New York City Electroacoustic Music Festival
The second New York City Electroacoustic Music Festival presents composers, performers, and media artists from the US and abroad in three days of experimental sound art and multimedia, March 25-28 at the CUNY Graduate Center, Galapagos Arts Space, and Issue Project Room.
NYCEMF will showcase over 120 new works and installations, representing the fascinating and wide range of artistic mischief that occurs when musicians play with machines.
The festival’s finale evening concert at Issue Project Room will feature a variety of solo and chamber works using electronics, instruments… and tap dancer.
For more information on NYCEMF, please go to http://www.nycemf.org/schedule/
Jeff Herriott, dissipation of a thought
Erik DeLuca, In
Paul Schuette, Everything Must Come From Something
Steven Snowden, Fathoms
Matt Malsky, Thirteen Ways of Listening to a Loudspeaker
Andrew Greenwald, Block.flt – (for flute and supercollider) (2009)
Paula Matthusen, rosenthaler
James Borchers and John Hulsey, 26 Years:1 Week:72 Hours
Jorge Variego, “Now that you are here”
R. Luke DuBois, Synaesthetic Object
Andrew Nemr and Sean Hagerty, Chasing the Train
MATA Interval 3.2: poweRed Line
MATA Interval is a bi-monthly concert series dedicated to small-scale performances by emerging performers and composers based in New York City. Produced by MATA in conjunction with ISSUE Project Room, Interval’s programming is developed and produced by selected participants in MATA’s Curatorial Associate program. The intimate and community-based character of Interval encourages risk taking and allows MATA to showcase a wide array of aesthetics from the city’s vibrant musical culture.
On March 10, we invite you to join us for poweRed Line, curated by Baljinder Sekhon, II, featuring Red Line Saxophone Quartet as they premiere five new works for Saxophone Quartet and a variety of electronics.
poweRed Line will demonstrate an imaginative use of state-of-the-art technology, such as interactive multimedia software with live video and audio processing, while spotlighting the award-winning talent of the Red Line Saxophone Quartet. The use of electronics will vary from piece to piece and will allow the saxophone ensemble to play in microtonal temperaments, generating hundreds of incredibly-quiet synthesized tones at different frequencies which are slowly navigating a three-dimensional space, tracking pitches of the acoustic saxophone in order to control processsors and spatialization with sound, and to play back manipulated saxophone samples while the performers interact with the computer in conversation.
The quartet will perform new pieces by composers Andy Akiho, Matthew Barber, Andrew Colella, Robert Pierzak and Baljinder Sekhon to explore a wide spectrum of compositional techniques, electronic implementation, and emotion.
The Long and The Short of It: A Festival of Strings – Ne(x)tworks, Roger Kleier, Zeena Parkins & Jon Rose
A mini festival of strings in all sizes, shapes and uses curated by David Watson and Jon Rose.
Jon Rose – violin / Zeena Parkins – electric harp
Ne(x)tworks String Quartet. Cornelius Dufallo and Christopher Otto, violins; Kenji Bunch, viola; Yves Dharamraj, cello (excerpts from Morton Feldman’s String Quartet no. 2)
Roger Kleier
Jon Rose “Fences”
*********************
Zeena Parkins
Multi-instrumentalist, composer, improvisor, well-known as a pioneer of the electric harp she describes her harp as a “sound machine of limitless capacity”. Zeena’s unique vision is one that seeks to both meld and highlight opposites. She has broken musical boundaries to create a highly personal and stunning body of work. Or, to quote the WDC Period “Music that makes you hike up your britches and howl like a coyote”.
Ne(x)tworks String Quartet
Featuring Cornelius Dufallo and Christopher Otto, violins; Kenji Bunch, viola; Yves Dharamraj, cello, the string players of Ne(x)tworks come together to perform a 45 minute excerpt of Morton Feldman’s monumental String Quartet II, in preparation for their upcoming reading of the entire work on April 4 at ISSUE Project Room’s new space at 110 Livingston.
Jon Rose
Those involved in new and experimental music often come to the metaphor of fences and borders in describing their work. Violinist Jon Rose has grappled with these ideas conceptually and literally. His project The Great Fences uses the 3,500 Dingo Fence that stretches across Australia and turns it into music. In 2009 The Kronos String Quartet commissioned Rose for their own fence piece, based on the standard #5 wire outback fence.
It has been 10 years since pioneering violinist, improviser, composer and instrument building maverick Rose played in New York. Apart from the subtleties of barbed wire, there will be a celebration of many string types and lengths – from violin, to tenor violin, to cello, to double bass, to electric guitar, to koto – with some of the finest players around New York. www.jonroseweb.com
Roger Kleier
Roger Kleier is a composer, guitarist, and improviser whose compositional work involves the development of a broader vocabulary for the electric guitar through the use of extended techniques and digital sound manipulation. His three solo CDs are “KlangenBang”, released on the Rift label, “Deep Night, Deep Autumn” released by the Starkland label, and “The Night Has Many Hours” on the Innova label. He has formed a quartet called “El Pocho Loco” dedicated to guitar instrumentals that features keyboardist Annie Gosfield, bassist Trevor Dunn, and drummer Ches Smith.
Website: www.rogerkleier.com
is a composer, guitarist, and improviser whose compositional work involves the development of a broader vocabulary for the electric guitar through the use of extended techniques and digital sound manipulation. His three solo CDs are “KlangenBang”, released on the Rift label, “Deep Night, Deep Autumn” released by the Starkland label, and “The Night Has Many Hours” on the Innova label. He has formed a quartet called “El Pocho Loco” dedicated to guitar instrumentals that features keyboardist Annie Gosfield, bassist Trevor Dunn, and drummer Ches Smith.
