Thursday, February 18th
8pm, $5 suggested donation (no one turned away)
at Redeemer Lutheran Church — 5431 NE 20th Ave.
(ne 20th and Killingsworth) — (ByCycle.org)
Abusive/Consumer and Tim Alexander (Moth)–electronics duo.
Joel Pickard, Jonathan Sielaff, and John Niekrasz Trio (pedal steel, bass clarinet, drums)
Bios:
Joel Pickard has an MA in Composition from Mills College in Oakland, CA where he studied with Fred Frith, Alvin Curran, and Pauline Oliveros. He has a BA in Music from Bethel College in St. Paul, MN where he studied classical guitar. One of his most recent interests has been developing a non-traditional language on the pedal steel guitar, an instrument long relegated to providing the weeping backdrop to generations of country music ballads. In addition to freelance work, Joel is active as a performer in both solo and group settings.
Jonathan Sielaff (clarinets/electronics) is a composer/performer born in Miami, FL, he grew up in a musical family (his father and grandfather were both professional reed players). He began his studies with the piano, then picked up guitar and electronics in his teens, and has now been focusing on the clarinets. In composing and performing, he draws heavily from his experiences traveling and living in the South Pacific and Asia as well as participating in a wide array of musical settings and genres. He has lived in Portland since 2000 where he regularly collaborates with a variety of musicians, poets, dancers, and film-makers.
John Niekrasz is a drummer and composer. He is a disciple of Indian tabla master Pandit Lachu Maharaj and performs with Ecstatic Peace recording artists Poor School, as well as Portland super-groups, the syllabic-structuralists Why I Must Be Careful, and tight improv trio Thicket. He has collaborated and performed with such artists as John Wiese, Wally Shoup, John Gruntfest, and Doug Theriault.
Abusive/Consumer is the output of J Morales. Having spent the last 20 years playing drums/percussion in a variety of situations including Primitive Industrial, Free Jazz, Prog Rock and Improv (of all stripes) – I finally grew tired of asking people to help haul around the arsenal – not a fan of cars and their attendant woes. Lately I’ve been filling a suitcase with mixers, synths, delays, microphones and found percussives – tools for messing around with the sound of electricity wherever a place can be found to plug in. Through the use of feedback systems, looping, synthesis and chance operations – I’m inspired by the work of minimalists and maximalists like Pan Sonic, Phil Niblock, Iannis Xenakis, Arne Nordheim, Einsturzende Neubauten, Bastard Noise, Terry Riley and Ryoji Ikeda. The music varies between the completely improvised and the open ended composition – making a pastiche of Electro-Acoustic-Improv/Microsound/Dark Ambient/Noise/Progressive Synth/Digital Hardcore- never getting tied up in stylistic confines within a given performance or piece. Currently based in hipster village USA – Portland, OR but with his eye on the electronic music studio at evergreen college.
Moth, or Tim Alexander, has been performing “noise” since 1981, first in LA Free Music Society band Points of Friction (http://pointsoffriction.com/POfinal2/Page_1x.htm) whose “unorthodox exploration of keyboards,guitars, toy instruments, the assemblage of field recordings, noise improvisations, and tape loops tantalize the senses with arousing emotive power”.Friction originally performed under the cover of live film and slide projections with optical manipulations at alternative music venues in and around Los Angeles including Al’s Bar, the Anti-Club, Los Angeles Contemporary Exhibitions(LACE) and aboard the U.S.S. Cormerant (“Noise at Sea”). They shared bills with bands such as the Minutemen, the Meat Puppets, Whitehouse, Ke-Da-Vi, and the Monique Experience in the mid-1980′s. Tim has performed more recently in Fiasco and the Joiful Noiz Band in Portland. He received his M.A. in Sculpture from Claremont University in California in 1987 and has published, lectured and taught on the subject of art and sculpture. His artwork has been featured in galleries in the L.A. area through the 80′s and 90′s, moving to Portland in the late 90′s where his work continued to find exhibition. Tim’s current occupation is that of Professional Magician (aka Alexander Master of Marvels) which seems appropriate for someone who has made noise from unsuspecting devices and produced psychedelic art for the past 30 years. When L.A. electronic artist, radio host (Prof. Cantaloup on KXLU) and label head (Melon Expander Records) Mitchell Brown discovered Points of Friction (Joeseph Hammer, Kenny Ryman, Damien Bisciglia and Tim) in the early 00′s, there was a revitalized appreciation for their work, and the band reunited for the 2004 Melon Expander Records release, “Afterlife DNA Finger-Painting”. Tim works with the looping/sampling of amplified objects and field recordings locating the spaces in between the sounds creating “Cobbly Worlds” (see Clifford Simak’s “City”) where the intersection of these sounds become a universe of their own.
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