Maria Chavez & Shelley Burgon + Mike Wexler + Corridors
Shelley Burgon w/ Maria Chavez
Multi-instrumentalist Shelley Burgon is best known for her improvisatorial work using harp and laptop. She is a member of the chamber group Ne(x)tworks and the band Stars Like Fleas. Shelley has performed her music for series such as the the MATA Festival, Issue Project Rooms Points in a Circle, free103point9 Wave Farm and Summer Winds. In May 2009 she was honored to premiere a new piece for the Merce Cunningham Hudson Valley Project at the Dia:Beacon. Shelley holds an MFA in Electronic Music from Mills College. She can be heard as a collaborator and guest on many labels including Hometapes, Skirl, Tzadik and Ipecac. She is inspired by Maryanne Amacher and is currently at work on a solo electronic record.
www.nextworksmusic.net
www.myspace.com/starslikefleas
Born in Peru, avant-turntablist Maria Chavez currently resides in Brooklyn, New York. With a collection of new and broken needles that she calls “pencils of sound” and a selection of records, she creates electro-acoustic sound pieces.
Chavez made her New York City debut in a duet with Thurston Moore, collaborated with Otomo Yoshihide as part of the 2007 Wien Modern Festival, and recently shared a stage with Pauline Oliveros and Lydia Lunch during Vienna’s Phonofemme Festival 2009.
Having also performed at such internationally acclaimed venues as STEIM (Amsterdam) and Sonoteca (Lima, Peru), she was awarded a Jerome Foundation Emerging Artist Grant by New York’s Roulette Intermedium in 2008. In June and July, 2008, she was selected to be part of the Merce Cunningham Dance Company as an artist in residence for a series of performances in and around Richard Serra’s Torqued Ellipses sculptures at DIA: Beacon.
Chavez recently completed the score for a short film by video artist David Gacs and performing artist Matthew Day entitled “Through my Geography,” which can be viewed on her MySpace page.
This September, she will perform at San Francisco’s Electronic Music Festival, a turntable festival in October in Berlin entitled T.I.T.O, in Gdansk and Krakow, Poland, Prague and more performamces to be announced.
Corridors (Byron Westbrook)—>myspace.com/corridors
Byron Westbrook (b. 1977) is an artist working with the dynamic quality of physical space using multi-channel sound and images. His audio/video performances under the name CORRIDORS involve the distribution of processed instrumental and environmental recordings through a multi-channel environment with a focus on energy distilled from sound and light. He has presented at venues such as Tonic, Roulette, Diapason Gallery, Les Voûtes (FR), Wien Konzerthaus (Austria), Issue Project Room, The Stone, NonEvent (Boston), Sonic Circuits Festival (DC), Institute of Intermedia (CZ), Experimental Intermedia, Exit Art Gallery. He has shared performance bills with Tony Conrad, Sawako, Mountains, Stefan Tcherepnin, Lichens, Jason Kahn, Jon Mueller, James Blackshaw and Soft Circle, among many others. Westbrook has also collaborated with Paris-based composer and former Kitchen curator Rhys Chatham in the drone metal group Essentialist, as well as performed in the ensembles of Phill Niblock, Rhys Chatham, Glenn Branca, Duane Pitre and Jonathan Kane. In 2007, he was the recipient of the Jerome Foundation Emerging Artists Commission through Roulette Intermedium. In 2008 he was an artist in residence at HotelPupik at Sclhoss Schrattenberg. He is also currently the technical coordinator of Experimental Intermedia Foundation, NYC. He currently lives and works in Brooklyn, NY
www.byronwestbrook.com
www.myspace.com/corridors
Mike Wexler—->myspace.com/mikewexler
Mike Wexler is a self-taught guitarist and singer whose long-form songs incorporate extended instrumental fingerstyle guitar passages, a post-lyric lyrical sensibility and the desire to reconcile the demands of song structure to those of recent investigations into the nature of acoustic phenomena à la the spectral school of composition. His musical inquiries probe the progression, the drone, the single tone as a complex of sounds–in short, to make of the tension between harmonic movement and stasis something more than an equilibrium. Wexler also draws inspiration from songwriting auteurs past and present who bring to bear the influence of forward looking musicians and writers on their work (Scott Walker, Robert Wyatt and Annette Peacock spring to mind as spiritually kindred, although not particularly apt as comparisons).
www.myspace.com/mikewexler
ISSUE Artist-In-Residence Collective w/ Shelley Burgon, Shannon Fields, Ryan Sawyer, Matt Lavelle, Laura Ortman & Jon Natchez
AIR Collective (January-March 2010)
To launch our 4th year of providing multi-month artist residencies, ISSUE will host the first AIR Collective Residency featuring Brooklyn-based musicians:
Jon Natchez
Matt Lavelle
Laura Ortman
Shannon Fields
Ryan Sawyer
Shelley Burgon
These composer/musicians have, for the greater part of the past decade, recorded and performed consistently beguiling and volatile and genre-defying music as members of the critically acclaimed group Stars Like Fleas.
As part of this new collective, these artists will be provided with rehearsal space, curatorial guidance, opportunities to meet with members of our Artistic Advisory, technical/production support, marketing/pr support, and opportunities to create new and site-specific works.
AIR Collective Performances: Jan 17, Feb 19, Mar 19
ISSUE’s AIR program made possible, in part, through the generous support of the Jerome Foundation.
Unsound Festival New York: Zavoloka + Bora Yoon + Zenial
Zenial
Zenial is Lukasz Szalankiewicz, a long-time feature on Poland’s experimental and electronic music scene, as both musician and curator. In terms of his own productions, he remains a fiercely independent figure, working in genres from noise to ambient. He has played around the world, in countries in Europe, Asia, South America. He is also part of the duo Aabzu. Zenial has worked as a co-curator of Unsound Festival in Krakow, as well as Krakow’s renowned Audio Art Festival. As well as this, he has created several compilations of experimental music from Asia, and is a co-founder of the net label Audiotong.
Bora Yoon
Bora Yoon is an experimental multi-instrumentalist, composer and performer, who creates architectural soundscapes from found objects, chamber instruments, digital devices, and voice. Featured in WIRE magazine and on the front page of The Wall Street Journal for her musical innovations—Yoon has presented her original soundwork ( (( PHONATION )) ) internationally, at Lincoln Center, the Nam June Paik Museum in Seoul, Patravadi Theatre in Bangkok, the Bang on a Can Marathon, BAM, and John Zorn’s Stone. Her music has been presented by Samsung and the Electronic Music Foundation; commissioned by the Young People’s Chorus Chorus of NYC and SAYAKA Ladies Chorale of Tokyo; awarded by Billboard, BMI, and Arion Foundation; and published by Swirl Records, MIT Press, and the Journal of Popular Noise. Upcoming plans include custom instrument design and performance with LEMUR; recording and remix projects with DJ Spooky, Meredith Monk, and early music group New York Polyphony; and a wax cylinder record for UK phonograph artist Aleks Kolkowski’s museum collection— while ( (( PHONATION )) ) continues to resonate and rarefact in concert. www.borayoon.com
ABOUT ( (( PHONATION )) ):
( (( PHONATION )) ) is a multimedia solo performance by Bora Yoon with live video manipulations by Luke DuBois — exploring where sound connects to the subliminal using found sounds, new and antiquated instruments, electronic devices, and voice. Using a sound designer’s approach to performance composition that is steered by a penchant for a song, ( (( PHONATION )) ) engages with music as music, and not as part of a genre, taking the means to one end, and using it for another to form new utterances of sound and the beginnings of a new sonic language, within its spatial and architectural context. In every case, a particular sonic geography is evoked that might be inspired by a simple, found-sound in the world, or an expression of a sonic paradox bouncing around only in the mind.