Website: www.rogerkleier.com
Jeremiah Cymerman & Toby Driver
(doors at 9)
Jeremiah Cymerman Solo + works for small ensemble
Jeremiah Cymerman (clarinet, electronics) Toby Driver (guitar) Christopher Hoffman (cello) Harris Eisenstadt (percussion) + special guest
Jeremiah Cymerman is a composer and clarinetist based in New York City since 2002. He has been fortunate to present his work in many of the city’s most respected venues for experimental performance including Roulette, Issue Project Room, the Stone & Anthology Film Archives. Described by Time Out New York as “one of Downtown’s most resourceful and inventive composer-performers” Cymerman has worked with a broad range of contemporary artists including Jandek, Otomo Yoshihide, John Zorn, Nate Wooley, Evan Parker, Matthew Welch, Jessica Pavone, Anthony Coleman, Toby Driver, Peter Evans, Mary Halvorson and many others. His recorded output has been documented on the Tzadik, Porter and Solponticello record labels.
10:00 Toby Driver presents Tartar lamb II
Toby Driver (bass guitar and vocals) Terran Olson (alto sax) Jeremiah Cymerman (clarinet) Dan Means (alto sax) Tim Byrnes (trumpet & french horn) Mia Matsumiya (violin)
The work of Toby Driver explores an enormous spectrum of styles, including rock, metal, electronica, soundtrack, weird pop, jazz, ambient, funk, folk, new age, modern classical, noise, and experimental. As mastermind of seminal bands Kayo Dot and maudlin of the Well his primary interest in music has always been escapism and the power of music to completely remove the mind and soul from the physical world. Dreams have forever played an integral role in his aesthetic, a fact which has led him to passionately explore that world scientifically and spiritually through literature and practice.
Alexander Schubert’s Laplace Tiger + Ignaz Schick with Maria Chavez, Chris Forsyth, Sean Meehan, Aaron Moore, Aki Onda & Nate Wooley
Zangi Music Special:
Ignaz Schick (Berlin) – turntables, objects in duo with
Maria Chavez – turntable
Chris Forsyth – guitars
Aaron Moore – pipes, cymbals, 4track
Aki Onda – cassettes, electronics
Nate Wooley – trumpet
Ignaz Schick – turntables
Berlin sound artist & turntablist Ignaz Schick, who devolped a unique turntable set-up called “Rotating Surfaces” which is based entirely on objects curates an exceptional event for Issue Project Room, a 90 minute mini-marathon concert. He will be performing short duo sets of each 10-15 minutes with an outstanding and supreme selection of New York City experimental sound performers from the younger generation. A continuous stream of music and a kind of miniature version and twin event to his triannual and legendary Erase & Reset festival which he has been organizing since 2003 in Berlin.
This is his first reappearance in NYC in amost 10 years since he last performed several nights with Berlin electro-acoustic allstartrio Perlonex in 2001. Within the last two years in his new projects has mainly focused on duo collaborations with artists from completely different geographical and stylistic backgrounds. Ignaz (Berlin) [turntablist, sound artist, curator] In his youth he studied the saxophone and performed in free jazz and avant rock bands. At the same time he was getting obsessed with multitrack tape machines, record players and effect boxes and he started experimenting with many different instruments and sound making devices. After college he briefly studied at the Academy of Fine Arts in Munich and worked for several years as an assistent for the contemporary composer Josef Anton Riedl.
Since the late 1995 he works and lives in Berlin where he became an active and integral force of the so-called “Berlin Nouvelle Vague” and the blossoming “real time music” scene. From the middle of the nineties onwards his interest and activities almost completely shifted towards live-electronics and after testing various instrumentations (hard- & software samplers, signal processing, contact mics, field recordings, …) he developed his own and quite unique electro-acoustic set-up which he calls “rotating surfaces”. Various objects and materials (from wood, metal, plastic, paper or violin bows and cymbals) are played directly on the rotating metal plate of the turntable and the vibrations are simply amplified with a small condensator microphone. With this set-up he covers many different styles of contemporary experimental music – ranging from extreme reductionism via ambient, industrial, musique concrete, electronica to harsh noise.
Besides his favorite setting – the direct duo-confrontation with the likes of Chris Abrahams (AUS), Andrea Belfi (I), Alexei Borisov (RUS), Sebastian Buczek (PL), Phil Durrant (GB), Gunnar Geisse (D), GX Jupitter-Larsen/The Haters (USA), Mat Pogo (IT), Sven Ake Johansson (S/D), Andrea Neumann (D), Dawid Szczesny (PL), Martin Tetreault (CAN), Marcel Türkowsky (D) or Sabine Vogel (D) – he is member and founder of many different ensembles like Perlonex, Snake Figures Arkestra, Phosphor, Tree People, Decollage, Berlin Sound Connective, N.I.E.,…
He has collaborated with numerous international artists (most notably Don Cherry & Charlemagne Palestine) and toured and performed clubs & festivals all over Eastern and Western Europe, Australia, Israel, Malaysia, New Zealand, Russia, Ukraine & the USA. He released many albums on labels like Zarek, Edition Zangi, edition x, Irrah, Potlatch, Bad Alchemy, Charhizma, Staalplaat, Nexsound, Non Visual Objects, Improvised Music From Japan, Absinth or Ambiances Magnetiques and he was part of radio/television broadcasts and productions on Arte, ORF-Kunstradio, ORF-Zeitton, BR2, DLR, DLF, WDR3, DRS2, SR, HR or Radio Copernicus (…)
Furthermore he has been curating festivals of experimental music from the early 90s onwards (FAM, Erase & Reset, Time Shifts & T.I.T.O., …) and has been realizing with increasing intensiry sound installations and conceptual works since 2005.
