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
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 – with featured guests Erin Sexton & Magali Babin
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guests are Erin Sexton & Magali Babin
Erin Sexton & Magali Babin are both based in Montreal, and being long-time friends of Share community. However, this is their duet debut in NYC at Share.nyc.
Erin Sexton grew up in British Columbia, studying media art at the Emily Carr University of Art + Design in Vancouver, exploring the performative aspects of video, sound, and electronics. Experimental and improvised, her work became increasingly about sound and its experience, prompting a move to Montreal in 2004. She began performing in concert and gallery spaces, releasing her first album “aircraft” that same year. Currently she lives in Montreal and spends her time recording gunshots, building instruments, making installations, performing solo, and improvising with other local and international sound artists/experimental musicians.
http://erinsexton.com
Magali Babin has been active on the expérimental and improvised music scenes since the 1980s. Her artistic work is based on playful amplification, sonic interaction and manipulation of everyday objects. One result of ongoing research is her first solo CD, Chemin de fer (No Type) — a work comissionned by Mario Gauthier for Radio-Canada.
Starting with the amplification of the objects, Magali Babin developed an interest for the recording of environmental sounds and “sounds we no longer hear, since they are such an integral part of our routine.” The artist explores and archives this singular and very personal instrumentation with use of electronic implements and contact microphones. The relationship with sound and “the gesture of object interactions” are important aspects of her compositions.
In parallel with her compositional work, her research activities are presently focused on capturing natural and environmental phenomena, fabricating different types of microphones and exploring acoustic phenomena of performance spaces.
For the last ten years the artist has performed with unique and unexpected sonorities, both solo and in the company of musicians, dancers and performers. Magali Babin is spoken-of as one of the central personalities on the high risk improvisation scene in Montréal.
Magali Babin presented concerts at international electronic music festivals in the Americas (Mutek- Suoni Per Il Popolo/Montréal, Mois Multi/Québec, send+receive/Winnipeg, New Music Festival/Vancouver, High Zero /USA) as well as in Europe (Hull Time Based Arts/UK, Transmediales /Berlin, Nuit bleue /France) and in performances in Baltimore, Philadelphia, Boston, New York, Hambourg, Besançon, Bruxelles…
She has participated on many compilations on different labels such as and/OAR usa, Intransitive Recordings usa, SK Factory, Oral, le son 666. Her work is mentioned in Katharine Norman’s book Sounding Art: Eight Literary Excursions through Electronic Music.
In addition to her artistic solo work Magali regularly collaborates with; Mineminemine (1997) with Éric Létourneau & Alexandre Saint-Onge; Le Quatuor de tables tournantes (The turn table quartet) by Martin Tétreault (2007) with N. Tobin, D. Lafrance, A. McSween; The Nocinema.org collective (2005) Project of French artist Jerome Joy with Chantal Dumas, Jocelyn Robert, Dinah Bird, Luc Kerleo, Emmanuelle Gibello, Alain Michon and others; The Strickland Trio (2010) with Jon Bole and Maïca Mia
LINKS
http://myspace.com/magalibabin
http://www.electrocd.com/en/bio/babin_ma/
http://en.wikipedia.org/wiki/Magali_Babin
http://www.bandeapart.fm/artistes.asp
———
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 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
First Annual ALBERT AYLER FESTIVAL on Roosevelt Island
ESP Live and ISSUE Project Room Present
The 1st Annual Albert Ayler Festival on Roosevelt Island
Record Fair & Musical Celebration
“Music Is the Healing Force of the Universe”
In celebration of the life and music of legendary free-jazz tenor-saxophonist Albert Ayler, ESP-Disk’ and Issue Project Room, in conjunction with Roosevelt L!ve have curated a day-long free concert on Roosevelt Island, Saturday July 10th from 2-10pm, in honor of the groundbreaking musician’s 74th birthday. With performances by some of the most prolific artists dedicated to pushing the boundaries in the avant-jazz world the same way Ayler did over 40 years ago, this festival will feature sets from The New Atlantis Sextet with Marshall Allen, William Hooker, Charles Gayle, Gunter Hampel, Giuseppi Logan, and more all taking place at RiverWalk Commons on picturesque Roosevelt Island: NYC’s Best Kept Secret.
The outdoor festival will also feature a record fair with a variety of new and used vinyl vendors hosted by ESP-Disk’s own in-house retail operation, ESP Records.
Great live music, a great selection of vinyl & CDs, great food from the local Roosevelt Island restaurants and a view of Manhattan that can’t be beat. What more could a music lover want on a summer day?
Location & Directions:
Riverwalk Commons, Roosevelt Island, New York, F Train to Roosevelt Island Map
Performance Schedule:
2pm
Giuseppi Logan Quartet
Matt Lavelle: trumpet, bass clarinet
Francois Grillot: bass
Dave Miller: drums
Giuseppi Logan: alto sax, bass clarinet (ESP 1007, 1013, 1055)
3pm
Charles Gayle Trio
Michael Wimberly: drums
TBA: bass
Charles Gayle: tenor sax
4pm
Gunter Hampel Trio
Gunter Hampel: vibraphones, bass clarinet (ESP 1042)
5pm
Flow Trio
Louie Belogenis: tenor sax (ESP 4052)
Charles Downs: drums (ESP 4052)
Joe Morris: bass (ESP 4052, 4056)
6pm
William Hooker Trio featuring Sabir Mateen
David Soldier: mandolin, banjo, violin
Sabir Mateen: saxophone, flute, clarinet
William Hooker: drums, spoken word
7pm
New Atlantis Sextet featuring Marshall Allen
Ed Ricart: guitar
Sam Lohman: tba
Andrew Barker: drums
Danny Ray Thompson: flute
Marshall Allen: alto saxophone (ESP 1008, 1014, 1017, 1045, 3033, 4002, 4054, 4060)
8pm
DJ Spun (Rong/DFA)
Saturday July 10, 2010 from 2pm-10pm
$ FREE $
ESP LIVE and Issue Project Room Presents in conjunction with Roosevelt L!ve:
The 1st Annual
Albert Ayler Festival
‘Record Fair & Musical Celebration’
Riverwalk Commons, Roosevelt Island, New York
About Albert Ayler
(July 13, 1936 – November 25, 1970)
“Music is the Healing Force of the Universe,” the title of prolific free-jazz musician Ayler’s fierce work for the Verve label in 1969, sums up his musical vision and prowess behind the tenor-saxophone. Born July 13th, 1936, Ayler didn’t make his mark playing his way up the ranks in be-bop bands, yet he was exposed to the world of Little Walter inspired R&B and the gritty sounds of the New Orleans tradition. Ayler began making sparse, free arrangements of marching band tunes, brass band explorations, and alto-experimentation that led him to be a driving factor in the careers of everyone from John Coltrane to John Zorn.
Share – free audio & video jam – featured guests “Phonoride”
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guests are Phonoride (Stone/Keenan/Randall)
http://www.share.dj/share/event_info.php?eventID=681
We are called “Phonoride” and are assembled of:
Austin Stone, from Washington DC. Composer and improviser of sonic structures.
Rob Keenan, from Cincinnati, OH… I am a messenger of music and enjoy tap-dancing with technology as I sing.
Tyler Randall, from Cincinnati Ohio. Enjoys improvising music.
website: http://www.myspace.com/phonoride
Printout directions for the game piece will be available to all Share sound and visual performers. Everyone will be welcome to join.
———
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
Important Records in the Courtyard: Master Musicians of Bukkake
CONCERT RAIN OR SHINE…(Courtyard if sunny, Indoor Garage if raining.)
ISSUE Project Room in collaboration with Important Records presents Master Musicians of Bukkake, Duane Pitre, Helena Espvall + Fursaxa, Kouhei Matsunaga, The New Monuments, Cave and Diane Cluck.