LUKE DUBOIS (Video)
R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. Stemming from his investigations of “time-lapse phonography,” his recent work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his work reveals the average sonority, visual language, and vocabulary in music, film, text, or cultural information. Exhibitions include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through elecronic performance and remixing of cinema. DuBois has lived for the last fifteen years in New York City. He teaches at the Brooklyn Experimental Media Center at NYU’s Polytechnic Institute. His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City.
Zavoloka
Zavoloka is one of Ukraine and Eastern Europe’s premier electronic musicians, having found a voice that is all her own, fusing beats and experimentation, whilst drawing on traditional Ukrainian music she self-records. This creates a sound far more radical than any kind of imagined world music. Her work has earned her praise from the likes of Wire Magazine. Her debut work, released in 2005, found her receiving an honorary mention at the prestigious Prix Ars Electronica in 2005. Zavoloka has also played at festivals across Europe, including Club Transmediale and Unsound Krakow. She has also collaborated with artists such as AGF. Her New York appearance will be her first ever show in North America, and should not be missed.
http://www.myspace.com/zavoloka
Unsound Festival New York
Unsound Festival New York, Co-Presented by:
Unsound, Fundacja Tone, the Polish Cultural Institute in New York and the Goethe-Institut New York.
In Co-operation With:
Trust for Mutual Understanding, the Romanian Cultural Institute New York, Austrian Cultural Forum New York, Consulate General of Finland New York, Pro Helvetia, Fonds Pop Over Zee
Blurb:
“Since 2003, Unsound Festival, Poland’s most adventurous music festival, has brought a bold and uniquely modern program of music to Kraków, a city previously unknown for this kind of experimentation. Now, with seven festivals in their native city under their belt (and outpost events further east in cities like Minsk), Unsound is coming west to New York for their first ever North American edition. Unsound Festival New York’s mission is to forge new links between music genres, between generations and even between artistic practices.
The driving force in the assembling of the New York program has been Unsound Festival’s commitment to forms of music and sound art that involve experimentation and risk. Unsound Festival has made a worldwide reputation by breaking new ground while dealing with vibrant electronic, experimental, independent, post-classical and club music scenes from around the world.
Taking place over the course of nine days starting on Thursday February 4th 2010, Unsound Festival New York will boast an ambitious lineup of artists from both Europe and the US.
One of the cornerstones of the festival is Eastern Promises, a substantial undertaking in the New York program that aims to expose a wide range of musicians from east of Berlin that have long been ignored in North America. Never before has this broad a range of producers and musicians from Eastern Europe been assembled to perform alongside their US and West European counterparts. Confirmed for the festival are techno artists Jacek Sienkiewicz (Poland), Petre Inspirescu (Romania) and Marcin Czubala (Poland), minimalist composer Jacaszek (Poland), experimentalist Zavoloka (Ukraine), bass mutator TRG (Romania), new music ensemble Kwartludium (Poland), dub electronic artist Pavel Ambiont (Belarus), drone specialist Zenial (Poland) and a special exhibition of historical Polish Soundcards.
Unsound Festival New York will also feature a special series of events dedicated to and inspired by Andy Warhol. The Warhol Program will feature the worldwide debut of Carl Craig (USA) and nsi (Germany) performing live electronic soundtracks to vintage Warhol films, as well as the North American debut of Groupshow (Jan Jelinek, Andrew Pekler and Hanno Leichtmann) (Germany) performing an eight-hour long live improvised soundtrack to Andy Warhol’s “Empire.” Additionally video artist Lillevan (Germany) will be creating a special series of Warhol inspired screen tests during the festival.
Additionally, Unsound Festival New York will feature the US live debut of the Moritz Von Oswald Trio (Germany), the US debut of Vladislav Delay (Finland) & Lillevan’s audio / video performance, a special program of the music of Henryk Gorecki, classical interpretations of the music of infamous US punk noise label SST, two nights of noise, drone and experimental work, a Brooklyn electronic music showcase, two nights at the Bunker featuring the very best in contemporary Techno / House and a special Bass Mutations showcase dedicated to dubstep and beyond. In addition, there will be a unique festival feature called Kids Patch (a special kids only workshop in electronic music), thought-provoking panel discussions and unique film screenings.”
Cédrick Eymenier
Cédrick Eymenier
Cédrick Eymenier was born in 1974 in Béziers, France. Artist and musician, he lives and works in Montpellier (F). Since his 2001 graduation from the École supérieure des Beaux-Arts in Nîmes, he has participated in several group & solo exhibitions. His work combines photography, installation, sound installation, projection, and video. In 2002, he started a serie of films entitled Platform, for which he collaborated with musicians (Stephan Mathieu, Fennesz, Giuseppe Ielasi…) to create original soundtracks. The films are screened and displayed in different contexts: as contemporary art, architecture, experimental music. Recently worked as a curator with a suite of group shows entitled Esope Reste Ici Et Se Repose.
Publications:
Writes for the Japanese music magazine OkFred, and since 1998, is a regular contributor to Purple Journal.
Bellevue, Landscape photographs, Purple books/Fiction inc (2000), Lindre 03, residency catalogue from the Centre d’Art Contemporain la Synagogue de Delme (2006), Offshore, contemporary art review #14 (2007).
Cédrick Eymenier is co-director of the site www.coriolislab.org which recently created a record label Coriolis Sounds.
P#01 EuraLille – original music by Giuseppe Ielasi (3″26′) 2006
P#02 London (Canary wharf + City) – original music by Motion & Sogar (7″09′) 2007
P#03 La Defense (Paris) – original music by Sogar (16″07′) 2005
P#04 Dalle Beaugrenelle (Paris) – original music by Pirandèlo (2″45′) 2006
P#05 Porte de Bagnolet (Paris) – original music by Sebastien Roux (3″30) 2005
P#06 Porte de Bercy (Paris) – original music by Sebastien Roux (4″58′) 2007
P#07 Aéroport Roissy CDG (Paris) – original music by Sebastien Roux (3″30′) 2004
P#08 Frankfurt – original music by Cats Hats Gowns (11″45′) 2004
P#09 Chicago – original music by Fennesz (19″18′) 2006
P#10 Miami – original music by Stephan Mathieu (15″17′) 2005
P#11 Rotterdam – original music by Vladislav Delay (18″12′) 2008
P#12 Tokyo – original music by Akira Rabelais, Oren Ambarchi, Taylor Deupree (37″37′) 2008
Theoretical: Liam Gillick in conversation with Seth Kim-Cohen
Theoretical is a new critical discourse series at ISSUE Project Room curated in collaboration with Brandon W. Joseph (Columbia University), David Grubbs (Brooklyn College), and Seth Kim-Cohen (Yale University). Through monthly talks, panels, and classes, this series seeks to actively engage artists, writers, and audiences in examining and discussing key issues in contemporary aesthetic theory, media, urban space and politics.