http://www.myspace.com/ignazschick
Maria Chavez
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 the stage with Pauline Oliveros and Lydia Lunch during Vienna’s Phonofemme Festival 2009 and the NY Sound Festival at CAPC, Musée d’Art Contemporain de Bordeaux, France with Phil Niblock and Alan Licht.
http://www.myspace.com/mariachavez
Chris Forsyth
Guitarist Chris Forsyth is known for his hypnotic compositions and solo performances. He is also a founding member of post-everything gothic junk folk expressionists Peeesseye, and a member of the elusive experimental group Phantom Limb & Bison. Other notable collaborators have included guitarist Tetuzi Akiyama, trumpeter Nate Wooley, and choreographers Miguel Gutierrez and RoseAnne Spradlin. His most recent LP, Dreams, came out in late ’09 on on Evolving Ear. Other recent and upcoming releases include the Dirty Pool LP, with Farfisa organist Shawn Edward Hansen, on Ultramarine, and a long list of Peeesseye projects, including the Peeesseye + Talibam! collab record on CD (Invada) and 2XLP (Smeraldina-Rima), as well as their forthcoming studio LP Pestilence & Joy. He is the caretaker of Evolving Ear and lives in the City of Philadelpha, USA.
Aaron Moore
Aaron Moore is an improvisor and composer who plays music with instruments and devices. Drums, vocals, trumpet and tapes are his main instrumentation but anything that makes a sound that can be manipulated, rhythmically or melodically, is of equal importance to him. He is a founding member of the English group Volcano The Bear, now in their 15th year together. Other current musical projects include NYC based Amolvacy, Courtis/Moore, a duo with Alan Courtis and the Paris based Textile Orchestra. Aaron has appeared on over 25 albums, toured Europe and the USA on many occasions and collaborated/performed with Jeremy Barnes, Tom Recchion, Boredoms, Thierry Muller, Steve Mackay, Paul Dunmall, Michael Snow & Mats Gustaffson. Born in Market Harborough, England he now resides in Brooklyn, New York.
http://www.myspace.com/aaronmooretheaccidental
Aki Onda
Aki Onda is an electronic musician, composer, and photographer. Onda was born in Japan and currently resides in New York. He is particularly known for his Cassette Memories project – works compiled from a “sound diary” of field-recordings collected by Onda over a span of two decades. Onda’s musical instrument of choice is the cassette Walkman. Not only does he capture field recordings with the Walkman, he also physically manipulates multiple Walkmans with electronics in his performances. In another of his projects, Cinemage, Onda produces slide projections of still photo images set to live guitar improvisation. Onda has collaborated with artists such as Michael Snow, Ken Jacobs, Alan Licht, Loren Connors, Oren Ambarchi, Noël Akchoté, Jac Berrocal, Linda Sharrock, and Shelley Hirsch.
Nate Wooley
Nate Wooley (b. 1974) grew up in a Finnish-American fishing village in Oregon. He has spent the rest of his life trying musically to find a way back to the peace and quiet of that time by whole-heartedly embracing the space between complete absorption in sound and relative absence of the same. He began playing trumpet professionally at age 13 with his father. He currently resides in Jersey City, NJ and performs solo trumpet improvisations as well as collaborating with such diverse artists as Anthony Braxton, Paul Lytton, John Zorn, Fred Frith, Marilyn Crispell, Joe Morris, Steve Beresford, Wolf Eyes, Akron/Family, David Grubbs, C. Spencer Yeh, Daniel Levin, Stephen Gauci, Harris Eisenstadt, Taylor Ho Bynum and Peter Evans. He has been called an “iconoclast” by Time Out New York and “exquisitely hostile” by Touching Extremes.
Alexander Schubert’s
LAPLACE TIGER (2009) 12′
For drum kit, arm-sensors, live-electronics and live-video
The use of sensors at the forearm of the player allows the complete control of the live electronics and the structuring of the piece. Furthermore the player’s movement is the exclusive material for the live video. Based on these technical possibilities I tried to realize a piece that works like a huge convolution. The acoustically played material is temporarily shifted, processed and then interweaved through the motions of the performer. Apart from this sound synthesis is playable with the sensors to extend the musical language of the drum set. But the idea is that both the processed sounds and the additional elements are all controllable by and hence linked to the movement of the player – focusing the generation of sound as much on the physical presence of the player as possible. The pyramiding of sound shreds, live-electronics and the percussion itself aims at a highly condensed performance somewhere between contemporary classical music and electronica.
Alexander Schubert was born in 1979 in Bremen and studied computer science and biology in Leipzig focusing on neuroinformatics and cognitive science. During his studies he has worked as a musician and composer in a variety of different environments. In addition to this, Schubert worked for one year at the ZKM (Centre for Art and Media) in Karlsruhe at the Institute for Music and Acoustics. In 2007 he started a degree in multimedia composition at the Hamburg Academy for Music and Drama which he finished with a concert exam at the end of 2009 with a grade of 1.0.