Please note: Jozef Van Wissum and Arborea have had to cancel their scheduled performances.
Full schedule:
3:05-3:45 Helena Espvall + Fursaxa
4:00-4:40 Diane Cluck
4:55-5:30 Duane Pitre
5:45 –6:15 The New Monuments
6:30 – 7:10 – Chord
7:25 – 8:05 Kouhei Matsunaga
8:20- 8:55 – Cave
9:10 – 10:00 – Master Musicians of Bukkake
Important Records was founded in 2001 out of the wake of a management collapse of a popular New England record shop. The first two releases were Merzbow’s Amlux CD and a seven inch from Daniel Johnston, establishing the breadth of the label’s interests. Combining a wire range of contemporary sounds from around the globe Important has released over 300 records and helped establish many young artists as well as reinforcing the significance of established ones. Looking towards the future Important aspires to, if anything, slow down and take it easy for once.
Master Musicians Of Bukkake has now solidified into a 7 piece cosmic psyche force. Like a reverse dark side of the New Age sound, on the Totem series Master Musicians of Bukkake perform ritualistic electric excursions into the outer and inner reaches. Relying more on the electric power of psyched guitars, analog synth chants, and exotic heavy percussion. This Totem Trilogy echos with the delusions of a west coast death cult. Outer spaced gamelan, dusty fuzz rock from celestial deserts, meditations of a deranged Krishna gathering, and the Blurry
acoustic guitar majesty of The Cascade mountains all reveal themselves here in epic form. Master Musicians Of Bukkake’s newest offering in the Totem Trilogy, Totem Two marks yet another psychic and sonic shift from their first record “Visible Sign Of the Invisible order” (Abduction records 2005/LP via Important Records 2010) and it’s predecessor in the trilogy Totem One (Conspiracy records 2009). On Totem Two Master Musicians explores and meditates deep on the death of the Mystics, the Forgotten Ones, the Schisms of our time, and the inability to realize the primary clear light for what it is. Totem Two shifts from electronically altered Bön cult rituals to outer spaced Sufi Sects. Finally succumbing to the fully orchestrated No-age darkness of the religion of the future only to end in delusional “enlightenment” atop Mt. Shasta scrawling the deranged rambling of new age psychosis on the crystal walls of a cave. Every sound and note played put to tape by a group with a singular purging purpose. For their show at the Issue Project room they will perform with a horn trio of New York musicians and will play music from the Totem series as well as a cover composed by Eyvind Kang. This will be the first show on the east coast for the MMOB.
MMOB has collaborated with: Alan Bishop, members of the Sun City Girls, Six Organs of Admittance, Eyvind kang, Members of Secret Chiefs, Shazad Ismaily, and features members of Earth, Asva, Burning witch and more.
Cave is a group of four musicians – Rotten Milk (synthesizer), Cooper Crain (guitars/organ), Dan Browning (bass) and Rex McMurry (drums) – originally formed as a loose collective in Columbia, MO and currently based out of Chicago. Inspired by Krautrock, classic rock, and composers Steve Reich and Terry Riley, CAVE is characterized by their pyschedelic, improvised, and drone-heavy sound, which has been translated into various EPs and LPs, such as Psychic Psummer and their most recent project, Pure Moods (Drag City).
Kouhei Matsunaga is an electronic musician and visual artist from Osaka, Japan. Although he originally studied architecture, he has been making experimental music and drawings since 1992. Matsunaga has collaborated with Merzbow, John Waterman, Asmus Tietchens, rlw, Rudolf eb.er, Anla Courtis, Greg Davis, Conrad Schnitzler, Lesser, Carlos Giffoni, Mika Vainio (Pan Sonic), Mr. Maloke (Puppetmastaz), Sean Booth (Autechre) and Sensational from the Jungle Brothers, merging the techno, experimental, and rap music that define his personal taste. Currently he is working on a project entitled NHK (Raster-Noton) with Toshio Munehiro, Internet Magic, and Max Turner (Puppetmastaz). The artist resides in both Berlin and Osaka.
CHORD was formed at Dr. Wax, a once thriving record store that was a gathering place for musicians and music aficionados alike. Amid endless musings about the finer points of texture and tone, Kyle Benjamin (guitarist for Chicago’s Unfortunaut), Jason Hoffman (a.k.a. darkwave composer Anatole), Trevor de Brauw (of Chicago instrumentalists Pelican) and Phil Dole (of ¸ber-dronists X-Bax) devised an outline for CHORD that lived for many months in the realm of conversation. With a shared appreciation for the works of Tony Conrad, and Glenn Branca the group formulated a collective vision: exploit and explore the sonic depth of a single chord. CHORD performances consist of each player being assigned one note from a pre-selected chord. They are then expected to consider all ranges of flexibility concerning octave, rhythm, playing style and effect treatments. The overall effect CHORD generates is that of a single note being rendered into an unsolvable
riddle ñ a harmonic Gordian knot that creates an almost pastoral feel of being blinded by the sun. The rejection of melody and structure in favor of sweeping and epic tones inspires a sense of rousing apprehension. Shrouded in the individual tunings of each player the pieces never become diluted, instead finding
resolution in collective dissonance and consonance.
The New Monuments is a collaboration between saxophonist Don Dietrich, violinist C. Spencer Yeh and percussionist Ben Hall. What was originally to be an acoustic “Babi Music” cover band became the electro-acoustic behemoth The New Monuments. Sharing a common head for so-called “abstract sound” constructions, they attempt to soundtrack the maiden voyage of a luxury cruise ship constructed solely out of granite cement and ball bearings. Following a series of limited-edition live recordings on American Tapes sourced from their Northeast US tour in Fall 2008, a self-titled record was released by Important Records in December 2009.
Duane Pitre is an American avant-garde composer and performer whose work often focuses on the tensions between electronic sound and acoustic instrumentation, chaos and discipline, as well as site-specificity and performativity. He frequently works with long-tones and utilizes alternate tuning schemes that focus on microtonality, enabling him to explore unaccustomed harmonic intervallic relationships. He has scored works for large string/wind ensembles, string quintet, his own Bowed Harmonic-Guitar Ensemble, and solo performers, among other instrumental configurations. He has performed at spaces such as Roulette, The Stone, P.S.1 MoMA, Phillips de Pury & Co., St. Marks Church, The Knitting Factory, and as an Artist in Residence at the ISSUE Project Room in Spring 2009. He’s appeared on compilations with artists such as Keith Rowe, Sir Richard Bishop, Tetuzi Akiyama, and Jandek. Most recently, he curated and contributed a track to a Just Intonation compilation (released on Important Records), alongside Pauline Oliveros, Ellen Fullman, Michael Harrison, Greg Davis, and Charles Curtis.
Diane Cluck is a musician who also cooks, gardens, draws, bikes, and studies wild plants. As any involved and creative artist, all of her personal hobbies serve as inspiration for her original songs, which are not only characterized for their keen lyrics, dynamic vocals, and close-fitting harmonies, but also a visceral and sparse guitar style. Having performed since 2000, Cluck’s live shows focus on singing as a healing and physical experience, proposing her music as a therapeutic and engaging space for her audience.
Jozef Van Wissem is a composer/lute player from Maastricht, Netherlands. He is renowned for his ability to appropriate the Renaissance and Baroque lute in the context of contemporary experimental music. By cutting and pasting classical pieces, reversing melodies, and adding electronics and processed field recordings, he is able to bridge the language of 17th century music with that of the 21st century without compromising the timbre and resonance of traditional lute playing techniques. Van Wissem coordinates the Incunabulum label, lectures at Wesleyan University and Mills College, and performs throughout the world. He has collaborated with M.B. / Maurizio Bianchi, Smegma, James Blackshaw and Tetuzi Akiyama. He is in a duo with Blackshaw called “Brethren of the Free Spirit” and has had two releases on Important Records as a duo as well as two solo records. Most recently he has been commissioned by the National Gallery in London.