Acid Birds + Light in August + Charles Waters
Acid Birds
Acid Birds is a trio composed of Andrew Barker, Charles Waters and Jaime Fennelly. Barker formed the trio ACID BIRDS in order to perform the composition of the same name. Along with saxophonist / clarinetist Charles Waters, and multi-instrumentalist Jaime Fennelly, the trio premiered in 2004 for the artist collective Free103point9, and their creative music event entitled Assembled: Free Jazz + Electronics. In November of 2007, Barker, Waters, and Fennelly convened for a second time to record ACID BIRDS with longtime collaborators Jeremy Wilms and Torbitt Schwartz on QBICO records (Italy).
Andrew Barker is a drummer, multi-instrumentalist, and composer living in Brooklyn, NY. Barker has appeared on recordings with a wide range of artists such as bassist William Parker, saxophonists Rob Brown, Daniel Carter, Sabir Mateen, and Charles Waters – with whom Barker founded the durable Gold Sparkle Band in 1994. Barker plays in a wide variety of musical settings, most recently writing and playing guitar for his new heavy metal band, Hallux.
Multi-instrumentalist & artist Jaime Fennelly maintains a practice of musical performance & composition which borders on near ritual praxis in its approach and conception. He is a founding member (along with Chris Forsyth and Fritz Welch) of the iconoclastic group Peeesseye, a transcontinental amalgam of minimalist rock, noise, folk, drone, psych, improv, sound poetry, and absurdity that has produced seven CDs, one 7-inch, over 145 concerts in Europe and the US, and untold blown minds since forming in 2002. Jaime is also a member of the elusive and rarely spotted quartet Phantom Limb & Bison, the intermittent pranksters Manpack Variant and the noise/akshuntist cover band peeinmyfacewithsurgery. His music has been released by Digitalis Records, QBICO, Archive Recordings, 8mm, Misanthropic Agenda, Chocolate Monk, Unframed Recordings, Utech, Deep Fried Tapes, Locust Music and Evolving Ear. Currently he is working on a series of photographs documenting his own slow unraveling whilst living on a remote island off the state of Washington.
Saxophonist Charles Waters lives in Brooklyn. He works with grids, particles, and alpha notational systems in the mystical realm of nuzion science. He still loves coffee!
Light in August
In July of 2009, 7 musicians went into Andrew Barker’s Brooklyn studio space that was yet to be finished and created a recording of improvisations in which their sounds were mutually manipulated and cross convoluted by composer Ryan Ingebritsen. Nobody really knew what to expect with an untested studio space and a group of musicians that had never all played together before. The result was a stellar single movement work called Light in August as well as a library of various short improve gems that are still being edited and mixed for future release. Thus light in August was born.
Light in August is a rotating group of musicians but the concept behind the group remains the mutual manipulation and re-contextualization of sonic forces through electronic and acoustic processes. Born of a concept begun by Ingebritsen and fellow composer/performer Jason Wampler in their duo We Can and We Must, light in August extends this musical technique and train of thought from the electronic to the electro-acoustic and purely acoustic realms. The pseudo-psychic energy that emanates from the process of mutual sonic interaction gives the group a multi-layered environment to exist within and expands the notion of improvisational cohesiveness in a way that is more dimensional than structural. The group itself, being the brainchild of Andrew Barker, Charles Waters, and Ingebritsen, expands a history of collaboration including New York recording artist and Producer Shannon Fields (Stars Like Fleas, Silent League) and merges other streams of improvisatory collaboration (We Can and We Must, 12 Dimension-Plane of Sound and Vision Orchestra).
The evening’s lineup includes
Charles Waters (reeds)
Andrew Barker (drums and various other instruments)
Shannon Fields (Guitars, keys, electronics)
Jason Wampler (keys and electronics)
Erica Dicker (violin, baritone violin)
Dan Peck (tuba, etc)
Ryan Ingebritsen (live electronic manipulation)
Karl Franke
Charles Waters (Solo)
Saxophonist Charles Waters lives in Brooklyn. He works with grids, particles, and alpha notational systems in the mystical realm of nuzion science. He still loves coffee!
The New Roaratoria: Greg Kelley, Chris Brokaw, Matthew Heyner & Sean Meehan, ‘FRAGMENTS SHORING RUIN’
The New Roaratoria: Greg Kelley
ISSUE Project Room is proud to announce this new program which provides emerging composers with technical training in the creation of new and site-specific work on our signature 15-channel speaker system designed by Stephan Moore. The system generates immersive sonic environments, enabling electronic sounds to take on the characteristic intimacy of acoustic instruments, and liberating location as a musical dimension. In 2010, this new series features: David Sutton (Jan 20), Greg Kelley (Feb 20), Grouper (March 26) and Carlos Giffoni (April 10).
FRAGMENTS SHORING RUIN
If you play the blues, people will ask you who your favorite blues artists are. If you play the guitar, people will ask you about other guitarists. You likely have *some* interest in this. You want to know what can be done. You want to understand the framework in which you’re working. But other things seep in. You are not in a tunnel or a vacuum. Things internalized seep out, quickly, slowly, in abstracted form. Music itself is an abstraction. Representations crystallize, but are they accurate? Is that dissonant note something copped from a previously heard dissonant note or is it dread? And what about the listener? Are you assaulting them with rapidfire representations or are they right there in the room with you, breathing in the same crackling air?
GREG KELLEY
The Boston area trumpeter, known for his work with nmperign and Heathen Shame, will present a new electroacoustic work utilizing Issue Project Room’s 15 channel multi-speaker array. The work is entitled “Bursts in ultraviolet air”.
CHRIS BROKAW
A set of music for acoustic guitar, including an extended reworking of Vlad Tepes’ “Drink the Poetry of the Celtic Disciple”, by this former Bostonian whose guitar and drum talents have been utilized by Thurston Moore, The Lemonheads, Come, Codeine, The New Year, Rhys Chatham….
MATTHEW HEYNER/SEAN MEEHAN
Malkuth drummer/NNCK bassist Heyner pairs off with fellow NYC drummer Meehan for a dismal look at repetition and weight. Two drumsets, sunken.
GREG KELLEY
Greg Kelley began studying the trumpet at age 10. He attended the Peabody Conservatory of Music in Baltimore, where in addition to studying the Conservatory curriculum, he also immersed himself in a deep study of avant-garde and experimental music, eventually coming to the conclusion that his musical focus fell outside of the academic sphere. After his studies, Kelley moved back to his native Massachusetts, quickly insinuated himself into the local avant-garde circles and soon commenced a period of intense travel and collaboration, bringing him across the United States, throughout Europe, Japan and South America. He has appeared on over 60 albums and despite a more limited travel schedule, he still manages to play in a number of groups including Nmperign (as abstract improvisatory duo and as horn section for ex-Galaxie 500-ers Damon & Naomi), Heathen Shame, the undr quartet and the BSC, among others. Other collaborators have included Jandek, Keiji Haino,
Donald Miller (Borbetomagus), Anthony Braxton, Kevin Drumm, Christian Wolff, Pauline Oliveros, Joe McPhee and Lionel Marchetti. In addition to playing the trumpet, Kelley has also recorded music using electronics and musique concrete elements, sometimes utilizing trumpet based sound sources, other times not. Tonight’s piece will feature both trumpet and non-trumpet sources.
http://ordinaryfanfares.blogspot.com
CHRIS BROKAW
Chris Brokaw is a New York-based singer/songwriter/composer/
MATTHEW HEYNER
Matthew Heyner is the bassist and founding member of improv/freak out leaders No-Neck Blues Band, and has also worked extensively with Thurston Moore (of Sonic Youth fame), legendary free jazz collective TEST, Steve Swell, Sabir Mateen and black metal group Malkuth.
http://www.soundatone.com/
http://www.myspace.com/malkuth666
SEAN MEEHAN
Sean Meehan became musically active in the late 80′s at the amica bunker series for improvised music which was then housed at ABC No Rio in New York City.