Schubert’s research interest explores cross-genre interfaces between acoustic and electronic music. Musical pieces for audio tapes and the formal notation of compositions for live electronics belong just as much to his work as the design of software-setups and manipulation / design of instruments for an intuitive handling in an improvised context (see “Weapon of Choice”). A permanent focus of his work is the combination of notated and improvised music – both in aesthetics and structure. His technical training is the basis of a differentiated utilization and individual design of sound synthesis and controllers (e.g. in the installation “A Set of Dots“).
Apart from working as a composer and solo musician Schubert is also playing in the ensembles “Schubert-Kettlitz-Schwerdt,” “Trnn“ and “Ember”. Schubert has contributed to a variety of different projects as a musician, composer and programmer (e.g. for the Wiener Festwochen and Staatsoper Berlin).
Alexander Schubert curates the music festival contemporary electronic music in Leipzig and runs the publishing company “Ahornfelder-Verlag” for experimental audio and book releases. He’s an organizing member of the VAMH – a collective maintaining a broad network for contemporary music and organizing an annual two-week long festival.
In 2009 he was awarded with a Bourges residency prize and was a prize winner in the international competition JTTP and received an ICMC scholarship in Montreal. In 2010 he is a residency guest at the University of Birmingham and stipendiary at the Darmstädter Ferienkurse. In 2008 he was a guest artist at the ZKM in Karlsruhe.
Iktus + ThingNY
Based in New York City, the Iktus Percussion Quartet ( Roy Campbell, Chris Graham, Danielle Weinberg, and Justin Wolf) is an ambitious, dynamic young ensemble committed to expanding the boundaries of the percussion genre. Iktus is influenced by the vibrant forces of the contemporary music scene, including electroacoustic music and the synthesis of diverse musical traditions from around the globe. As a group with strong ties to the local artistic community, Iktus is dedicated to performing and commissioning new compositions from emerging artists. Iktus is the ensemble in residence at Purchase College Conservatory of Music and endorsed by Mike Balter Mallets, www.mikebalter.com, and Grover Pro Percussion, www.groverpro.com.
thingNY
The New Yorker’s Alex Ross listed thingNY as part of the city’s burgeoning avant-garde classical music scene “striking an attitude of resistance to mainstream culture.” Comprised of composer-performers from the NYC metro area, thingNY revels in creating and performing unrelenting experimental new works with passion and enthusiasm, oscillating between the “sweeter sounds” and the “punishingly loud.” Since its first performance in October 2006, thingNY has produced four seasons of experimental music including a radio play by Beckett, a collaboratively-created opera and over a hundred premieres.
thingNY creates, promotes and performs bold and imaginative experimental and improvisational concert art music of the highest caliber. It is a champion of the music of emerging and established composers, and collaborates interdisciplinarily with other artists in order to bring new music to new audiences.
Alejandro Acierto, clarinets
Gelsey Bell, soprano
Isabel Castellvi, cello
Paul Pinto, percussion
Erin Rogers, saxophone
Jeffrey Young, violin
+ guest pianist: Mitch Van Dusen
loadbang
New Music quartet loadbang (Alejandro Acierto, bass clarinet; Jeffrey Gavett, baritone; Andy Kozar, trumpet; Will Lang, trombone) make their Issue Project Room debut with a program dedicated to the unique and satisfying aroma of brand-new commissions (which is, by the way, pthalate-free.)
loadbang has been working with composers for nearly two years to build a repertoire for their unique instrumentation. This performance marks an important milestone in this collaborative work, being their first program of all premieres since 2008. Composer/performers, software programmers and teachers hailing from Brazil, Germany and the US have contributed pieces for this performance, which highlights the pluralistic attitude and broad sonic palette that are unique to loadbang.
Nick Didkovsky – Firm, soapy hothead
Reiko Fueting – Land of Silence
Jeffrey Gavett – Proverbial
Alexandre Lunsqui – Guttural
Scott Worthington – Infinitive
Guitarist, composer, band leader, and software programmer Nick Didkovsky’sFirm, soapy hothead is a collection of very short movements, computer-composed using the composer’s own programming language. The texts are drawn from wise sayings and inspirational aphorisms by Didkovsky and Charles O’Meara.
Reiko Fueting’s “Land of Silence” is a deconstruction of a German poem by Kathleen Furthmann, translated into English. The sonic characteristics of the poem rise up to overshadow literal semantic meaning, while still expressing the powerful affect of the original.
loadbang’s own Jeffrey Gavett has set several Proverbs of Hell from William Blake’s “The Marriage of Heaven and Hell” for his work “Proverbial.” Blake’s Hell is less traditional evil than an emotional force for change and creation. The translation of the texts is mirrored by gradual translations of the music through computer-tracked microtonal trajectories.
In his “Guttural”, Alexandre Lunsqui has spanned the instrumental/vocal divide of loadbang, setting purely sonic syllables for the baritone, and including many non-instrumental oral sounds for the instrumentalists. The surprising homogeneity of the ensemble is revealed in the pulsing rhythms of Guttural I, and the dark expanses of Guttural II.
Scott Worthington’s “Infinitive” takes for its text short excerpts from Hamlet’s soliloquies. The sparse and quiet sounds, slowly and almost imperceptibly shifting, reflect the solitude and rumination of Shakespeare’s eponymous hero.