Helena Espvall is a Swedish-born musician who plays pyschedelic folk music and free improvisation. She is renowned as a cellist/guitarist and as one sixth of the Philadelphia pysch folk band, Espers, which includes Greg Weeks, Meg Baird, Brooke Sietinsons, Otto Hauser, and Chris Smith. In addition to her involvement in Espers and her solo improvisational performances, she has also collaborated with the Amnesiac Music & Dance Ensemble, Oluyemi Thomas, Sharron Kraus from Quagmire, Lukas Ligeti, Samar Lubelski, Eugene Chadbourne, Pauline Oliveros, Scorces, Katt Hernandez, and Fursaxa. Espvall has performed at various improvised musical festivals, most notably the Philadelphia Fringe Festival, the High Zero Festival in Baltimore, Improvised and Otherwise in Brooklyn, the Big Sur Experimental Festival, and at Terrastock 2006 in Providence. She is currently based out of Philadelphia.
Fursaxa is an acid folk project led by Tara Burke, a musician from West Philadelphia. Burke is regarded as a key figure in the North American free-folk movement, of which also enlists Jack Rock, Charalambides, Ben Chasny, and the Jewelled Antler Collective as its supporters. The hypnotic quality of her strong vocals likens her to the disaffected psychedelia of Nico and Barbara Manning, as well as the 12th century Benedictine mystical abbess Hildegard von Bingen. Her album, Alone in the Dark Wood, evokes “pale moonlight and deep shadows where tree limbs bend to form cathedral arches over a procession of mystics.” The low drone of chord organ and farfisa, the ringing of her detuned guitar, and delayed looped vocals produce an effect that is at once medieval and psychedelic in mood. She has performed with Acid Mothers Temple, Bardo Pond, Iditarod, Scorces, The Valerie Project, and Six Organs of Admittance.
Arborea is a Maine based Alternative-folk duo comprised of husband and wife, Buck and Shanti Curran. Their music follows in the progressive folk and rock traditions created by artists such as Sandy Denny, Bert Jansch, Pentangle, andTim Buckley. Since 2005, they have released three records: Wayfaring Summer (2006), Self-titled (2008), and House of Sticks (2009). They have performed shows and festivals throughout the U.S., UK, and Europe, including a session for the BBC World on 3 program in London in 2009. Arborea has also curated and produced a various artist compilation titled Leaves of Life released in summer 2009, including artists Alela Diane, Devendra Banhart, Starless and bible Black, and Marissa Nadler.
William Basinski’s “Vivian & Ondine” @ 110 Livingston (LATE SHOW NOW FULL)
UPDATE: Due to an overwhelming number of RSVPs, we will now present two performances from William Basinski at 7pm and 9pm.
ISSUE Project Room invites you to join us for the second public performance at ISSUE Project Room’s future home. William Basinski will present the hauntingly beautiful “Vivian and Ondine” at the former Board of Education Building at 110 Livingston. The performance will feature light by Seth Kirby and Brock Monroe — members of The Joshua Light Show.
6:30pm, Doors for Early Show
7pm, Early Show Performance (Only a few seats left!)
8:30pm, Doors for Late Show
9:00pm, Late Show Performance — CLOSED (We are at capacity for this show)
10:30pm, Post-Show Reception
Admission is free. RSVP.
Note that the entrance to our theater within the 110 Livingston building is through 22 Boerum Place. Click here for map & directions.
William Basinski is a classically trained musician and composer who has been working in experimental media for over 25 years in nyc. his haunting and melancholy soundscapes explore the temporal nature of life resounding with the reverberations of memory and the mystery of time. his epic 4-disc masterwork, the disintegration loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by pitchfork media. art forum selected the river, his transcendental 2-disc shortwave music experiment on raster-noton.de, germany as one of the top ten albums of 2003. his concerts and installations and films made in collaboration with artist-filmmaker, james elaine have been presented internationally, most recently at the venice biennale of music, venice, italy, happy new ears festival, belgium, focus one festival, poland, filosophia festival, carpi, italy, cite de la musique, paris, among others. basinski’s latest albums, “92982″ and “vivian & ondine” were released in spring 2009 on 2062/usa and distributed internationally. his entire catalog is available for digital download through i-tunes, amazon.con, and numerous legitimate digital retailers worldwide. basinski’s works are distributed in europe by die stadtmusik.de, in the u.k. by cargo records.co.uk, in japan by p*dis distribution and in the united states by forcedexposure.com. digital distribution through cargorecords.uk.co booking agent: danilo pellegrinelli, www.shaktimusic.ch www.mmlxii.com
Yoga with Liz Kresch (Sundays at 10am)
Liz teaches Iyengar-based vinyasa yoga and pilates.
She has maintained a dedicated yoga practice since 1996. Her teacher training was completed with Adrienne Burke at Atmananda currently Centerpoint Studio in early 2004. She is certified in pilates mat and equipment through the Kane School of Core Integration and appreciates the support that pilates offers a yoga practice and movement in general as well as the profound physical results of the discipline. Her Wat Po Thai massage work, certified at the Pai Spa in Bangkok and the Swedish Institute in NY and her bellydance work with Dunya McPherson also inform her teaching. Liz’s B.A. (1993) is from Sarah-Lawrence College where she majored in art & philosophy of religion. More recently she has completed both Nalandabodhi and New York Shambhala’s Buddhist study courses which have illuminated ground to her asana practice.
Liz has taught previously at Finetune Pilates, Omala, Body Elite Fitness, Vayu Yoga and Jaya Yoga in Brooklyn, The Standard Hotel, Brown’s Apothecary, and the Nirvana Spa in Miami, the Caribo B&B in Cozumel, Mexico, The United Nations, The Urban Justice Center and The New York Studio School for Painting & Sculpture. She currently works privately with students of varying experience, strengths & challenges.
Liz strives to create the support to let our own evolutionary capacity surprise us.
She is Yoga Alliance certified at the 500 hour level and a member of the International Dance Exercise Association. She adheres to their ethical guidelines. CPR certified.
please email Liz at kresch71@hotmail.com to rsvp.
In Conversation With Matthew Mottel, Part II
Matthew Mottel is ISSUE Project Room’s Artist-In-Residence for April – June 2010. He is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. He’s been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Cooper-Moore, Rhys Chatham, Karole Armitage, Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and CSC Funk Band.
The final performance in the residency will be a free concert held on June 9 with Talibam!
The following conversation is an extract from an extended chat held on April 28. Check the first installment here.
Matthew Walker: So, tell me how Talibam! first came to be.
Matthew Mottel: I had met Kevin {Shea} in April 2003 on an improv gig with Ras Moshe at free103point9, the pirate radio station. We just connected well and we were like, “yeah, let’s keep playing.” This was right as I was coming back to New York. So, that’s how the band started. Kevin went to school for critical theory at New School and I graduated with a liberal arts degree in critical theory, so both of us were interested in music and culture from, like, this critical perspective that was internalizing and analyzing mass culture and avant-garde perspectives together.
The way me and him talked for a while – just like how we have this onstage banter – we had that immediately as like a personal relationship where, some of the first drives we took as a band, it wasn’t just like, “Oh, so what do you think about food?” It was like this weird theatrical point-counterpoint hysterical banter. Yeah, we just would banter at each other for two hours in this like fake, or even actual, deconstructionist language. Like, “I think the hierarchy of the longitude of the platitude does not deserve a… Point!” You know, we would just go back and forth, and then we’d be like, “Oh, we’re at the gig.”
MW: …and then you’d continue the conversation on stage.
MM: Exactly.
MW: So, I’m really curious about how you think your relationship with ESP-Disk’ has contextualized your music, both for yourselves and for audiences and critics. Do you think when critics wrote about {last album} Boogie In the Breeze Blocks, their default inclination was to approach the music in the context of ‘60s avant-garde jazz?