Current performances generally find Meehan playing only the snare drum in a manner that sheds conventional usage and reconstructs the conception and function of the instrument. Concert activities, both at home and away, are generally divided between playing in conventional settings for experimental music and in seeking out unique locations that are often in the unobserved and unconsidered corners of the city.
Meehan’s recordings document some of his collaborations and solo work. Other contributions to the material world include the construction of performance objects that serve as “compositional things”. Included in this is Field Recordings, Vol 3, a folio of aural suggestions; gift iv for woodblock; and audio, a boxed set of four cassettes to be played in the mind.
http://home.earthlink.net/~overturnedbowl/
The New Roaratoria is made possible, in part, through generous support from The Greenwall Foundation.
Minerva Trio + Yuganaut
Minerva trio
To be on your toes, to hear ahead, to remember moments passed, to trust your instincts, to make each part as strong as the whole, to keep it fresh, to play your heart out, to keep cool, to try your very best, to be detached, to push it, to leave space, to play beyond yourself, to let go, to restrain yourself, to know when to play, to know when to stop…The music of the Minerva trio ranges from rigorous composition to free improvisation, oftentimes blurring the line where one ends and the other starts. Their music borrows elements and aesthetics from various musical genres and styles including jazz, avant-garde, rock and a variety of folkloric musical traditions. The players are JP Schlegelmich on piano, Pascal Niggenkemper on bass and Carlo Costa on drums. All three musicians contribute compositions to the band’s repertoire.
Bios
JP Schlegelmilch is a Brooklyn-based pianist, accordionist and composer. Current projects include the experimental instrumental rock group NOOK; the jazz quartet Old Time Musketry, and the power-organ-trio Put a Motor in Yourself. JP also frequently plays with rock groups and the improvisational theatre group FACE.
In each of these projects and in the process of composition, JP seeks to synthesize his diverse musical interests, to create a personal and non-genre-specific music. He strives to continually enrich his musical language through studying various musical traditions including jazz, free improvisation, classical, and folk music from around the world.
www.myspace.com/jpschlegelmusic
Born in 1978, the German-French bassist Pascal Niggenkemper played from early age on the violin and the piano. At the age of 17, he experienced the impact of improvised music and started to play the double bass. Pascal co-lead the audio visual dance project Turbo Pascale. Elements of dance music are blended together with aspects of free improvised music and folk music. Two VJ’s who interact with the gesture of the music and project their visual expression on the screen are part of this group. This formation toured Germany, Kazakhstan, Czech Republic, Slovenia, and France. In 2005 Pascal Niggenkemper was granted with the DAAD Award to study in New York City. It is in NY that Pascal met Robin Verheyen and Tyshawn Sorey and formed the Pascal Niggenkemper Trio. They recorded the CD “pasàpas” (Konnex) and toured twice in Europe (Belgium, Germany, Switzerland, France and Austria) and played at different Festivals. Their performances were recorded for the WDR and the BR Radio. This band will be on tour in March 2010 to present their new CD. With guitar player Scott Dubois and drummer Jeff Davis Pascal formed his new band Pascal’s Newfield, that explores an area where post-modern jazz aesthetic, rock music and contemporary classic music fuse together. This ensemble will be on tour in December 2009 in Europe.
www.pascalniggenkemper.com
www.myspace.com/pascalniggenkemper
Carlo Costa is a drummer and composer from Rome, Italy. Since moving to New York about four years ago Carlo has been active in the local music scene performing with many musicians in a wide variety of genres ranging from country to free improvisation. In the past few years he has performed in Austria, Italy, Norway, Macedonia and the US with various groups including the Spaennkraft trio, the Felician Honsig-Erlenburg Trio and Quartet, and the Georgi Sareski band. Current projects include Hunter Gatherer, Land of Leland, Silent Flux, Oh Liza Jane, and Dive Bar Dukes.
www.carlocostamusic.com
www.myspace.com/carlocosta
Consisting of Stephen Rush (Keyboards, Toys, Euphonium & more), Tom Abbs (Bass, Tuba & Didjeridoo) and Geoff Mann (Drums, Cornet, Mandolin & Vibes), Yuganaut is a collective of improvising virtuosos. Playing pre-written and structured compositions, they explore sonic spaces by listening deeply to each others articulation and interpretation of the score. The surprising dialogue that results from this process is like watching an extremely well-honed basketball team pass the ball. Well-oiled, communicating, intuitive, and almost ESP-like in it’s performance, the group is comfortable in many styles/genres, so the music flows from funk to swing, open jazz, to avante-classical aesthetics. With training in diverse musics such as strict classical Western Music, jazz, rock, South Indian and electronica, Yuganaut pushes the notion of eclecticism swiftly out the window and proclaims loudly that the world is a lace where all musics can find a happy home, together.
Share – free audio & video jam
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
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
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
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
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 will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free open audio & video jam
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
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – all night free open audio & video jam – featured guest Carver Audin
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 -
Carver Audain (b 1981) is a New York-based sound artist who has been creating music since 2001. Materially, he produces works using guitar, electronics, field recordings, organ, and other assorted sources. Strategically, he uses improvisational tactics to integrate a variety of pre-recorded and pre-arranged material with his live playing through the use of controlled feedback and situation-specific spontaneous composition. Sonically, he produces an array of textured sound fields with slow-shifting harmonies that both merge with and transform their physical surroundings.
http://www.share.dj/share/event_info.php?eventID=640
—————————————————————————
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Littoral Series: Laird Hunt + Prehistoric Blackout
ISSUE’s Littoral Series began in 2006. It is a monthly event curated by Tony Antoniadis, pairing writers with musicians, sound artists, and video artists. Named after IPR’s former location on the edge of the Gowanus Canal, Littoral is an attempt to cross-pollinate poetry and fiction with image and sound, and to bring New York City’s innovative (but often separated) creative communities together.
On January 21, ISSUE is proud to feature Laird Hunt, author of a book of short stories, mock parables and histories, The Paris Stories (2000), from Smokeproof Press, and four novels, The Impossibly (2001), Indiana, Indiana (2003), The Exquisite (2006) and Ray of the Star (2009) all from Coffee House Press. His writings, reviews and translations have appeared in the United States and abroad in, among other places, McSweeney’s, Ploughshares, Bomb, Bookforum, Grand Street, The Believer, Fence, Conjunctions, Brick, Mentor, Inculte, and Zoum Zoum. Currently on faculty in the University of Denver’s Creative Writing Program, he has also taught at Naropa University and Bard College.
Musician TBD.
Prehistoric Blackout
Prehistoric Blackout is the solo project of Taylor Richardson (Infinity WIndow, Purple Haze,Human Teenager) which channels the more damaged moves associated with lost psychedelic and industrial private press records released throughout the 70′s and 80′s. The sounds emitted reveal a communion with the outsider spirit by re-contextualizing their meaning through various processes utilizing analog systems,so as to disrupt connotations or expand awareness of secret vocabularies. The outcome is a personal reflection or anonymous environment suitable for popular consumption, despite said populous’ imaginary or shadow status. Another attempt at cracking the code.