Object Collection
program:
jamie jamie girl home telephone (Strawberryville)
table-top guitar quartet
I’m the loudest voice you’ve ever seen.
piano, percussion, guitar, objects
killing what’s already dead
table-top guitar quartet
Fabric for Jim
table-top guitar quintet
–pause–
Everybody’s Everyone (it’s time to love life again), for Aaron Schimberg
trio for objects
Travis Just comes 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 music has been presented around the world at Performance Space 122, PRELUDE ’09, The Stone, Ontological Theater, Experimental Intermedia, Chez Bushwick, NYC; Podewil, KuLe, Berlin; Huddersfield Contemporary Music Festival, UK; Art Basel Miami; SuperDeluxe, LoopLine, Tokyo; Art Space Tetra, Fukuoka; Galerie Mark Müller, Zürich; Kunst-Station Sankt Peter, Cologne; Kunstraum, Düsseldorf; among others. His scores have been published in the journals Antennae and Play. His opera Problem Radical(s) was commissioned by Performance Space 122 and premiered in 2009 and will be followed by another opera Innova in 2010. He has curated performance series at the Ontological Theater, The Stone, and an auto repair yard in Berlin. Travis is co-director of the New York-based performance group Object Collection.
Carrier Records Night: Hunter/Gatherer, Dan Peck Trio, Wet Ink Ensemble, Timetable Percussion and Glissando Bin Laden
Carrier Records (www.carrierrecords.com) is a New York City based recording label focused on releasing a wide range of styles and sound worlds, while maintaining the highest quality releases possible. This concert will feature Wet Ink Ensemble, Yarn/Wire, the Dan Peck Trio and GBL, mixing compositions by Matt Hough and Peter Ablinger with improvisations by GBL and Dan Peck Trio.
Performers:
Erin Lesser, flute
Alex Mincek, saxophone
Eric Wubbels, piano
Ian Antonio, percussion
Russell Greenberg, percussion
Dan Peck, tuba
Tom Blancarte, bass
Brian Osborn, drums
Jim Altieri, violin
Caroline Mallonee, violin
Alex Ness, electronics
Sam Pluta, electronics
Ensemble Dal Niente
ensemble dal niente performs a broad range of 20th- and 21st- century music. Through concerts, commissions and educational activities, we explore the wealth and diversity of music composed in the past century — from the European avant-garde, to American high modernism, to styles influenced by popular music and jazz.
dal niente was founded by composer Kirsten Broberg in 2004 at Northwestern University and has become one of the Midwest’s leading new music organizations. We believe that we live in a unique and inspiring musical era and we are committed to fostering a positive, vital creative interchange. We present the best of music being written today by established, emerging, and as-yet-undiscovered composers. We commission new works, give countless premieres, and champion great but neglected compositions — all in addition to regularly performing contemporary and 20th-century masterpieces to bring this truly exceptional music to enthusiastic audiences.
dal niente understands that an essential part of a vibrant and sustainable music community is the education of young composers and performers. Partnered with local high schools, we perform music of teenage composers and guide their musical development. We hold residencies and conduct masterclasses at colleges and universities across the Midwest.
The ensemble is comprised of young artists and international virtuosos who bring this challenging repertoire to life with enthusiasm and devotion. We include in our ranks faculty from DePaul University and the University of Chicago; conducting staff and members of the Civic Orchestra of Chicago; former participants in the Lucerne Festival and International Ensemble Moderne Academies; and past fellows of the Aspen Festival Contemporary Music Ensemble.
Share – free audio & video jam
What is share?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
9pm, 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 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 – featured guest Stephan Moore
What is share?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
9pm, free —
Tonight’s featured guests:
Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.
http://share.dj/share/event_info.php?eventID=652
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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
Artists in Residence: 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. Tonight’s performances will be led by John Natchez and Matt Lavelle.
John Natchez presents “Game Night”. A pair of improvisation games for the audience’s listening (and viewing) pleasure. The first game will be a game titled “Raw Shack”, written by Shawn Feeney. More info on that can be found here: http://www.shawnfeeney.com/rawshack.php.
The second, composed by John Natchez will be a card game, played with an original deck.
Matt Lavelle has always been interested in songs in their own right,.and what can be done when they are given to the right people.The folks in this collective really provide the opportunity to explore just that,.something that cant really be found in Matt’s usual jazz and free jazz based community.The sensitivity to what makes a great song a bright moment and the courage to reach for it regardless of genre is exactly what the group will attempt tonight. Laura Ortman will be featured primarily on vocals and also violin.
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.
Littoral: Mark Andersen + Travis Morrison
Mark Andersen
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.
Sissy Spacek + Gerritt Wittmer and Paul Knowles
Although the mysterious Sissy Spacek existed in various forms from summer 1999 to their last known gig in Los Angeles, they are practically unknown in—let alone out of—California. Their recorded output is incredibly rare and highly priced and interviews or articles in the music press virtually non-existent. Tie that in with extreme sensory assault at live shows, links to radical ideologies, and a general aura of confusion and you have the ultimate cult group.
This band had their beginnings at CalArts in summer 1999 with their first demo—four grindcore songs which are featured on the Troubleman Unlimited-issued “Gore Jet” 7″. While their recordings from this early period are still relatively controlled, their live shows reputedly featured massive volume to extreme levels, something that can somewhat be seen on the video of their infamous Il Corral gig in 2005.
