that in his years as Angels Of Light, Gira has produced a series of mesmerically beautiful records, often boasting a shimmering delicacy. As a child, before all
the craziness happened, Gira used to listen to Disney and Burle Ives records, and this world of fantasy and fairytale saturates his latest album ‘We Are Him’ (it’s notable too, that Gira and his wife Siobhan Duffy ‘discovered’ Devendra Banhart and produced his first, gnarly
folk records on Gira’s Young God label, now also home to Akron/Family).
A huge, handsome man, Gira now sports immaculate suits, braces, and a Stetson onstage, booming out songs with the assuredness of an old-fashioned preacher. The darkness Gira deals in today is far subtler than those early days – just don’t doubt for a second that you’ll be left breathless.”
WOODEN WAND
In addition to running the Polyamory label with Tovah O’Rourke, James Toth was the leader of New York-based avant-garde/freak folk ensemble Wooden Wand & the Vanishing Voice. Taking the first part of that name as his own — and occasionally billing himself as “Wooden Wand Jehovah” — Toth gathered at one point or another O’Rourke (who also comprised Dead Machines with her husband, Wolf Eyes’ John Olson), Satya Sai, Glucas Crane, Steven the Harvester, and Heidi Diehl. There were others, too — the Vanishing Voice lineup shifted as much as its members’ various aliases. The sounds the group made were fluid, too, incorporating everything from the ’60s mysticism of Donovan and Van Morrison to free jazz, /p>
oise rock, folk raditionals, and the entire Silt Breeze catalog. Wooden Wand & the Vanishing Voice released numerous CD-R and vinyl recordings into the indie folk/experimental underground during the early 2000s; they were also responsible for relatively more conventional releases like 2003′s Xiao (Destijl, later reissued by Troubleman Unlimited), 2004′s Sunset Sleeves (Weird Forest), and Buck Dharma, issued in September 2005 through 5 Rue Christine. That same year Toth released Harem of the Sundrum & the Witness Figg simply as Wooden Wand. The recording’s skeletal folk structures and evocative lyrics garnered quite a bit of positive press, especially in the wake of Devendra Banhart’s success. The band released two albums in 2006, Gipsy Freedom and Second Attention. 2007 saw the release of James and the Quiet, followed in 2009 by Hard Knox, a collection of demo and home recordings under the moniker Wand.
~ Johnny Loftus, All Music Guide
Buy Tickers For Both Events: $20
STAY THE SAME NEVER CHANGE
FREE SANGRIA RECEPTION AFTER FILMS
WATCH THE TRAILER
STAY THE SAME NEVER CHANGE (Laurel Nakadate | New York | 93 min.)
Artist/filmmaker Laurel Nakadate’s weird and delightful first feature film, Stay the Same Never Change, is a raw, audacious effort that burns with originality and honesty. Starring amateur actors in Kansas City, and filmed in their real homes, Stay the Same Never Change is a film that is as much visual fact as narrative fiction about American heartland folk and the lives they live while wanting more. A nonlinear yarn that skips among various vignettes depicting the solitary existence of distantly connected young women, Nakadate’s film exudes a warm sense of humor as it peers into the loneliness of the girls and their desperate attempts to find affection. From a pining tween who turns to her sewing machine for creature comforts to a young woman obsessed with polar bears and Oprah, Nakadate’s characters reveal quiet lives brimming with anguish and desire, but also a fascinating ingenuity. Awkward moments of absurdity and small ruptures in their lives offer opportunities for these girls to create a new world or stretch for what is just beyond their reach. You do not have to hail from the heartland to connect with the infectious appeal of Stay the Same Never Change. If you’ve ever been a tween and pined for life and love, you will cringe with powerful personal recognition as you witness the seemingly psychotic lives of these girls.
Venue: On the roof of the Old American Can Factory
Address: 232 3RD St. @ 3rd Ave. (Gowanus/ Park Slope, Brooklyn)
Directions: F/G to Carroll St. or M/R to Union Ave.
Rain: In the event of rain the show will be held indoors at the same location
8:00PM: Doors open
8:30PM: Sound Fix presents music by Stars Like Fleas
9:00PM: Film
11:00PM–12:30AM: Reception in courtyard including free sangria courtesy of Carlo Rossi
Share – all night A/V openjam [@ the Munch Room]
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room – Tonight’s Share is happening in the Munch Room located in the entrance level of The (OA) Can Factory
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – featured guests Michael Waller & Kyle Bobby Dunn & James Ross & Alex Carpenter
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guest: Michael Waller & Kyle Bobby Dunn & James Ross & Alex Carpenter
Michael Waller
As a visual artist and young composer, Michael Waller is a regular supporter of Share, and the experimental music community in New York City. He has been studying North Indian Classical Music, working towards a transformation of the essence of raga into an avantgarde sound world.
His vocal raga and composition studies with La Monte Young and Marian Zazeela have provided a wonderful foundation to his focus on modal, drone, and electronic means. His most notable collaboration was with Alex Waterman (Either/Or Ensemble), Yvonne Troxler (Glass Farm Ensemble), and Elizabeth Hoffman (Composer/NYU Professor) at the Tenri Cultural Institute.
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Kyle Bobby Dunn
Kyle Bobby Dunn is a NY based sound artist and composer working heavily in recent years with classically trained players and performers and transferring their energies into long, well layered grafts of compositions that are at once austere, melancholy, and subtly sublime – transfused with dense and powered drones.
He has premiered his works alongside various composers and performers including Brendan Murray, Howard Stelzer, Jacob Kirkegaard, and Stephane Ginsburgh.