ISSUE’s Littoral Series is supported, in part, by The Casement Fund and by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.
Unsound Festival New York: David Daniell + Xavier van Wersch + Nadja
Unsound Festival New York presents Silence and Noise, Pt. 2: an evening of performances from David Daniell, Xavier van Wersch, and Nadja.
David Daniell is a composer and performer working in the intersections of acoustic and electronic instrumentation and of composition and improvisation. His music focuses on two primary areas of concern: perception and listening at the margins of audibility, through repetition, drone, and a gradual and lateral development of timbre; and the social narrative of musical forms, both in terms of improvisation and intuitive composition, as well as through the recontextualization and incorporation of sounds from and inspired by his rural heritage.
As a performer, Daniell utilizes acoustic, electric, and pedal steel guitar along with a variety of electronics. He has worked for over a decade as a member of the improvising blues-drone trio San Agustin, along with many other collaborators through the years, including Tim Barnes, Ateleia, Jeph Jerman, Thurston Moore, Sean Meehan, Loren Connors, Tomas Korber, Greg Davis, as lead guitarist in Jonathan Kane’s live band, and as concertmaster for Rhys Chatham’s 100- and 200-guitar performances. Current active collaborations include a duo with guitarist Douglas McCombs (of Brokeback, Tortoise, Eleventh Dream Day) and a trio with Christian Fennesz and Tony Buck (of The Necks).
Daniell’s compositional work utilizes displaced and abstracted field recordings juxtaposed with manipulated acoustic instruments and sounds of purely electronic origin, with great attention to sonic detail and aural depth-of-field, as captured in two solo albums, 2002′s sem (Antiopic) and 2006’s Coastal (Xeric/Table of the Elements). Recent compositions have incorporated a variety of instruments in larger ensemble settings. One such work, Sunfish (for twelve to fifteen musicians), was performed at the Fugue State Festival in Chicago (June 2007) and the X Avant Festival in Toronto (September 2007).
Recent releases include two live solo recordings (Los Jacintos, a recording of a live electric guitar performance in Madrid in February 2008, and The Hideout, of an acoustic guitar and electronics performance in Chicago) released as part of Antiopic’s Live Series, as well as a solo LP in Table of the Elements’ 15th anniversary Guitar Series Volume 4. Sycamore, the debut album from Daniell’s duo with Douglas McCombs, was released on the Chicago label Thrill Jockey in August 2009.
Daniell has worked extensively with the record label Table of the Elements (including engineering John Fahey’s 1998 Table of the Elements release Georgia Stomps, Atlanta Struts and Other Contemporary Dance Favorites), and as producer and artistic director of his own record label Antiopic since 2002. Antiopic’s catalog includes Alvin Lucier, Joyce Hinterding, Tetuzi Akiyama, Oren Ambarchi, Ultra-Red, Lee Ranaldo, Jim O’Rourke, Eddie Prévost and Alan Licht among others, as well as 2003′s critically-acclaimed Allegorical Power series of politically-charged web-only releases. Daniell has recently started working with video, including a collaboration with artist Robert Longo as producer of the DVD of Longo’s 1979 Pictures For Music.
Xavier van Wersch
The work of Xavier van Wersch (NL ,1976) reflects an organical approach to the field of electronic music. In his compositions, performances and installations there is always an element of controlled chaos. He explores the relation between man and machine by conceiving the two of them together as a hybrid system in which erratic behaviour is the principal condition for interaction. Another common theme in his work is recycling. Like a modern Frankenstein, he constructs his machinery from parts of deceased equipment and disfunctional devices.
Van Wersch was raised with classical piano and violin training, which set the foundations for his experiments with composition and electronic music as a young teenager. At first spurning the conservative music academy for the freedom of visual arts, Van Wersch was eventually drawn back to study Sonology at Royal Conservatory in The Hague after discovering abstract electronic music. Van Wersch’s final exam composition entitled Odysseia was included on the compilation His Master’s Noise – The Institute Of Sonology, released on Dutch experimental label BVHaast Records in 2001. The compilation gathered pieces from artists who had worked or studied at the Institute of Sonology, including Iannis Xenakis, Edgard Varése and György Ligeti.
As well as performing under his own name, Van Wersch produces tracks under the moniker xaf. The first xaf releases appeared in 1999 on Dutch Breakbeat label Fluff Girl Wax, several more appeared on the more experimental Esc.Rec label over the next few years. As a sound designer he has worked with among others Nederlands Dans Theater, Icelandic National Ballet, Maska Ljubljana, the Poni Collective and Ivana Müller. He is the director and founder of re.Bug, an organisation that supports and develops projects in which art, technology and ecology meet, with support from cultural institutions in Holland.
Van Wersch has presented work at a.o. TodaysArt Festival (The Hague), Club Transmediale (Berlin), LOW festival (Budapest), Sonic Acts (Amsterdam), State X New Forms (The Hague), Dis-Patch (Belgrade), Lab030 (Augsburg), NEXT festival (Bratislava), KIMAF (Kiev), Festival Pomladi (Ljubljana), Unsound (Krakow), Ultrahang Fest (Budapest), B-link (Belgrade), Garage-g (Stralsund), Les Chants Mécaniques (Lille), Touch (Amsterdam), and in many more festivals and venues throughout the world.
Nadja is a duo of Aidan Baker & Leah Buckareff alternately based in
Berlin, Germany and Toronto, Canada. Nadja originally began in 2003 as
a solo project for Baker to explore the heavier/noisier side of his
experimental/ambient guitar-based music. In 2005 Buckareff joined to
make the project more than just a studio endeavour and allow Nadja to
perform live. Together, they create music that has been variously
described as drone metal, ambient doom, and shoegazer, combining the
atmospheric and textural elements of electronic and experimental music
with metal and post-rock structures.
Nadja
Nadja has toured extensively in North America and Europe and has released numerous albums with such labels as Alien8 Recordings, Important Records, Beta-lactam Ring Records, Conspiracy Records, Hydrahead Records, and Crucial Blast. They have also collaborated with a number of artists, including Black Boned Angel, Fear Falls Burning, A Storm of Light, and Pyramids.
As individuals, Baker is also active as a solo musician and a writer. Buckareff isalso a bookbinder, operating under the name Coldsnap Bindery.
Links:
http://www.nadjaluv.ca
http://www.myspace.com/nadjaluv
http://www.aidanbaker.org
http://www.myspace.com/aidanbakermusic
http://www.coldsnapbindery.com
http://www.alien8recordings.com/artists/nadja
Unsound Festival New York, Co-Presented by:
Unsound, Fundacja Tone, the Polish Cultural Institute in New York and the Goethe-Institut New York.
In Co-operation With:
Trust for Mutual Understanding, the Romanian Cultural Institute New York, Austrian Cultural Forum New York, Consulate General of Finland New York, Pro Helvetia, Fonds Pop Over Zee
Blurb:
“Since 2003, Unsound Festival, Poland’s most adventurous music festival, has brought a bold and uniquely modern program of music to Kraków, a city previously unknown for this kind of experimentation. Now, with seven festivals in their native city under their belt (and outpost events further east in cities like Minsk), Unsound is coming west to New York for their first ever North American edition. Unsound Festival New York’s mission is to forge new links between music genres, between generations and even between artistic practices.