MM: In some ways, that’s definitely sort of the starting reference, and in some ways that’s fine, because I love that music too, and I’m proud to be a labelmate with Sun Ra and Albert Ayler…there’s like serious gravitas to be included in that continuum. And that’s the trick that I think the weight of us being on a label like that is — to really be evident to writers and to the public at large…to spark the thought, “The label is back, it’s a contemporary label, and this is the band that they’ve selected to be one of the larger flagship artists of the moment.’ So, that’s where I’d like to be thought of.
There was a lot of weight back then to the artists that were on ESP, but because of the climate of independent labels in the ’60s, you didn’t have the opportunity to promote and be as successful as independent labels can be in 2010, with the internet and different contemporary marketing tools and things like that. So, if you were an independent label in ’66, you were competing against Blue Note and all the other major labels that had money, financing, pr…all those things. So, of course the ESP music was going to be more obscure simply due to limited distribution opportunities. But I think that ESP — now in a contemporary label world — should have the same weight as Sub Pop, Merge, Secretly Canadian, Thrill Jockey, Young God, Constellation…All of those labels are birthed out of ESP’s desire to be an independent label promoting music that they want to promote. So, Sub Pop and Constellation all found scenes needing support, and it grew into large things for them. So, for ESP, the potential is there for them to be recognized on a larger scale.
MW: Though, I think the music ESP seeks to foster does still have a more experimental bent, trying to support music that pushes boundaries and develops new vocabularies. And that’s not something that necessarily prevents it from pushing into a more mainstream realm, but it does differentiate it from a label like Sub Pop or even Constellation.
MM: Yeah, they’re still dealing with much more traditional, like, four walls and a house whereas ESP is more of a geodesic dome {laughs}. Ya know, the paradigm is a little different…but I think, what we were trying to do with ESP is work in both paradigms. The idea was to be part of an avant-garde minded label, and give them a contemporary pop album. So, that’s what we tried to do…
MW: So there was definitely a conscious effort to move into a slightly more intentional pop soundworld, from Ordination {of the Globetrotting Conscripts} to Boogie? I know there were other things in between, obviously, which I haven’t heard but…
MM: Well, those other albums…to me Ordination and Boogie are the two actual studio albums we’ve made. People talk about our excessive discography, but most of the albums are really treated as sessions — edited down jazz sessions. And it’s great that we’ve released music that holds a high watermark…that stands as a session and can still be good. That’s one thing I like about our band is that we can just be in a room for 45 minutes and, ideally, be happy.
But Boogie and Ordination are attempts to utilize the studio as a conceptual building block. A few of the songs that were on Boogie were actually recorded at the time of Ordination but they would have made that album very different. Ordination wound up being very much aestheticized with the label {azul discográfica}. So it turned out that some of the material that wasn’t on that, we used for Boogie. Another thing we did for Boogie, we went through our live concert recordings and found parts of songs we were playing but hadn’t recorded before, and merged them into studio forms and did overdubs and turned them into these pop songs.
MW: Yeah, I love how you guys do that…how Boogie really captures the essence of the manic energy of your stage show — how actual live recordings are integrated in, especially on that song “Slap Yr Boots On! Oysters Await” where you’re playing at Goodbye Blue Monday. The first part is a straight live recording and it becomes more pristine and higher fidelity as it evolves over time.
MM: Yeah, that worked really well. It’s been really nice using the studio as a compositional tool. We like doing that as a band. Boogie was produced in 5 days, so it was pretty intense. But uh, the new albums that we’re working on now have very long arcs of time. One started in a session in October. I did almost all of my overdubs alone, and then Kevin’s going to his overdubs later. So, it gives us more time to think about what we want to do for it.
MW: So are these tracks even more composed than Boogie?
MM: Yeah, we have a single coming out. It’s gonna be a split between Electric Cowbell and ESP-Disk’…actually ESP’s first-ever 45. And these tracks will be the most produced we’ve ever put out. I like to think about the idea of bands losing perspective…like bands starting in the ’60s and by the time they were in the ’80s, they lost perspective and just did whatever they wanted. We’re not in that place yet, but by doing it ourselves with ProTools, we lost some perspective and made something entirely rad that we couldn’t have done in 4 days. The new records have mainly been self-recorded so far. We’ll maybe mix in the studio to warm stuff up, but it’s been a nice process to learn ProTools and Logic and be able to step back from it and not have someone on the clock saying “OK, hey what are you doing next?” To really have time to listen and think about the arcs in which we’re making the album.
But yeah, it’s been nice to be able to examine our concerts, and say, “Oh, I like this 5 seconds” and then those 5 seconds turn into 4 minutes in the studio. Like, we were in Paris working on this duo album and it was literally like two car rides in Italy before the session in which we listened to the live recordings and notated the time frames that we wanted to incorporate into the studio recordings. That’s what separates Talibam! from a lot of more contemporary pop/rock bands. All of those bands are still dealing with the concept of iconic ego, where it’s one person’s vision. I mean, I think that can be interesting, but I like this collaborative approach that involves improvisation and chance elements…you get a more unique thing.
MW: What else have you guys been exploring in these new recordings?
MM: We’re starting to work with new genres and effects…like we’re starting to do some rapping…
MW: Huh, in a way that makes perfect sense. I was actually just recently thinking about you guys in the context of rap because I had read a review that likened the between-song banter on Boogie to the skits on old De La Soul records. But beyond that, I feel like many of the characteristics of Talibam! remind me of rap albums where the projected personas are of these over-sized, larger-than-life personalities. They are reflective of who the artists are to some extent, but there’s also a sort of cartoonish, caricature-like filter happening.
MM: Exactly. That’s again why I like the idea of albums where the music isn’t necessarily the aesthetic choices that define me but we’re instead making music as if approaching these styles as different types of boxes…with the idea that it’s not solely reflective of our own ego. It’s nice that we can approach a variety… But anyways, the personas we make on record are not necessarily directly who we are. Like, when Leonard Cohen sings, you think of Leonard Cohen singing — though I’m sure he puts a character out there, too. But it’s at least perceived as a more direct reflection of himself as a real person. But with Talibam!, it’s not necessarily me and Kevin. We’re going even further into that realm in the next album.
MW: So, you guys just put out an album in collaboration with Peeesseye. I know you guys are friends and probably have had many intersections through the years, but how did it come to the fruition of actually creating a full-length collaborative?
MM: Well, we were both touring, trying to be active bands, and we both had interesting styles that we thought could yield a dialogue with each other. From 2006 – 08, we played one gig with them every year in Europe, so eventually we decided if we were all going to be in town at this one time again, we should make a record.
MW: It’s a great record – I think it feels so natural how well the two groups meld together. That’s one thing about Talibam! that I really like…that it seems whoever plays with you guys can be integrated into your soundworld so naturally. You can have Cooper-Moore or Daniel Carter seamlessly fit into the group’s dynamics and it’s just great.
MM: Yeah, that comes from all of us being natural improvisers first. It wasn’t like one band meeting another band like oil and water…everyone can just float in this ocean. That was where Peeesseye and Talibam! both figured out something around 2001 or 2002 – we were both interested in stopping thinking about ourselves as individuals and trying to form a more cohesive unit.
I Do Not Doubt I Am Limitless: Walt Whitman’s Brooklyn
ISSUE Project Room celebrates The Brooklyn Heights Association‘s 100th Anniversary with an event that will program channel the psychedelic spirit of poet, journalist, humanist and Brooklynite, Walt Whitman, set against the stunning waterfront backdrop on the Pier 1 Harbor View Lawn of the new Brooklyn Bridge Park on July 1st at 5 pm until midnight.
Musicians and bands including the Wingdale Community Singers, Christy and Emily, Prince Rama, and others will perform original work along with new pieces set to a marathon reading of “Leaves of Grass,” recited by some of the nation’s most intriguing poets.