While the project was largely active in the studio, there has never been a consistent live presence in their history. Sessions and live recordings recorded early in St. Louis, Missouri were used ad infinitum via recycling and collage to produce much of the early releases. Live appearances were so rare in fact that the bulk have been released on various small edition lathe cuts. In 2001 a self-titled CD was released, then “Scissors”, both by the band and in severely limited numbers. These disappeared at once and like anything else associated with the band are highly-priced on the collector’s market. Shortly afterwards “Remote Whale Control” was released in 2003 and also sold out almost instantaneously. Late 2003 Misanthropic Agenda reissued “Scissors” as a deluxe gatefold LP to make it available briefly, meanwhile praise from the late Koji Tano (MSBR) in the Japanese magazine Studio Voice declared the band a new genre and seems to have sparked interest in the group.
Renewed interest seems to stem from the recent Dual Plover issued “French Record” and the bands self-produced “California Ax” 4xCD, which stands as one of the ultimate documents of extreme music. This massive affair features pieces of collage, grindcore, intense feedback, electro-aucoustic music, all with a particular concrete feel … very weird and extreme, influenced by surrealism and avante-garde/radical texts as well as other musics. While various attempts have been made to reissue the first three albums, the band have yet to give permission. Meanwhile documents of live shows and studio recordings surface and disappear abruptly. The last documented sighting of the band, their entire, and very rare, appearance at the No Fun Fest in New York in 2007, was released as a split 7″ with the band The Gossip. Members have shown up all over the underground scene, but the band itself remains a complete and total mystery.
Gerritt Wittmer Paul Knowles
Multi-disciplinary artist Paul Knowles joined Gerritt Wittmer in 2009
to explore the fringes of man’s sciences through the medium of sound and performance art. Their work combines elements of movement, light and sound to produce an abstract narrative on subjects such as out-of-body experiences and alchemy.
Toshimaru Nakamura
Toshimaru Nakamura
Toshimaru Nakamura began his career playing rock guitar, but gradually explored other types of music, even abandoning guitar. He uses a mixing console as a live, interactive musical instrument, self-named “no-input mixing board.” The name describes the method of his music. “No” external sound source is connected to “inputs” of the “mixing board” On the “no-input mixing board” the input is connected to the output manipulating the resultant audio feedback.
Nakamura has recorded solo albums and has collaborated with Yoshihide Otomo, Keith Rowe, John Butcher and Nicholas Bussmann among others. He has also collaborated with Taku Sugimoto, Tetuzi Akiyama, daner Kim Ito, drummer Jason Kahn and Schiko M.
A Valentine for Jack Rose
A VALENTINE FOR JACK ROSE:Pelt’s drone-based improvisations have spanned electric and acoustic realms and incorporated cataclysmic roars and near-comatose whispers, folk music sensibilities and extended techniques. From 1995 to 2006, Jack Rose’s multi-instrumental talents were part of the band’s arsenal, and he continued to take part in Pelt conversations until his death. The Washington Post once described the band’s sound this way: “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.”
STEVE GUNN
Native Philadelphian, Steve Gunn has been a stalwart of the American experimental scene for close to a decade. For some years, Gunn has slowly cultivated his own solo work alongside his involvements with other projects and musicians. Over the course of numerous excellent releases, it became clear that Gunn was a real force. Once his solo music started being unearthed, there was no turning back. Steve will be performing a mix of improvisational based acoustic guitar works, and songs from his latest album ‘Boerum Palace’ on Three Lobed Recordings.
TOM CARTER
Born barely south of the Mason-Dixon line, and just in time for the Summer of Love, Tom Carter led a decidedly non-hippy existence being shuffled around various farm and mining towns in Maryland and Ohio by his newspaperman father, before finally making his way to Texas in 1985, just in time to watch all the good hardcore bands die. Already obsessed with American pre-punk and British post-punk, Carter dove into the lysergically spiked musical waters of Texas with both feet, augmenting rudimentary guitar skills with unreliable instruments, cranky analog electronics, and disintegrating practice amps. Over the ensuing decades, he managed to forge his evolving ideas of complete tonal immersion (and the quest for the perfect fuzz tone) into a layered sonic toolkit of rough beauty and unrefined proficiency.
MARCIA BASSETT
Bassett aka Zaimph, predominately uses guitar and vocals to create sounds that shimmer in a dark metallic buzz of sonic noise and drone, before a swift shift into blissed out ragas or crippling, brutal, white-hot noise. The organic improvised elements of Bassett’s work leave traces of eerie ghost voices and deep-space echoes that recall the electrified ritual of nomadic Japanese avant gardists Taj Mahal Travellers — but more immediately sound like a magnification of her contributions to Double Leopards and Hototogisu, generating towers of electricity that move from malevolent arcs of anti-gravity and spumes of throttled single notes into deep wormholes that do violence to feeble notions of time and space.
MICHAEL CHAPMAN
The guitar and voice of Michael Chapman first became known on the Cornish Folk Circuit in 1967. Playing a blend of atmospheric and autobiographical material he established a reputation for intensity and innovation. Signed to EMI’s Harvest label he recorded a quartet of classic albums. LPs like ‘Rainmaker’ and ‘Wrecked Again’ defined the melancholic observer role Michael was to make his own, mixing intricate guitar instrumentals with a full band sound. The influential album ‘Fully Qualified Survivor’, featuring the guitar of Mick Ronson and Rick (Steeleye Span) Kemp’s bass, was John Peel’s favourite album of 1970. ‘Survivor’ featured the Chapman ‘hit’, “Postcards of Scarborough”, a characteristically tenderly sour song recounting the feelings of nostalgia and regret.