He has releases on Kning Disk (Sweden), Housing (Canada), and Sedimental (US). His latest recording, ‘Intimate Rituals,’ is due out later this summer on Howard Stelzer’s Squirrel Brand imprint.
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James Ross
James Ross is a guitarist and composer living and working in Brooklyn.
http://www.myspace.com/jrossdrone
http://www.myspace.com/jrossorch
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Alex Carpenter
Alex is an Australian-born musician, filmmaker and researcher who recently moved to New York City. He has performed extensively in Australia as a soloist playing electric guitar, keyboard, electric zither and multiple amps, and has independently produced and coordinated many large-scale ensemble performance and multi-media events under the moniker Music of Transparent Means.
Alex’s work explores ideas of artistic transparency and perceptual engagement (in particular, the disabling of habitual perceptual strategies), and has been enthusiastically received in a diverse and unlikely collection of settings, including art galleries, record store basements, concert halls, theatres and pubs. He has provided support performances in Adelaide for visiting sound artists Francisco Lopez (Madrid) and Will Guthrie (Melbourne), and has produced several CD and DVD releases on his own label, Vanished Records. Alex’s work has been broadcast in Australia, Germany, Sweden and the US, and his score for the documentary A Shift in Perception was awarded internationally.
http://www.transparentmeans.net/
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – featured guests Matt Pass + o.blaat (Keiko Uenishi)
what is Share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guests
Matt Pass is sounder of sorts, working with voice, acoustic devices, effects, delays and relays. residing around the foothills and clouds of the mountains rocky tween boulder and denver, he has most recently collaborated via sound installations and performances with pa.co; visual/sound artist associated with object+thought gallery in denver. matt is always happy to be back in new york, particularly at share, where he will be joined by a spatial guest, then be further enlighted with the open air share jam.
>> matt pass’ photos when he performed w/ Mark Stewart @World Financial Center: http://downtownmusic.net/pictures/picturesrhtml/Matt_Pass/Matt_Pass/
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o.blaat (Keiko Uenishi) is extremely happy & honored to be invited to join Matt to play together tonight!
Based in Brooklyn, New York, sound artivist, social composer, and a core member of SHARE (http://share.dj), o.blaat (Keiko Uenishi) is known for her works formed through experiments in restructuring and analyzing one’s relationship with sounds in sociological, cultural, and/or psychological environments.
In recent years, to explore in the field of aural perceptions, o.blaat created “Car décalé (légèrement)”, a series of feedback performance work. Its extended version, instal-action project ‘Landfilles (dis)-play waste’ in collaboration with Katherine Liberovskaya, premiered at Experimental Intermedia in June 2009. Her ceaseless curiosity on the subject of ‘leaked sounds’ and neighbor issues, also triggered her to create an installation “SOUNDLEAK: TheROOM” at Medien Kultur Haus, Wels, Austria in April, 2009.
Uenishi’s future project includes ‘Border Game’ for Fronte[i]ras2 festival at a border of Spain and Portugal in autumn 2010.
http://myspace.com/oblaat
http://obla.at
http://facebook.com/oblaaat
http://soundleak.org
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Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Share – featured guests Travis Just & Jeremy Woodruff
what is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s feature guests:
Composers/improvisors, Travis Just of NY-based performance group, Object Collection, and Berlin-based Jeremy Woodruff.
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Travis Just
Travis Just is a composer and improviser and is co-director of New York-based performance group Object Collection. Coming from a background in improvised music and experimental composition, his work often uses texts, gesture, and unconventional technologies in addition to instruments and electronics. His work has been presented throughout the US, Europe and Japan at Performance Space 122, Experimental Intermedia, Chez Bushwick/AMBUSH, Brooklyn College, Columbia University, Ontological Theater, Merce Cunningham Studio, NYC; Art Basel Miami; TESLA/Podewil, KuLe, Berlin; Loop-Line, Tokyo; Art Space Tetra, Fukuoka; Gallery Soap, Kokura; Galerie Mark Müller, Zürich; Kunst-Station Sankt Peter, Cologne; Kunstraum, Düsseldorf; Ivan Franko National Theater, Kiev, Ukraine, among others. His music has been performed by numerous ensembles including: Maulwerker, Wandelweiser Composers Ensemble, incidental music, Reihe Elektronischer Musik Bremen, and the Dog Star Orchestra. He is the Music Curator at the Ontological Theater. His opera Problem Radical(s) premiered at Performance Space 122 in New York in April, 2009.
http://www.objectcollection.us/
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Jeremy Woodruff
Jeremy Woodruff (b. 1973, NY) Grew up in Boston and studied flute and composition at BU and Brandeis University.
Moved to London to study with Michael Finnissy at the Royal Academy of Music in London from 1999 – 2002.
Made research into South Indian music at the Conservatorium van Amsterdam 2002 – 2004, including a trip to India.
2004 settled in Germany. He is currently co-director of the Neue Musikschule Berlin.
He has lectured on South Indian music at the UdK and HfM “Hanns Eisler” in Berlin. In the last few years several pieces were commissioned and premiered by Percusemble Berlin, and by Martin Krause in conjunction with the Deutsches Kammerorchester Berlin, among others. Jeremy is also active in Berlin and elsewhere as a flutist and saxophonist in new, experimental and music for children.
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
On January 25, ISSUE Project Room will inaugurate its new space at 110 Livingston with Gaudeamus Muziekweek, a four-day festival celebrating groundbreaking and challenging new music by emerging composers from around the world. Working in partnership ...
ISSUE is starting off the New Year with a change of scenery. That's right, Issue Project Room is moving out of our space at the Old American Can Factory and into 110 Livingston in Downtown Brooklyn. We've had a great run at the Can Factory,...