The outdoor concert, closing with a late night program of acoustic music after 10 pm, is part of Celebrating a Century, an exciting year-long series of events highlighting Brooklyn Heights history, famous residents, and the BHA’s past & future.
Featuring:
Rick Moody and Hannah Marcus of the Wingdale Community Singers
Loren Connors and Suzanne Langille
Sexual Energies School: Quebec City
Bruce Andrews & Sally Silvers
Nicole Peyrafitte, Pierre Joris, Brendan Lorber, Yuko Otomo,Tsaurah Litsky, Linda Lerner, and more…..
FOR INFORMATION AND DIRECTIONS TO THE PARK, CLICK HERE
Micah Silver + Backbreakerneckbrace
Backbreakerneckbrace is a collaborative effort between video artist Dawn Bendick and audio/visual artist Michael Haleta, which continually works with collaborators to fully realize their structured audio and video endeavors. Timing and synchronization are key elements in their work placing the audio and visuals in a constant exchange of information within pre-composed time constraints.
They have shown their work at numerous shows and events including, Tonic, NY, NY, Art Scape, Baltimore, MD, Transmissions Festival, Chicago, IL, the Back-Up Festival (Bauhaus), Weimar, Germany, and at the Whitney (Graduate Program Film Series), NY, NY.
Micah Silver is an artist, composer, and curator working in music and its intersections with other areas of cultural production. Shows of his work have been mounted by the Jersey City Museum in a mini-retrospective called BE STILL. TAKE UP AS MUCH SPACE AS POSSIBLE. by Artspace New Haven, the Hudson Valley Center for Contemporary Art, The James Joyce Centre in Dublin Ireland, The Place in St. Petersburg, the 2008 MATA Festival in NYC, among others. His current project is a commissioned installation-opera titled The End of Safari for Mass MoCA, which opened in April 2009.
As a curator and co-conspirator in the work of other artists, Silver has been Associate Curator at Diapason Gallery for Sound in New York from 2003-2006, Administrator of The Earle Brown Music Foundation from 2002-2006, Director and Conductor of the Wesleyan New Music Ensemble, and currently Curator for Music at the Experimental Media and Performing Arts Center at Rensselaer. Silver is a member of The Earle Brown Music Foundation and Diapason Gallery for Sound Board of Directors.
mem1 + Jascha Narveson + Lainie Fefferman w/ Matt Welch
mem1
Mem1 seamlessly blends the sounds of cello and electronics to create a limitless palette of sonic possibilities. In their improvisation-based performances, Mark and Laura Cetilia’s use of custom hardware and software, in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound that has been called “a perfect blend of harmony and cacophony” (Forced Exposure). Founded in Los Angeles in 2003, Mem1 has traveled extensively, performing at Roulette (NYC), REDCAT / Disney Hall (LA), the Orange County Museum of Art, Electronic Church (Berlin), the Laptopia Festival (Tel-Aviv), the San Francisco Electronic Music Festival, and the Borealis Festival (Bergen). In 2007, they were awarded an artist residency at Harvestworks in New York for the creation of a new Surround Sound piece entitled Sonodendron. They have since taken part in residencies at STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their work has been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Their third full-length album, +1, consisting of collaborations between Mem1 and artists such as Steve Roden, Jan Jelenik, and Frank Bretschneider, was released in Spring 2009 by Interval Recordings.
Jascha Narveson is a Canadian composer and sound artist based in New York. His work ranges from traditionally scored music to multi-channel sound installations to electronic music for fixed media, live processing, and laptop orchestras.
For this piece, a specially constructed coffin was equipped with 15 separate microphones and buried. The resulting multi-channel recording will be played back over Issue Project Room’s overhead 15-speaker array, and the audience will be invited to lie down in the dark and contemplate it.
Lainie Fefferman
After studying music and near eastern languages at Yale, Lainie is currently in her third year of the composition graduate program at Princeton.
Lainie has participated in workshops including: the Sentieri Selvaggi composer workshop in Milan (with Julia Wolfe), the Meredith Monk & Vocal Ensemble Workshop in New York City, The Bang on a Can Summer Residency in North Adams, Massachusetts, and the Arabic Music Retreat with Simon Shaheen at Mount Holyoke College.
Lainie’s recent performance projects include writing for and singing alto with avant vocal trio Celestial Mechanics (with sopranos Anne Hege and Sarah Paden) and writing for and singing with post-minimalist folk funk band Phthia (with Missy Mazzoli on melodica, Sara Phillips Budde on clarinet, and James Moore on banjo).
Lainie has enjoyed rich success with her soulful kazoo playing. Her performance experiences include joining the Bang on a Can All-Stars in a performance of Louis Andriessen’s “Worker’s Union” and numerous New York area performances of Terry Riley’s “In C.”
Lainie’s past, present and future collaborators include: pianist Michael Mizrahi, cellist Jody Redhage, guitarist/banjoist James Moore, electric guitar quartet Dither, So Percussion, the New York Virtuoso Singers, and the Yale Collegium Musicum.
Matt Welch
music of Matthew Welch (b.1976) stems from a remarkably multi-faceted foundation. Matthew holds contains a BFA from Simon Fraser University (1999) and a MA from Wesleyan University (2001) in Experimental Music Composition; studying with noted composers such as Barry Truax, Rodney Sharman, Alvin Lucier and Anthony Braxton. His compositions range from traditional-like bagpipe tunes to electronic pieces, improvisation strategies and fully notated works for solo instruments, chamber ensembles and orchestra. He participated in a number of compositional collaborations with Indonesian Gamelan composer-performers in Bali and Java, performed in free improvisation contexts with numerable New York City improvisers, and played with art rockers in the Brooklyn underground. As a virtuoso of the Highland Bagpipe, he studied traditional music with Gold Medalist masters such as Colin MacLellan, Jack Lee, Angus MacLellan and Andrew Wright. Matthew also was a member of the four – time World Champion Simon Fraser University Pipe Band, winning with them in 1999 and 2001. Indonesian Gamelan percussion music, both Javanese and more recently, Balinese, have been another focus of Matthew’s, which he has pursued throughout his academic career, with the New York Indonesian Consulate gamelans, and in Bali. Matthew appears on Anthony Braxton’s 10 [Solo Bagpipe] Compositions, 2000 and a few compact discs of his own music including Ceol Nua ,(Leo 336) highlighting orchestral and chamber works; Hag at the Churn, (Newsonic 33) a collection of electronic concoctions; and Dream Tigers, (on John Zorn’s Tzadik Records’ Composer Series 8015) a program of ecstatic chamber music featuring his critically acclaimed string quartet Siubhal Turnlar. His compositions for Balinese Gamelan Semara Dana are featured in his multi-media collaboration with Ikue Mori known as Bhima Swarga (Tzadik DVD edition 3007, 2007). The eclectic breadth of his interests in Celtic music, gamelan, minimalism, improvisation and rock also converge in compositional amalgams for his New York based ensemble, Blarvuster…”
Cecelia Lopez + Tucker Dulin
Other recent projects include a duet Vigilante Margarita with composer and pianist Gillermina Etkin where she plays synthesizer and vocal arrangements, composition and direction of “Copas” a piece for 12 cups performed at Centro Cultural Rojas, Festival Experimenta and other places at Buenos Aires.
In 2009 she attended a residency at Atlantic Center for the Arts with master artist Elliott Sharp. Artistic collaborations with Lobi Meis, Wenchi Lazo, Carmen Baliero, Calos Vega, Gerardo Cavanna, Jacob Wick, David Kant and visual artist Mariana López and Ian Kornfeld.
Argentinean composer/performer Cecilia Lopez comes to NY for performance of her composition/installation “Música Mecánica para Chapas,” for two amplified sheets of metal and variable performers. The group work is centered in the encounter between written form and improvisation. What is being investigated is sound feedback, and the possibility of filtering sound through the metal sheets. Performers: Cecilia López, David Kant, Facundo Gómez, Jacob Wick and Yoon-Ji Lee.
