Tonight in Chicago: Aperiodic takes James Tenney’s Swell Piece to the beach for free

From The Bleader:

The forecast calls for the heat wave to break tomorrow, which means nobody will need to suffer for art to attend the free Thursday-evening concert by Chicago experimental-music collective Aperiodic on Oak Street Beach. Led by composer Nomi Epstein, the ensemble is performing an hour-long version of the wonderful Swell Piece (1967) by composer James Tenney at 7 PM as part of Make Music Chicago. The 15 or so players will include folks from a wide variety of musical communities, such as Joseph Clayton Mills of Haptic, Ammie Brod of Ensemble Dal Niente, and improvising bassoonist Katherine Young.

AMN Reviews: Kim Nasung – Places (Wefrec)

Kim Nasung´s electro-acoustic works are postmodern ghosts in the machine, the spooks that have abandoned superannuated analogue technology and are insinuating their way into their new, digital successors. On “Places”, he succeeds in evoking both possible and impossible landscapes with a paltry arsenal comprised of field recordings, a “noise generator” and mini bandura, a stringed Ukrainian folk instrument.

“Places” takes the listener to unwelcoming, peopleless vicinities. Even he can´t name them, giving the tracks titles like “v.6” and “”7 v.4, coordinates on a map not yet charted. The lazy lapping of a cold sea at its shore conjured by a slurry of static, dust and metal shavings, its waves disturbing a wreck half buried in the sand. An ultra-modern suburban mall abandoned before ever greeting a single customer, now taken over by the buzzing flourescent lighting and escalators grinding against their drive chains as the oil runs dry. Fog tentacles of dry ice exploring the absence in an electron shell. And yet, as this unsettling album begins to draw to a close, something very familiar can be heard in the near distance. Something almost musical, something signaling amusement.

The Lublin-based Nasung also participated in a major event arranged by the Zachęta National Gallery of Art in Warsaw together with The Art And Technology Foundation of Poland showcasing new experimental electronic music from Belarus. Along with Nasung, domestic artists Harpakahlo, Vasn Piparjuuri and Krzysztof Orluk accompanied visitors Knyaz Mishkin, i/dex and Pavel Ambiont. The unique hour-long document, by and large revelatory, especially in its more subtle moments, has been compiled by Jarek Grzesica – who also participates under the monicker Gold Plated Face – of the Warsaw Electronic Festival and set in a sturdy, black hardcover book entitled “Opening the Door: Belarus Sound Art in Poland”, detailing the event richly in word and text.

Stephen Fruitman

Coming to the Vortex Jazz Club

From London’s Vortex:

Thur 21 | 8.30pm

Parker, Russell, Edwards

Evan Parker‘s monthly free improvisation residency with bassist John Edwards and guitarist John Russell.


Sun 24 | 8.30pm

Nate Wooley, John Edwards & Mark Sanders

For 20 years Mark Sanders (drums) and John Edwards (bass) have been a leading ryhthm section, appearing live internationally and on cds with a/o Evan Parker, Agusti Fernandez and Veryan Weston. A mutual admiration has brought these three great players together for the first time.


Mon 25 | Early show 8.30 ­ 10.15pm

The early show starts at 8.30pm with a half hour set from Ruby Colley. Zoe’s set starts at 9.15pm.

Zoë Keating

A one-woman orchestra, Zoë Keating plays cello and uses a foot-controlled laptop to record layer on layer intricate, haunting and compelling music. Zoë’s grassroots, label-less approach, has garnered her much public attention and press. She has been profiled on NPR’s All Things Considered and awarded a performing arts grant from the Creative Capital Foundation and has spent much of 2011 touring across North America in support of her latest album, ‘Into the Trees’. She has performed and recorded with a wide range of artists, including Imogen Heap, Amanda Palmer, Curt Smith of Tears for Fears, DJ Shadow, John Vanderslice, Rasputina, Pomplamoose and Paolo Nutini.

Ruby Colley

Performing her music alone, with an electric violin and a series of pedals, Ruby Colley creates instrumental soundscapes that are far beyond the realm of traditional playing, with the complex web of sound more akin to an electric orchestra. She draws upon many different styles such as folk, jazz and classical and her debut album ‘Murmurations’ presents a strong selection of all of these.


Tue 26 | 8.30pm

Aisha Orazbayeva
‘Outside’ – the album live
Aisha Orazbayeva (violin/voice), Matthew Schellhorn (piano) and Peter Zinovieff (computer) play music by Sciarrino, Ravel, Zinovieff-Orazbayeva, Salvador Lachenmann-Orazbayeva. Orazbayeva and her album ‘Outside’ have been reviewed as “a rich mix of uncompromising contemporary music, electronics, even singing“ (The Strad), and as “inventive textures you could use to resurface half of the UK’s motorways… superb” (The Sound Projector).


Wed 27 | 8.30pm

Penny Rimbaud‘s Last Amendment
presents ‘Reason Veils the Absurd’
Following five year’s seclusion in the metaphorical woodshed, Penny Rimbaud returns to the Vortex to begin a quarterly residency feeling ‘none the wiser and all the better for it’. Expect a heady mix of musings, magnificence, nonsense, impro, outpro, fusion, confusion, poetry and jazz. Standing (and oftimes falling) at the forefront of the neo-romantic avant-garde, Rimbaud is joined this evening by co-conspirators Eve Libertine (vox), Charles Webber (signal generators), Louise Elliott (sax’n’flute), Kate Shortt (cello), Jennifer Maidman (bass), Gene Calderazzo (drums) and Gee Vaucher (visuals).


Thur 28 | 8.30pm

World Sanguine Report

Part demonic vaudeville, part psychotic big band, vocalist/guitarist Andrew Plummer revels and writhes in the macabre as he heads his World Sanguine Report through visceral tales from the dark side of life, love and death. Propelled by demented carny rhythms, Plummer’s bruised, gruff vocals and darkly-enthralling lyrics are enveloped in a tide of swirling tones and textures, with the threat of breaking into waves of cacophany.


Glockenspiel – Adrian Dollemore (el guitar) and Steve d’Enton (drum kit). – are hypnotic and entrancing and manage to be so with a ‘less is more’ aesthetic. Intensely meditative and ambient textures build swirling melodies that orbit your head until you finally give in to the sonic splendor. Rich emotional depths, adding so much contrast it’s heartbreaking, highlight the more insular drones.