The driving force in the assembling of the New York program has been Unsound Festival’s commitment to forms of music and sound art that involve experimentation and risk. Unsound Festival has made a worldwide reputation by breaking new ground while dealing with vibrant electronic, experimental, independent, post-classical and club music scenes from around the world.
Taking place over the course of nine days starting on Thursday February 4th 2010, Unsound Festival New York will boast an ambitious lineup of artists from both Europe and the US.
One of the cornerstones of the festival is Eastern Promises, a substantial undertaking in the New York program that aims to expose a wide range of musicians from east of Berlin that have long been ignored in North America. Never before has this broad a range of producers and musicians from Eastern Europe been assembled to perform alongside their US and West European counterparts. Confirmed for the festival are techno artists Jacek Sienkiewicz (Poland), Petre Inspirescu (Romania) and Marcin Czubala (Poland), minimalist composer Jacaszek (Poland), experimentalist Zavoloka (Ukraine), bass mutator TRG (Romania), new music ensemble Kwartludium (Poland), dub electronic artist Pavel Ambiont (Belarus), drone specialist Zenial (Poland) and a special exhibition of historical Polish Soundcards.
Unsound Festival New York will also feature a special series of events dedicated to and inspired by Andy Warhol. The Warhol Program will feature the worldwide debut of Carl Craig (USA) and nsi (Germany) performing live electronic soundtracks to vintage Warhol films, as well as the North American debut of Groupshow (Jan Jelinek, Andrew Pekler and Hanno Leichtmann) (Germany) performing an eight-hour long live improvised soundtrack to Andy Warhol’s “Empire.” Additionally video artist Lillevan (Germany) will be creating a special series of Warhol inspired screen tests during the festival.
Additionally, Unsound Festival New York will feature the US live debut of the Moritz Von Oswald Trio (Germany), the US debut of Vladislav Delay (Finland) & Lillevan’s audio / video performance, a special program of the music of Henryk Gorecki, classical interpretations of the music of infamous US punk noise label SST, two nights of noise, drone and experimental work, a Brooklyn electronic music showcase, two nights at the Bunker featuring the very best in contemporary Techno / House and a special Bass Mutations showcase dedicated to dubstep and beyond. In addition, there will be a unique festival feature called Kids Patch (a special kids only workshop in electronic music), thought-provoking panel discussions and unique film screenings.”
viBe SongMakers + Christy and Emily + DJ Marcelle + Pterodactyl
A Musical Education in Brooklyn
Dreamy folk duo Christy + Emily (guitarist Christy Edwards and pianist Emily Manzo) bring their signature guazy sound to ISSUE with a bunch of friends: the Brooklyn-based viBe SongMakers (whom Chirsty + Emily mentor), DJ Marcelle/Another Nice Mess turntable solo and Brooklyn indie noise rockers Pterodactyl.
The viBe SongMakers is an advanced music/song creation program that accepts 4-6 underserved Brooklyn teenagers every year and gives them the tools they need to be tomorrow’s artistic and cultural leaders and revolutionaries. Writing, recording, and performing orginal songs with professional musicians helps empower these girls to communicate through music. Instruction in piano, songwriting, drum machine, music theory, and digital production helps the girls make the music; an introduction to business and entrepreneurial skills helps the girls market and distribute their CDs; then, the girls learn basic video and editing skills and create their own music videos.
Pterodactyl–”No Sugar” Music Video from Pterodactyl on Vimeo.
The New Roaratoria: David Sutton w/ 2673 + Hikikomori
The New Roaratoria: David Sutton
ISSUE Project Room is proud to announce this new program which provides emerging composers with technical training in the creation of new and site-specific work on our signature 15-channel speaker system designed by Stephan Moore. The system generates immersive sonic environments, enabling electronic sounds to take on the characteristic intimacy of acoustic instruments, and liberating location as a musical dimension. In 2010, this new series will feature: David Sutton (Jan 20), Greg Kelley (Feb 26), Grouper (March 26) and Carlos Giffoni (April 10).
David Sutton hails from the outer desperation and dislocation of suburban New Jersey. A locale ridden with the same undeniable bleakness that clearly permeates, and stakes its claim as the foundational element of his highly ephemeral works. Sutton engages with these banal landscapes to hybridize a sound that seemingly displays a miasma of kaleidoscopic doom and one of purgatorial melancholia, both of which lurk behind every sprawling strip mall and disgruntled commuter. It is at the mercy of these suffocating landscapes of discontent and inward contemplation that he intertwines the beauty of solitary longing into a transcendental haze of “loner drone”. Creaking floorboards on Sunday evening, discarded memorandum, a vacancy at the highway motel, blood on a kitchen knife, and robbed innocence all conjure up and illuminate the domestic interiority that accompany such alienating surroundings. We begin to see through the laborious weaving of these self reflective elements, looking on as an incontestable purity begins to arise from the descending fog. In the very space of these actions Sutton takes note and effortlessly capitalizes. The results yield nothing short of a mind melting stew, one where the mundane deposits of everyday life slowly morph into a phosphorescent glow of sonic reverberations. Once the smoke clears, we are left chilled to the bone by the very haunting nature of Sutton’s enigmatic compositions.
David also moonlights as one half of the mumble-rock duo Car Commercials, one half of the hyper-consumeristic/Confucius inspired Gold,Milk and Honey, and sometimes puts out things under the moniker of Current Amnesia.
This program supported, in part, through generous funding from the Greenwall Foundation.
2673
Active since the end of the last century, 2673 has considered electronic sound utilizing analog synthesizer, various boutique electronics, and consumer guitar effects to create blissfully oppressive sound worlds that range from barely there zero ambiance to solid, powerful drones to speaker shredding wall of noise static. Dwelling on sounds that are both dissociative and tense, 2673 focuses the unhurried textural isolation and overflow of laminous electronics
Hikikomori
Hikikomori is an electro-acoustic duo from an apartment behind a pharmacy in Highland Park, New Jersey based on the tenets of anxiety, alienation, & the comforts of domestic bliss. Their music is hermetic and meditative, comprised of diaphanous chimes and cymbals that excite and dissolve into a distant horizon point. Halfzware shag tobacco cigarettes, organic brown rice, and the sound of “Seasons of Glass” slowly passing out from a window into the street below.
Concord Ballet Orchestra Players + FORMA + A.R. Plovnick
Concord Ballet Orchestra Players
Avant-kraut-psych-improv collective from Somerville MA utilizing synths, guitars, keyboards, theremin, drums and more. Members of Most Bitter, Bobb Trimble’s Flying Spiders, Reports, The Lothars, The Shrinking Islands, Abunai!, and more.
Originally convened to perform a one-time live tribute to (German group) Faust — but then enjoyed playing together so much that they decided to carry on together with original trout-stream-of-consciousness performances.
Members met while playing in other bands who shared the same rehearsal space — a space that was once occupied by a “Concord School of Ballet”. A cracked, hand-painted sign for the school still hangs on the wall there.