GLENN JONES
From 1989 to 2009, Jones led Boston’s “avant -garage” instrumental rock band, Cul de Sac, whose musical adventures are documented on nine albums (a final studio album is planned), including a soundtrack for director Roger Corman, and collaborations with guitarist John Fahey and former Can vocalist Damo Suzuki.
In 2001, Glenn began playing acoustic guitar, his first instrument, which he’d barely touched in more than a decade, and Cul de Sac’s highly regarded meditation on mortality, Death of the Sun (2003), features as much acoustic guitar as electric. A 30-plus-year devotee of the so-called “Takoma school,” Jones has written extensively on the movement’s leading lights: John Fahey, with whom he was friends for nearly 25 years, and Robbie Basho, who befriended Jones during the five years before his untimely death in1986. As interest in the “old guard” — Fahey, Basho, Peter Lang, Peter Walker and others — has grown, a new fraternity of guitarists has risen, artists whose reasons for playing are exploration, communication and expression, rather than the display of flashy technique, or the creation of sonic wallpaper. Since 2004, Jones his issued three albums, This Is the Wind That Blows It Out, Against Which the Sea Continually Beats, and 2009’s Barbecue Bob in Fishtown (all for Strange Attractors Audio House), albums that wend their way through a varied stylistic terrain. “American Primitive,” blues, rustic Mississippi Delta slide and bastardized classical forms cozy up to one another, sometimes within the same tune.
George Lewis and Damon Holzborn duo + Anne La Berge
George E. Lewis serves as the Edwin H. Case Professor of American Music at Columbia University. The recipient of a MacArthur Fellowship in 2002, an Alpert Award in the Arts in 1999, and fellowships from the National Endowment for the Arts, Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s work as composer and improvisor includes electronic and computer music, computer-based installations, and notated and improvisative forms, and is documented on more than 130 recordings. His published articles on music, experimental video, visual art, and cultural studies have appeared in numerous scholarly journals and edited volumes, and his widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008), is a recipient of the American Book Award, the American Musicological Society’s Music in American Culture Award, and an Award for Excellence in Recorded Sound Research from the Association for Recorded Sound Collections.
Professor Lewis came to Columbia in 2004, having previously taught at the University of California, San Diego, Mills College, the School of the Art Institute of Chicago, and Simon Fraser University’s Contemporary Arts Summer Institute. He has served as music curator for the Kitchen in New York, and has collaborated in the “Interarts Inquiry” and “Integrative Studies Roundtable” at the Center for Black Music Research (Chicago).
Lewis has worked closely with film/video artists Stan Douglas and Don Ritter, as well as with contemporary musicians such as Anthony Braxton, Anthony Davis, Bertram Turetzky, Count Basie, David Behrman, David Murray, Derek Bailey, Douglas Ewart, Evan Parker, Fred Anderson, Frederic Rzewski, Gil Evans, Han Bennink, Irene Schweizer, J.D. Parran, James Newton, Joel Ryan, Joelle Leandre, John Zorn, Leroy Jenkins, Michel Portal, Misha Mengelberg, Miya Masaoka, Muhal Richard Abrams, Richard Teitelbaum, Roscoe Mitchell, Sam Rivers, Steve Lacy and Wadada Leo Smith. His oral history is archived in Yale University’s collection of “Major Figures in American Music.”
Damon Holzborn
Damon Holzborn is a Brooklyn based improviser and composer who works primarily with electronics. In performance, he uses custom software and hardware, traditional effects and interactive processes to manipulate sound sources such as guitar and field recordings.
Holzborn is a founding member of the Trummerflora collective and has presented his work in the US, Mexico, Europe, Japan and South Africa. He has performed as a solo artist and with several ensembles, including Donkey (more than a decade long collaboration with musician/filmmaker Hans Fjellestad), Quibble, and Titicacaman (with Nathan Hubbard and Marcelo Radulovich). He has performed and/or recorded with Muhal Richard Abrams, George Lewis, Miya Masaoka, Lê Quan Ninh, Eugene Chadbourne, Matt Ingalls, Andrea Polli, Mike Keneally, and the Nortec Collective. Holzborn also has often created music for dance, producing both custom compositions and improvised performances. Holzborn holds a BA in music from UCSD, where he studied composition and improvisation with George Lewis, and an MA in music composition from Columbia University, where he is currently pursuing his doctoral degree.
Anne La Berge
(b. Palo Alto, California, 1955)
Anne La Berge’s career as flutist/improviser/composer stretches across international and stylistic boundaries. Her most recent performances bring together the elements on which her international reputation is based: a ferocious and far-reaching virtuosity, a penchant for improvising delicately spun microtonal textures and melodies, and her wholly unique array of powerfully percussive flute effects, all combined with electronic processing. Many of her compositions involve her own participation, though she has produced works intended solely for other performers, usually involving guided improvisation.The last few years have seen a new addition to her work: enigmatic texts which slide seamlessly in and out of her compositions and improvisations.
In addition to creating her own work she regularly performs in other artists’ projects in a range of settings from modern chamber music to improvised electronic music.While pursuing PhD research at the University of California, San Diego in the mid-1980s, she formed a duo with flutist John Fonville, commissioning new works and exploring extended techniques on flute, particularly with regard to microtonal scales. She moved to Amsterdam in 1989, where she has lived ever since.