Tucker Dulin
Tucker Dulin, trombonist and player-at-computers, recently improvised with Justin Morrison and Amanda Waal in San Diego and David Gross, Ernst Karel, and Bryan Eubanks in Berlin. While continuing his study, Tucker is trying to maintain hip, urban environment of Hillcrest.
He will be performing A piece & breath/night.
A piece : slow-moving electronics and live performer.
breath/night : many channels of unedited trombone recordings and simple synthesis.
Blevin Blectum + Volume II (Thorpe, Chavez, Burgon, Moore)
Bevin Kelley (Blevin Blectum)
She began work on a PhD in Computer Music and Multimedia in Brown University’s Multimedia and Electronic Music Experiments (MEME) department in the Fall of 2009.
As an improviser, Thorpe has performed with Chris Brown, Chris Cogburn, Rob Cambre, David Dove, Annette Krebs, Maggie Nicols, Liz Tomme, Bhob Rainey, Pauline Oliveros, Mike Bullock, Gino Robair, and Miya Masaoka among others. She was a 2008-featured performer at San Francisco’s Activating the Medium festival, performing with Zbigniew Karkowski, Anti-Matter, and Ulrich Krieger, and at Issue Project Room’s Floating Points festival, 2008, where her multi-channel composition Nautical Twilight was premiered.
As a founding member of Mercury Rev, Thorpe composed, performed, recorded, produced and toured with the band, from 1989 through 2001, earning numerous critical accolades and a gold record for 1998′s Deserters’ Songs. With Mercury Rev, Thorpe found herself sharing the stage with Bob Dylan, Hole, Spiritualized, Pavement, High Llamas, Dinosaur Jr., My Bloody Valentine, Porno for Pyros, Hum, Cat Power, Ride, Sonic Boom, Sonic Youth, and more.
Moore
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.
Burgon
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.
Chavez
Born in Peru, avant-turntablist Maria Chavez currently resides in Brooklyn, New York.
Chavez’s work is focused on short solo electro-acoustic sound pieces using a collection of new and broken needles that she calls “pencils of sound” and a selection of records, which provide the palette. Many of her live sound installations have focused on the paradox of time and the present moment, with many influences stemming from improvisation in contemporary art.
Her work has been recognized by the Jerome Foundation, which awarded her the Emerging Artist Grant by New York’s Roulette Intermedium in 2008. In 2009, she became a recipient of the Van Lier Fellowship which is generously offered to young sound artists by The Edward and Sally Van Lier Fund of the New York Community Trust.
She has traveled extensively, sharing the stage with Pauline Oliveros, Alan Licht, Phil Niblock, and Otomo Yoshihide to name just a few. She has performed in venues including the Contemporary Arts Museum in Bordeaux, France; the Akademies der Kunste in both Vienna and Berlin; and Sonoteca in Lima, Peru. She was an artist in residence in 2008 with the Merce Cunningham Dance Company and the DIA:Beacon Museum and recently performed for Christian Marclay and the Whitney Museum of American Art in NYC as part of Christian Marclay: FESTIVAL.
Barry Seroff + Barbara Held
Barry Seroff was born in Flushing, Queens on July 4, 1978. He earned his Bachelors at the Aaron Copland School of Music where he studied with some of the great minds of the twentieth century; theory with Joe Strauss, composition with Paul Alan Levi, Jeff Nichols, and Bruce Saylor, and musicology with Henry Burnett. At the same time outside of school, he studied classical flute with Michael Laderman and Petina Cole, modern and traditional jazz guitar with Joe Giglio and Bern Nix, and shakuhachi with Ronnie Nyogetsu Seldin.Improvised music developed into one of his deepest musical passions through regular performances with musicians including William Parker, Anthony Braxton, Marc Ribot, Daniel Carter, Merry Fortune, and Ken Schalk, among others. It was in this setting that his musical voice matured, leading to the release of the critically acclaimed 27 New York Antisonnets’ with Little Ricky’s House of Chankletas, and the upcoming release A Pass Toward Solace with pianist Stefan Paolini, both on OKS Recordings of North America. He also runs an improvised music podcast, featuring a wide variety of top notch musicians from NYC to New Haven.
Aside from being an accomplished musician, Barry Seroff has also earned high accolades as a composer. His compositions range from traditional chamber ensembles and orchestras to more modern settings featuring electric guitar and drumset. His collaborations with poet Merry Fortune were performed at St. Marks Church, and eventually led to recordings with legendary guitarist Marc Ribot. He is also the winner of the Hubert Sukoff Award for Composition in 2006 and was awarded the AMC Composers Assistance Grant in 2009 for his cantata Democracy, which was premiered at Issue Project Room in March of 2010. His work has been premiered by the International Contemporary Ensemble, Second Instrumental Unit, New Haven Improvisers Collective, ThingNY and Anti-Social Music.
Barbara Held is a flutist, composer and sound artist, whose current focus is the rhythmic relationship between music and image. She has commissioned and performed an idiosyncratic body of new repertoire for flute by both Spanish and American composers, and was the creator and producer of “Music at Metrónom”, a series of concerts of experimental music that gave special support to collaboration between musicians and visual artists, co-curator of “Possibility of Action; the life of the score” for the Documentation Center and Archive of the Barcelona MACBA museum of contemporary art during the 2008-09 season, and “Lines of Sight”, a series of 7 programs of experimental music and radio art for radio web macba. Current projects include a duo with Barcelona composer Ferran Fages who uses camera flash apparatus to subvert and create ephemeral, musical interferences in the transmission of shortwave radios, and a performance piece for video and sound, in collaboration with painter Francesca Llopis, called “The Time in Tokyo”.
Ricardo Arias, Tim Feeney, Vic Rawlings + Sebastien Roux
Sebastien Roux
Since 2005, Sébastien Roux has been working on acousmatic concerts where, different from a typical live performance setting, the audience is invited to sit or lay down comfortably in the dark to listen to a series of spatialised pieces. Each listening session is about 40 minutes long and includes 3 to 8 separate pieces. The collection of pieces is unique and depends on the venue and the listening conditions. At IPR Sébastien Roux invites you to listen to the result of a 3 day residency that has consisted in designing a special set for IPR’s 15 channel speaker system. Within the last year Sébastien Roux has presented listening sessions at Maison des Métallos (Paris), Pannonica (Nantes), Störung Festival (Barcelona), Electronic Church (Belin), AKOUSMA 5 (Montreal), and Cafe Oto (London).
Ricardo Arias is an experimental improvising musician and sound artist
Most of Arias’ music is improvised and made in collaboration with other musicians. Apart from occasionally playing the flute, he uses unconventional instruments and found objects as sound sources in his works. Since 1992 he has focused almost exclusively on the balloon kit, a number of rubber balloons attached to a suitable structure and played with the hands and a set of accessories, including various kinds of sponges, pieces of Styrofoam, rubber bands, etc.
He has performed in Europe, Canada, the United States, Lebanon, Colombia, and Argentina, both solo, and in collaborations with other musicians such as Michel Doneda, Mazen Kerbaj, Dror Feiler, Hans Tammen, Bruce Gremo, Phil Durrant, Jack Wright, Sean Meehan, Barry Weisblat, Vic Rawlings, Gunter Müller, Gabriel Paiuk, Diego Chamy, Axel Dörner, Nicolas Collins, Miguel Frasconi, Tatsuya Nakatani, Pascal Boudreault, Jane Rigler, Luis Conde, Nate Wooley, Matthew Ostrowski, Joel Ryan, Anne Wellmer, Pauline Oliveros, Andrew Drury, Chris Mann, David Watson, and James Fei, among many others.
