PDX Eye and Ear Control is an occasional interview podcast brought to you by the Creative Music Guild, a non-profit organization that promotes and supports creative, experimental music in Portland, OR. Hosted by Ben Kates and Brandon Conway, PDX Eye and Ear Control features mostly local musicians mostly discussing their work. In this episode we speak with percussionist Matt Hannafin. This is the second of two parts.
Source: Red Bull Music Academy Daily.
Not many artists have performed at private gigs for the Church of Satan, but then again, few artists have a career that looks anything like what Lustmord, AKA Brian Williams, has been doing over the past few decades. Born and raised in Wales, Williams relocated to London as a teenager and got involved in the city’s early post-punk and industrial scene, befriending the likes of Throbbing Gristle’s Chris & Cosey and eventually making his own music as Lustmord.
Source: Dialogue Talk.
I started a band, I call it the Experimental Band. And the reason I started the band is because in my self-studies of different approaches from different sources, technical studies, I needed a place to perform my composition; my new compositions, my original compositions. So, I formed, I organized what I characterize as the Experimental Band. And I attracted musicians who were of a like mind. They wanted to pursue their individualism in the same sense. And we were not playing standard type things in this particular orchestra. The idea was to — for myself to compose and perform the original music based on many things that I had learned from study.
For composer Robert Rich, writing and recording music are acts of communion. Since the dawn of his career, an era captured in a recent vinyl box set titled Premonitions 1980-1985, Rich has focused on infusing his expansive electronic works with deep personal meaning, drawing from realms such as philosophy, biology, astrophysics, and spirituality.
Rich’s output is frequently classified as space music, ambient, electronica or soundscapes. Depending on the project, one or more of these descriptions may have a potential resonance. But the San Francisco Bay Area native prefers listeners put preconceptions aside and explore the larger narrative being communicated and the emotions they inspire.
Source: Point of Departure.
Issue 52 – September 2015
Page One: a column by Bill Shoemaker
Mary Halvorson: Variety and Contrast: by Troy Collins
A Fickle Sonance: a column by Art Lange
Misha’s Cows Comes Home: by Kevin Whitehead
Ezzthetics: a column by Stuart Broomer
The Book Cooks:
Lion Songs: Thomas Mapfumo and the Music That Made Zimbabwe
(Duke University Press; Durham and London)
Jumpin’ In: a column by Greg Buium
Moment’s Notice: Reviews of Recent Recordings
Travellin’ Light: Myra Melford
Source: Jazz Right Now.
Bassist and composer Lisa Mezzacappa is set to premiere her most ambitious work to date, Glorious Ravage, an evening-length song cycle for large ensemble and film at the Angel City Jazz Festival in Los Angeles, September 26, and at the Brava Theater Center in San Francisco, October 1-2. The work takes its inspiration from Victorian-era lady adventurers who traveled the world. The work is also the product of an extensive collaboration with four moving image artists: Konrad Steiner, Alfonso Alvarez, Kathleen Quillian, and Janis Crystal.