In 1999, together with Steve Heather and Cor Fuhler, she founded Kraakgeluiden, a improvisation series based in Amsterdam, exploring combinations of acoustic instruments, electronic instruments and computers, and using real-time interactive performance systems. Many of the musical collaborations that have resulted have taken on a life beyond the Kraakgeluiden series, which ceased in 2006. La Berge’s own music has evolved in parallel, and the flute has become only one element in a sound world that includes computer samples, the use of spoken text and electronic processing.
She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec. and Data labels which include recordings as a soloist and with Ensemble Modern, United Noise Toys, Fonville/La Berge duo, Rasp/Hasp, Bievre/La Berge duo, Apricot My Lady and the Corkestra. Her music is published by Frog Peak Music and by Donemus.
Anne La Berge has regularly received funding from the Dutch Funds for Composers, the Funds for the Amateur and Podium Arts and the Amsterdam Funds for the Arts. She is currently on the board of directors of the Women in Music, the Trio Scordatura, the Royal Improvisers Orchestra and the Bewegende Kamer (The moving room) Foundations and is the co-director, with her husband David Dramm, of the voLsap Foundation. In 2009 she was invited to be one of the three jury members at the Gaudeamus International Music Week in The Netherlands.
Craig Baldwin Presents MOCK UP ON MU
MOCK UP ON MU
A radical hybrid of sci-fi, spy, Western, and even horror genres, Craig Baldwin’s Mock Up On Mu cobbles together a feature-length “collage-narrative” based on (mostly) true stories of California’s post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles. Pulp-serial snippets, industrial-film imagery, and B- (and Z-) fiction clips are intercut with newly shot live-action material, powering a playful, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab), L.Ron Hubbard (sci-fi author turned cult-leader), and Marjorie Cameron (bohemian artist and “mother of the New Age movement”). Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.
Craig Baldwin
Craig Baldwin is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
After a 6-month world tour with his monumental 2-hour ‘collage narrative’ “Mock Up On Mu”, he has returned to studio work, and research on his next short feature “Invisible Insurrection”.
Craig Baldwin will be giving a short introduction to the film at 8:00 and follow with a Q&A. Screening will begin at 8:15.
Jonathan Kane’s February LIVE RECORDING PROJECT
From L. Adam Wills, Jon Crider, Peg Simone, Jonathan Kane & David Bicknell. Photo by Bridget Barrett 2009.
Acclaimed Ensemble to Record First Live Album
@ ISSUE Project Room
Proceeds of Both Performances to Benefit the Suzanne Fiol Memorial Fund
Table of the Elements/Radium Records and ISSUE Project Room present an unprecedented live recording project with Jonathan Kane’s February. The result of this two day affair will be a first-ever live LP by the band that takes minimalism and blues to the crossroads with “the unadulterated thunder of a parched desert.” (Time Out NY, 2009.) All proceeds from both concerts will benefit the Suzanne Fiol Memorial Fund, which supports the future of experimental arts in honor of ISSUE’s Founder and Artistic Director, Suzanne Fiol.
Before creating February in 2005, drummer Jonathan Kane was a co-founder of the No Wave legends, Swans and instigated their half time, slow rhythmic crawl. He played in LaMonte Young‘s Forever Bad Blues Band, and is the only drummer in Rhys Chatham‘s 100 electric guitar orchestra. He plays with a galaxy of downtown luminaries including Kropotkins, Transmission, and Elliott Sharp. As teenagers in the 70s, Jonathan and his brother Anthony took their freshly inked fake IDs to Chicago where they ended up opening for the likes of Muddy Waters, Willie Dixon and James Cotton.
Come dance, trance, and (most importantly) make some NOISE for the band that WFMU describes as “Avant Roadhouse, the music that makes me proud to be human”.
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic.” – New York Times
“Intensely propulsive motorik blues…its muscularity and greased relentlessness is never less than exhilarating.” – Uncut
http://www.youtube.com/watch?v=JFmsPcbb0xU&fmt=18
http://www.myspace.com/jonathankane
Littoral: Loren Connors and Alan Licht “Into the Night Sky” + Lee Ranaldo
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.
Jonathan Kane’s February LIVE RECORDING PROJECT
Acclaimed Ensemble to Record First Live Album
@ ISSUE Project Room
Proceeds of Both Performances to Benefit the Suzanne Fiol Memorial Fund
Table of the Elements/Radium Records and ISSUE Project Room present an unprecedented live recording project with Jonathan Kane’s February. The result of this two day affair will be a first-ever live LP by the band that takes minimalism and blues to the crossroads with “the unadulterated thunder of a parched desert.” (Time Out NY, 2009.) All proceeds from both concerts will benefit the Suzanne Fiol Memorial Fund, which supports the future of experimental arts in honor of ISSUE’s Founder and Artistic Director, Suzanne Fiol.
Before creating February in 2005, drummer Jonathan Kane was a co-founder of the No Wave legends, Swans and instigated their half time, slow rhythmic crawl. He played in LaMonte Young‘s Forever Bad Blues Band, and is the only drummer in Rhys Chatham‘s 100 electric guitar orchestra. He plays with a galaxy of downtown luminaries including Kropotkins, Transmission, and Elliott Sharp. As teenagers in the 70s, Jonathan and his brother Anthony took their freshly inked fake IDs to Chicago where they ended up opening for the likes of Muddy Waters, Willie Dixon and James Cotton.
Come dance, trance, and (most importantly) make some NOISE for the band that WFMU describes as “Avant Roadhouse, the music that makes me proud to be human”.
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic.” – New York Times
“Intensely propulsive motorik blues…its muscularity and greased relentlessness is never less than exhilarating.” – Uncut
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,...