He has participated in many festivals of new and improvised music such as: Festival Phonos and Zeppelin (Barcelona); Festival Internacional de Música Contemporánea, Festival de los Tiempos del Ruido, and Colón Electrónico (Bogotá), Festival Synthese (Bourges, France); Urban Aboriginals Festival (Berlin); Experimenta (Buenos Aires); High Zero and SoundShift festivals (Baltimore, U. S. A.); Roulettte concert series, Vision Festival, and Improvised and Otherwise (New York City); STEIM; No Echo Festival (Middletown, CT, U. S. A.); and NoNet (Philadelphia, PA, U. S. A.).; Festival Internationalle de Musique Actuelle de Victoriaville (Victoriaville, Quebec, Canada); and Festival Musique Action Internationalle (Vandeouvre Les Nancy, France), and ExperimentaClub (Madrid) among others.
Arias has been artist in residence at Harvestworks (New York City, 1999) and at Engine 27 (New York City, 2003), at Music OMI International Musicians Residency (Gehnt, New York, 2008) and was a fellow at the Civitella Ranieri Center (Umbria, Italy, 2004).
MV Carbon + CrudLabs
MV Carbon is a Brooklyn based musician and artist. Her work frequently involves tape machines, voice, cello, analog synthesizers, field recordings, along with hand built electronics. She has recently been developing and performing new works that utilize physical computing, and sensor controlled synthesis. Carbon is interested in spatial integration and site-specific consideration.
She has performed nationally and internationally with her solo work, as well as in collaborations at spaces including Arnolfi (UK); Issue Project Room (NYC); Lehman Maupin Gallery (NYC); Museum of Contemporary Art (Chicago); Museum of Contemporary Art (Detroit); Nefertiti Jazz Club (Sweden); PS1 Contemporary Art (NYC); Roulette (NYC); The Sage (UK); The Stone (NYC); the Tate Modern (UK); and Tesla (Berlin) . Her work with the dark-wave electronic duo, Metalux, has releases out on a number of experimental and independent labels including a future one on Obsolete Units. Her solo release, The Dislodged Perihelion, (LP) is coming out sometime in the near future on Ecstatic Peace. Her paintings and installations have been exhibited at galleries including the Butcher Shop (Chicago), D’Amelio Terras (NYC), Louis V.E.S.P.(NYC), MCCaigwelles Gallery (NYC), Pittsburgh Center for the Arts (PGH), Salon Invisible (Chicago), Three Rives Arts Festival (PGH), and West Nile (NYC).
Steven Litt
CrudLabs is Brooklyn-based artist Steven Litt. He creates gritty, industrial techno using an instrument he developed and built called the CrudBox— a hardware step sequencer which replaces the digitally manipulated or analog synthesized sounds usually associated with sequencers and electronic music with the raw, real time amplified sounds of whatever electromechanical devices are plugged into it, ranging from turntables to solenoids to power tools.
For the second part of the program Carbon will collaborate with Steven Litt, using hand built electronics, synthesizers, hand built electric stringed instruments and field recordings. They will work together to expose precious, glistening pieces of rubble that lie within their rhythmic industrial soundscape.
John Butcher + The Please
John Butcher’s work ranges through improvisation, his own compositions, multitracked saxophone pieces and solo explorations with feedback and extreme acoustics. Originally a physicist, he left academia in 1982, and has since collaborated with hundreds of musicians, mostly involved with improvisation – including Derek Bailey, John Stevens, Gerry Hemmingway, Polwechsel, Gino Robair, Rhodri Davies, Orig Toshimaru Nakamura, Paul Lovens, Eddie Prevost, Phil Minton, Steve Beresford, Otomo Yoshihide and John Tilbury. His compositions include pieces for Polwechsel, Elision, Rova Saxophone Quartet and “somethingtobesaid” for the John Butcher Group.
Recent projects include “Thermal” with EX guitarist Andy Moor & Thomas Lehn and “The Contest of Pleasures” with Axel Dörner and Xavier Charles.
The Please
Brendan Murray is a composer from Boston, MA who uses digital processing and analog synthesis to create large-scale compositions based in drone, pulse and repetition.
Linda Aubry Bullock’s earliest memories include being fascinated with the sound of humming transformers, birds, and the drone of the distant television. After music composition studies at Berklee College of Music (MA) and Bennington College (MFA), she developed a career primarily in the visual arts: porcelain, painting, and murals. She now performs and composes electronic music and has played in many settings domestically and internationally. She makes sound via field recordings, electronics, and harp.
Michael T. Bullock is a composer, performer, visual artist, and writer living in Boston, MA, USA. His modes of work include electroacoustic composition, improvisation, drawing, and video. Bullock performs across the US and in Europe, collaborating with a huge range of artists, including Pauline Oliveros, Christian Wolff, Steve Roden, Bhob Rainey and Greg Kelley of nmperign, Mazen Kerbaj and Theodore Bikel. Bullock also performs with the BSC, an octet of Boston-based improvisers; as the trio MAWJA with Kerbaj and Vic Rawlings; and in the sound & light duo rise set twilight.
For Floating Points, The Please will simultaneously go back to basics and forge new territory for themselves.
The musicians will form a standard rock trio: Linda on guitar, Mike on bass, Brendan on drums. IPR’s multichannel hemispherical speaker array will be used to create an evolving atmosphere of sounds composed of field recordings and filtered samples of the constantly simmering groove created by the band. The band’s sound will be gradually displaced by that of the speaker array, until the band stops and begins a new, introspective segment to carry the performance to its conclusion.
Kaffe Matthews
Since 1990 she has been making and performing new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, Scottish weather, desert stretched wires, NASA scientists, melting ice in Quebec and the BBC Scottish symphony orchestra. Currently she is researching 3D composition through Hammerhead sharks in Galapagos and Atlantic salmon in Northumberland rivers. Acknowledged as a pioneer in the field of electronic improvisation and live composition, Kaffe has released 6 solo CD’s on the label Annette Works.
Often collaborating, her present projects are with sonic furniture project ‘music for bodies’ and climate change activist fan band The Gluts with Café Carbon
Recent works include: Where are the Wild Ones?(2010), 12 channel composition, The Sage, AV Festival 10; In clean air we fly(2009), bicycle powered 8 channel installation for London’s Gillett Sq; The Marvelo Project(2008), Folkestone Sculpture Triennial; Sonic Bed_Marfa(2008), Texas; Sonic Bench_Mexico (2007), Laboratorio Arte Alameda Mexico City, 2007; Body Abiding, BBC Scottish Symphony Orchestra, Glasgow ; Sonic Bed_Shanghai,(2006) Xuhui Art Museum, Shanghai, China, 2006; This is for you,(2005) work for chaise longue, Arnolfini, Bristol, 2005; Three Crosses of Queensbridge, work for bicycles + radios, Drawing Room, London, 2005; No-one here but us chickens, 2005 The Starr auditorium, TATE Modern, London, UK, 2005.
Her 2004 collaboration Weightless Animals was awarded a BAFTA, she received a NESTA Dreamtime Fellowship in 2005 and an Award of Distinction, Prix Ars Electronica 2006 for the work Sonic Bed_London. In February 2006 she was made an Honorary Professor of Music, Shanghai Music Conservatory, China and in 2009, a patron of the Galapagos shark conservation society.
A 12 channel audio performance in which she attempts to make salmon language whilst moving up river from Tynemouth to Kielder water.
All music is made and processed from underwater recordings taken in the River Tyne Jan, Feb 2010.
Dafna Naphtali + Bora Yoon
Dafna Naphtali is a sound-artist/ improviser/composer from an eclectic musical background. As a singer/guitarist/electronic-musician she performs and composes using her Max/MSP programming for sound processing of voice and other instruments.