Sometimes informally referred to as “C.B.O.P.” (pronounced SEE-bop).
http://www.facebook.com/ConcordBalletOrchestraPlayers
FORMA
FORMA began a year ago as a new project of recording artist Mark Dwinell (Bright, Nonloc) and pianist Sophie Lam. Starting with electric combo organ, various analog synths, reverb chamber and a steel string-driven drone instrument designed and built by Mark, their improvisations explore a sonic territory that has much in common with the melodic beauty of early Kraftwerk, Cluster and Harmonia combined with the rhythmic rigor of the American minimalists Glass, Riley and Reich. George Bennett joined in on drums over the summer and along with Dwinell and Lam’s spontaneous compositions created a sound at once hypnotic, expansive and urgent.
http://www.myspace.com/formasounds
A.R. Plovnick
” A.R. is Andy from Astronaut and Healing Feeling. Astronaut was his project with Daniel Lopatin (now of Oneohtrix Point Never) and Lee Tindall. With A.R. let loose on his lonesome, expect some kosmische synthworkouts, unholy space echoes, and brain-tingling video projections.
Apothecary Hymns + Sacred Harp + Prince Rama
Apothecary Hymns
Alternately thought of as “drug songs” and “medicine music”, the shambolic, shamanistic realm of Apothecary Hymns came into being at the end of 2003, when ex-The Court & Spark bassist. Alex Stimmel taught himself how to play the drums so he could capture some of his nascent songs in a one-man band format. The resulting 45, “Half of What is Seen” b/w “The Marigold,” drew praise not only from the underground psych community (such as Byron Coley, Gerald Van Waes, and Aquarius Records), but also more mainstream publications like Goldmine, which featured the limited-edition, hand-numbered picture sleeve in its 2004 indie special.
The single caught the attention of Chicago’s Locust Music, who signed Stimmel and the AH moniker upon first hearing. The debut album, Trowel & Era was released in April, 2005. But, after playing a number of ad-hoc release shows, Stimmel dove full-time into his day job – working with public school students with emotional disturbance and autism in Bushwick, Brooklyn. Content to continue to develop his songs over the next two years, Stimmel stayed away from recording in favor of teaching, playing full-band shows in NYC and going on the road as time allowed, playing solo electric sets, looping & droning his Strat through open-tuned folk-cum-fuzz.
Then, in June of 2007, after years of shifting personnel, a new Apothecary Hymns live band solidified around bassist Rob Fellman (the only original band member to remain) and drummer Aaron Nixon. Abandoning the one-man format in favor of full-tilt power trio energy,
Apothecary Hymns began woodshedding new tunes, started taking the band on the road more, and blissfully moved into a heavy rural psych phase
Sacred Harp
Sacred Harp draws influences from Old Time to psychedelia, beveled edges and appalachia, Fuckle, dirty fingernails, killer jowls, rappahannock river, backyard coal train, depersonalization/derealization, family, friends, Marye’s Heights talking box (R.I.P.), The Caroline Street Jug Nugglers, steel strings, nylon strings, Fog Haus.
Prince Rama
Spawned from the vernal heat of the Florida swamps amidst swirling patterns of pine orchards and pre-Columbian artifacts, Prince Rama of Ayodhya was whispered into the ears of Taraka Larson, Nimai Larson, and Michael Collins in the summer of 2007 by the clanging of prayer bells and goat-skin drums. They left the Hare Krishna farm where they
were staying and formed a creative nucleus in Boston, MA where they gained a cult following in the underground art and psychedelic folk and noise circles who were mesmerized by their captivating blend of campfire surrealism and transcendental anthems of every cosmic order.
Taraka studied experimental film in art school, and her songwriting reflects an almost cinematic quality, taking listeners on labyrinthine sonic safaris with sparkling lyrical imagery intensified by Nimai’s tribal drumming and elevated to the astral plane by Michael’s sci-fi synth lines; the result is a sonic experience that takes the listener
through celestial residue and archaeological constellations of a timeless civilization pining for self realization, while conjuring lingering anthemic melodies that haunt the fringes of the collective psyche. At times, one can hear echoes of eclectic influences
stretching from weird folk and hallucinatory operas set to thunder drums to a plethora of ethnographic recordings of Native American and Southeast Asian rituals; yet, the culminating holistic sound is one that is strikingly unique.
In a short time, the trio was picked up by the British-based psychedelic label, Cosmos Recordings. After sending them a handmade tape with a few dozen tracks recorded in forests and candle-lit bedrooms Cosmos released a collection of these lo-fi recordings as
“Threshold Dances” in August 2008 and flew them out to England to tour, play a radio session for the BBC, participate in the Stockton International Fringe Festival and Greenman Festival and record a second album, “Zetland”, which Prince Rama self-released in June 2009 to coincide with a series of extensive US tours.
In their young lifespan, Prince Rama has toured the UK and US several times over, traveling with Teeth Mountain and sharing stages with Caribou, Wooden Shjips, Magik Markers, Psychic Ills, Indian Jewelry, Chris Corsano, Pocahaunted, and Kurt Vile and playing festivals with Pentangle, Spiritualized, Iron and Wine, Clinic, Black Mountain and many others.
Their engaging and often unpredictable live shows reflect their eclectic pool of mysticism; amidst collective chants, werewolf summonings, and Sanskrit invocations, they have been known to distribute hand drums, conch shells, bells, gongs, and other various percussion to members of the audience to create the ultimate communal ritual experience.
They are currently working on their latest record, “Architecture of Utopia” which is a unique collaboration with the internationally acclaimed visionary artist, Paul Laffoley, that explores the act of mapping utopia through the means of a one-sided vinyl record that traces the journey from the far reaches of the cosmos to the center of the earth via the mandalic architecture of the record. They performed the project at the opening of Laffoley’s solo exhibition at the Kent Gallery in New York in January 2009, as well as at the Palais de Tokyo in Paris in late November, in conjunction with a European tour with Amen Dunes. In response to the project, the London Institute of Contemporary Art deemed Prince Rama “a group not of this planet”.
Trans-Historical-Post-Colonial Dinner Theatre-Burlesque
SPECIAL EVENT
MENU
Leon Johnson is a convergent media artist and educator, born and raised in Cape Town, South Africa. He is the proprietor of The Long Bell Press, and founding member of Creative Material Group. He performed ”Faust/Faustus: A Duet For Devils” in the UK, in the summer of 2000, with the film version being selected for the KunstFilmBienale, Cologne, Germany, and the Raindance Film Festival, London in 2003. He is the recipient of the Jackson Pollock/ Lee Krasner Foundation Grant and a Yaddo Fellowship, and the Ersted Award for innovative teaching. He assumes the Chair of Fine Arts position at CCS Detroit in 2010.
BLUE HAMMER: A Trans-Historical-Post-Colonial-Dinner-Theatre-Burlesque
Supported by a Maine Arts Commission Grant, the launch of Nomadic Convivial Operation #7! Creative Material Group intends this premier performance to seed the beginning of a long-term dinner theater, incubating and presenting new convergent-media performance works in collaboration designers, chefs, bakers and farmers.
This performance project unfolds in a late-night cable television studio, between two live broadcasts: a cooking show, HOT POT, and BLUE HAMMER, presented by a host who professes to have toured Africa during the Mau-Mau uprising in Kenya, and the Belgian occupation of the Congo. His name is Vin Pays and he believes there is a vivid connection between the Jacobean play he performed, The White Devil, and colonial Africa. A guest joins him, the former leading-lady of the African tour [and of Hammer Horror films] named Tabula Rasa, who appears only to disrupt and dispel, an angel of death whose memories of Africa are harder to maintain than Vin’s nostalgia.
A post-performance dinner will be served to the 50 members of the audience in custom produced porcelain bowls. In addition, throughout the run of the show, we will operate a graphic-arts production workshop in the gallery issuing press-releases, posters, pamphlets and contemporary propaganda. We feature 8-track video mixing, including GPS analysis, a prototype portable kitchen, and custom porcelain bowls.
Blue Hammer Company 2010:
Kristopher Logan
Odelle Bowman
Michael Chestnutt, SPOT Architecture
ZU bakery/Barak Olins
Megan O’Connell/The Dead Skin Press
John Schmor
Ksenya Samarskaya
Chris Archer Studio
Scott Fuller Studio
Cole Caswell
Jessica George
Justin Taylor
Iain Kerr
Luke Bertus/supaflu studio
Leander Johnson
Joey Bargsten
Raphael DiLuzio
Ten Apple Farm
–
Projects + Speculations
http://www.leonjohnson.org
Dinner Theater
http://thephoenix.com/Portland/Arts/81723-Conversation-piece/
http://www.leonjohnson.org/cmg.html
http://bluehammer.wordpress.com/
RISD Public Engagement Associate
http://www.risdpublicengagement.net/id15.html
Meg Baird + Chris Forsyth
“It’s enough to signal Forsyth’s arrival as an erudite and farsighted guitar stylist, mapping a path that’s hip and scholarly in equal measure.” – Daniel Spicer, The Wire Magazine
“A destructible charm teetering on violence and elegance” – Eric Weddle (Family Vineyard), Signal to Noise Magazine
“This is the best solo guitar record since Donald Miller’s A Little Treatise on Morals. Keep your eyes on this guy.” - David Keenan, The Wire Magazine
“Killer on every level.” - Foxy Digitalis
Necks (Jan 28)
The Necks (established 1987) are one of the great cult bands of Australia and the world. With next to no publicity, their fourteen albums have sold in their thousands. Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms. These three musicians are among the most respected and in-demand in Australia, working in every field from pop to avant-garde. Over 200 albums feature their presence individually or together, but the music of The Necks stands apart from everything else they have done. Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the thirteen albums by The Necks stand up to re-listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.
February 3rd through 21st, 2009 The Necks toured the US for the first time starting in Chicago, traveling as far south as Tennessee, into the North East onto the west coast with great success. Their performances were held in many different styles of high profile performance halls such as Institute of Contemporary Art/Boston, Princeton University, Detroit Museum of Contemporary Art, and California Institute of the Arts, along with the internationally recognized and respected The Big Ears Festival. Prior to this February 2009 US tour, The Necks had only performed in the US once before, at the Brooklyn Academy of Music in 2001.
. . . . . .
Unclassifiable, the Necks stand aside any other musical act Australia has gave birth to. Neither jazz nor rock, this deceptive piano trio has kept a single line of conduct throughout its career. They usually start playing a very basic melodic and rhythmic figure, and then keep going at it for an hour, gradually introducing microscopic changes and variations. Some critics have compared them to Krautrock groups like Can and Faust. Others find similarities in the works of minimalist composers like LaMonte Young, Tony Conrad, even Philip Glass. The Necks were formed in Sydney, Australia, back in 1987. The original lineup of pianist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck remained stable, even though they all lead busy and highly different careers. Abrahams is an acclaimed session keyboardist who has released a couple of solo piano albums, has written music for film and television, and toured the world in 1993 with the rock group Midnight Oil. Swanton is a much in-demand session jazz bassist and a regular of the jazz festival circuit. He has played in the Benders and the Catholics, and accompanied Stephen Cummings and Sting. Buck spends most of his time in avant-garde circles, with multiple collaborations and projects. His best known engagements have include the trio PERIL and the klezmer-punk group Kletka Red. The Necks‘ first album came out in 1989 on their own label, Fish of Milk.
– François Couture, All Music Guide
The Necks website: http://www.thenecks.com/
The Necks on YouTube: http://www.youtube.com/watch?v=P0uCGDCNKno
Chris Abrahams: http://www.thenecks.com/pages/bios.html#chris
Tony Buck: http://www.thenecks.com/pages/bios.html#tony
Lloyd Swanton: http://www.thenecks.com/pages/bios.html#lloyd
Necks (Jan 27)
The Necks (established 1987) are one of the great cult bands of Australia and the world. With next to no publicity, their fourteen albums have sold in their thousands. Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms. These three musicians are among the most respected and in-demand in Australia, working in every field from pop to avant-garde. Over 200 albums feature their presence individually or together, but the music of The Necks stands apart from everything else they have done. Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, the thirteen albums by The Necks stand up to re-listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.
February 3rd through 21st, 2009 The Necks toured the US for the first time starting in Chicago, traveling as far south as Tennessee, into the North East onto the west coast with great success. Their performances were held in many different styles of high profile performance halls such as Institute of Contemporary Art/Boston, Princeton University, Detroit Museum of Contemporary Art, and California Institute of the Arts, along with the internationally recognized and respected The Big Ears Festival. Prior to this February 2009 US tour, The Necks had only performed in the US once before, at the Brooklyn Academy of Music in 2001.
. . . . . .
Unclassifiable, the Necks stand aside any other musical act Australia has gave birth to. Neither jazz nor rock, this deceptive piano trio has kept a single line of conduct throughout its career. They usually start playing a very basic melodic and rhythmic figure, and then keep going at it for an hour, gradually introducing microscopic changes and variations. Some critics have compared them to Krautrock groups like Can and Faust. Others find similarities in the works of minimalist composers like LaMonte Young, Tony Conrad, even Philip Glass. The Necks were formed in Sydney, Australia, back in 1987. The original lineup of pianist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck remained stable, even though they all lead busy and highly different careers. Abrahams is an acclaimed session keyboardist who has released a couple of solo piano albums, has written music for film and television, and toured the world in 1993 with the rock group Midnight Oil. Swanton is a much in-demand session jazz bassist and a regular of the jazz festival circuit. He has played in the Benders and the Catholics, and accompanied Stephen Cummings and Sting. Buck spends most of his time in avant-garde circles, with multiple collaborations and projects. His best known engagements have include the trio PERIL and the klezmer-punk group Kletka Red. The Necks‘ first album came out in 1989 on their own label, Fish of Milk.
– François Couture, All Music Guide
The Necks website: http://www.thenecks.com/
The Necks on YouTube: http://www.youtube.com/watch?v=P0uCGDCNKno
Chris Abrahams: http://www.thenecks.com/pages/bios.html#chris
Tony Buck: http://www.thenecks.com/pages/bios.html#tony
Lloyd Swanton: http://www.thenecks.com/pages/bios.html#lloyd
Jason Lescalleet + Sean Meehan + Pauline Monin
Please note: Doors @ 8:30 show starts at 9
Jason Lescalleet + Sean Meehan
Sean Meehan became musically active in the late 80′s at the amica bunker series for improvised music which was then housed at the Anarchist Switchboard and later ABC No Rio in New York City. Meehan primarily plays the snare drum in a manner that eschews the instrument’s tradition.The New York Times has called him “the Frankie Lymon of the snare drum.” He will be returning to Issue Project Room February 20 to perform his drumkit duo with Matt Heyner.
Jason Lescalleet + Pauline Monin
Jason Lescalleet (Berwick, Maine) and Pauline Monin (Lyon, France) are exploring the relationships between the way that sound impacts space and how the body can interpret this for visual stimuli. Jason will be premiering two new compositions of electro-acoustic music this evening, one of which will be accompanied by Pauline Monin’s extended techniques in body movement.
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,...