Dafna has collaborated / performed with many experimental musicians and video artists over the past 15 years, such as Ras Moshe, Alexander Waterman , Lukas Ligeti, David First, Joshua Fried, Darius Jones, Kathleen Supové and Hans Tammen as well as video artists Benton-C Bainbridge and Angie Eng and choreographer Daria Fain. She’s co-lead the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton (www.whatbat.org) , and is a founder of Magic Names vocal ensemble. She’s received commissions and awards from NY Foundation for the Arts, NY State Council on the Arts, Meet the Composer, Experimental TV Center, Brecht Forum, and residencies at STEIM (Holland), Music OMI and iEAR at Rensselaer Polytechnical Institute. She’s twice received commissions from American Composers Forum (for pianist Kathleen Supové, and in 2010 for Magic Names vocal ensemble), . She’s performed and traveled widely and under usual circumstances for her music (to festivals and venues around the globe), including to India in February 2010 for collaboration with Hindustani singer, Vidya Shah (with funding from American Music Center). Dafna received a 2011 Franklin Furnace Fund award to develop work with Eric Singer’s LEMUR music robots.
Dafna also teaches and gives workshops at universities in the US and Europe , holds a Masters in Music Technology from New York University, where she is part-time faculty, and teaches programs and consults about computer music at Harvestworks and freelance since ’95. She’s done sound design and/or programming work for the projects of many artists at the forefront of digital and interactive music.
Dafna can be heard on Mechanique(s) (Acheulian Handaxe), on What is it Like to be a Bat? (Tzadik/Oracles) (4 Stars, All Music Guide) with Brazelton and Danny Tunick, Her newest CD Chatter Blip with Chuck Bettis is on Acheulian Handaxe.
Dafna Naphtali will perform a set of interrelated multi-channel aleatoric sound and vocal pieces building on work created during her years as a programmer at Engine 27, and during a residency at Diapason (“Audio Chandelier and Haas“). She will also present excerpts of “Panda Half-Life,” a new multi-channel vocal work written for the vocal ensemble Magic Names (American Composers Forum commission), which premiered in June, with Gisburg and other guest singers from the ensemble.
Bora Yoon
Yoon has collaborated with musicians DJ Spooky, Ben Frost, Kaki King; data artist Luke DuBois; site-specific choreographer Noémie Lafrance; multimedia theatre companies Ridge Theatre and Dhamma Theatre West; composer Michael Gordon; poet Sekou Sundiata; and the League of Electronic Musicians & Urban Robots (LEMUR).
Yoon has collaborated with musicians DJ Spooky, Ben Frost, Kaki King; data artist Luke DuBois; site-specific choreographer Noémie Lafrance; multimedia theatre companies Ridge Theatre and Dhamma Theatre West; composer Michael Gordon; poet Sekou Sundiata; and the League of Electronic Musicians & Urban Robots (LEMUR).
Jesse Stiles + Andrew Neumann
Jesse Stiles (b. 1978, Boston, MA) is a new media artist, musician, and designer of electronic systems. Through the adaptive misuse of emerging digital technologies, Stiles creates works that are simultaneously entertaining, disorienting, immersive, and transcendental. Stiles’ performances and generative installation work engage with and deconstruct a number of populist formats including electronic dance music, narrative cinema, and the “light show” – pushing these mediums into realms both sublime and subliminal.
Stiles’ work has been exhibited and performed nationally and internationally at institutions including Ars Electronica (Linz, Austria), Lincoln Center (NYC, USA), Eyebeam (NYC, USA), Rencontres Internationales (Paris/Berlin/Madrid), and the American Land Museum (various sites, USA). Stiles has also produced a number of site-specific performances in unconventional sites such as “Topics in Advanced Facemelting,” a light and sound performance in one of the United States’ few remaining gasholder buildings (Troy, NY), and “Deja Rendez Vous” a performance on a floating video stage adrift in the Buffalo Bayou (Houston, TX).
In 2000, Stiles was awarded the Watson Fellowship, a one year grant, which enabled him to travel around the world creating electronic music, a project which culminated in the album, “Watson Songs.” His forthcoming release “The Target Museum” is a record of experimental pop songs, employing dream logic and imaginary instruments. Stiles has worked as a sound designer and composer on a wide variety of IMAX films, feature films, touring exhibitions, and experimental video works. He has led courses, lectures and workshops on sound design, digital audio composition, studio production, and field recording at universities and colleges including NYU, Carnegie Mellon University, The New School, Princeton, and the Massachusetts College of Art. Stiles holds a BA in Cognitive Science from Vassar College and a MFA in Integrated Electronic Arts from Rensselaer Polytechnic Institute.
Andrew Neumann is a Boston-based artist who works in a variety of media, including sculpture, electronic/interactive music, and film and video installation. In 2004 he received a Guggehneim Fellowship. He has had solo shows at bitforms Gallery in New York City, the DeCordova Museum, Howard Yezerski Gallery and at the Boston Cyberarts Festivals in 2003 and 2005. During 2001, he was an Artist in Residence at the iEAR Studio at Rensalear Polytech Institue and at the Visual Studies Workshop. He has also had residencies at The MacDowell Colony (2000), YADDO (1999, ’03), Ucross Foundation (1998), Steim (1999), ATLANTIC CENTER for the ARTS (2001), Art/OMI (2000), and the Experimental Television Center (1982, ’87). Group exhibits have included “Tech-Art II” at the South Shore Arts Center, Art Interactive in Cambridge, Ma, Gallery Bershad, and numerous others. His music is available on Sublingual Records. He has had solo music/video performances at Experimental Intermedia and Roulette, both in NYC. He has taught filmmaking at the School of the Museum of Fine Arts in Boston. He has also been an instructor at the Art Institute of Boston and the Boston Film/Video Foundation.
Tonight, he’ll be performing “Bring Me the Head of Mariah Carey (or, Seven Degrees of Separation)”
Carver Audain + Richard Francis
Carver Audain (b 1981) is a sound artist actively producing works comprised of field recordings, guitar, electronics, 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 a focus on controlling the shift of sustained harmonic overtones that both merge with and transform their physical surroundings.
Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose textural and tonal sound works. He has released solo and collaborative works on a number of labels worldwide and runs his own label CMR, through which he releases limited edition lathe cut records by New Zealand artists. Touring in Japan, Australia, Hong Kong, Canada, USA and Europe, he uses a computer and electronics, while in performance. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recordings and/or performances with many artists including Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike.
Leslie Ross + Philip White
Buy Tickets | Admission: $10 ($9 in advance, $8 members)
Instrument maker, composer and bassoonist, Leslie Ross, has been creating in NYC since the mid 80′s when she was very active in the downtown improv-scene. Constantly, Improvisation remains central to most of her pieces. In the past number of years, she has focused her explorations on better understanding bassoon multiphonics and has become ceaselessly amazed at their richness, diversity –and ever-growing numbers. She still periodically constructs instruments and sound sculptures: the latest one in 2007, a bicycle driven mechanical organ. She continues to make replicas of historical bassoons in her workshop on the Lower East Side.
Philip White’s performances center on a non-linear feedback system, which consists of a mixer and several homemade circuits. In addition to his work with analog and digital electronics, White has written extensively for chamber ensembles and created a large body of inter-media pieces that explore meaning in information transmission.
In 2008, Philip received his MFA from Mills College where he studied with Chris Brown, Hilda Parades , Helmut Lachenmann, Roscoe Mitchell and James Fei. His works have been exhibited in galleries across the US and Germany. He currently performs with Suzanne Thorpe (thenumber46), Chuck Johnson (with chuck johnson with philip white) and Charity Chan (Cat on a Wire). Recent performances/exhibitions include The Stone (NYC), Sonic Circuits (DC), Redux New Media Festival (Charleston, SC) and Neurotitan (Berlin). Thenumber46’s forthcoming debut Bleach and Ammonia is being released in cassette format on Tape Drift Records. Philip also writes about music, contributing to the Wire magazine and SEAMUS Journal.
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,...