Lampo’s Winter / Spring 2013 Schedule

Jason Lescalleet

Jason Lescalleet (Photo credit: Non Event)

From Chicago’s Lampo:

SAT FEB 9 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE; RSVP here.

Lampo and the Graham Foundation are very pleased to welcome Hong Chulki and Choi Joonyoung, two leading figures from Seoul’s emerging experimental music community, as they make their Chicago debut.

And if global sameness has you down, this might be your remedy. Hong and Choi are part of a South Korean scene recognized for its unique style and creative approach, distinct from strategies in Japan, Europe and the U.S. Their noise music is less about taking non-musical amplified and synthesized sounds and organizing them into musical forms. Instead, they’re fascinated by non-musical practices, where the sonic results may be nearly inaudible or very loud, acoustic or electronic, and, they say, “barely musical.”

SAT MAR 30 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE; RSVP info soon.

Valerio Tricoli offers a special program for Lampo to mark the 100th anniversary of Luigi Russolo‘s Futurist manifesto, “The Art of Noises” (March 1913), one of the most influential texts in 20th century music. For the first time, the idea of noise-sound becomes part of musical discourse, creating the conditions for a radical advancement in sonic art, indeed anticipating and informing the whole experience of musique concrète, electronic music, and of American experimental composers such as John Cage.

In the manifesto, Russolo argues that the current musical avant-garde, even though seeking harmonic and timbre complexity through dissonance, fails in its task of renewing musical language. Orchestras are “hospitals for anemic sounds,” he writes, capable only of limited range of tones, or “a repugnant mixture… of monotonous sensations.”

SAT APR 20 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE; RSVP info soon.

In this very special solo performance, Takehisa Kosugi performs several compositions for multi-dimensional live electronic music — works originally commissioned for the Merce Cunningham Dance Company.

Tonight he will revise his material for quad sound, using homemade audio generators, readymade sound processors and an improvised lighting system to activate photosensitive electronic circuits. The program includes “Cycles” (1981), “Streams” (1991), “Op Music,” (2001), “Music for Nearly 90, Part-A” (2009) and “Octet” (2011).

SAT MAY 4 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE; RSVP info soon.

John Bischoff, an early pioneer of live computer music, presents four recent works. His stuff is precise and textured, spare, at times delicate, and really lovely.

We blurb. For John, it’s the method that matters: He explains, “The work projects sounds from an analog circuit into juxtaposition with raw digital audio generated from a laptop. As a performer interacts with the circuit, which consists of two square-wave oscillators activated by pressure sensors and shorting disks, instances of pulsed and modulated sound are triggered in the circuit and the laptop as well in a manner that couples the analog and digital sources together.” Bischoff continues, “In these pieces the detailed nature of the performer’s actions with the circuit — the initiation of sound events, the timing between them, and their spectral characteristics — are analyzed in real-time and used to construct an extended computer-generated response.” The set includes “Surface Effect,” “Field Transfer,” “Vocal Imprint (Test Pressing),” and a new untitled work.
SAT JUN 8 8pm
The Renaissance Society
Bond Chapel, 1050 East 59th Street
Admission FREE; No RSVP required.

Something new from Jason Lescalleet, tape-looper and chart-topper (e.g., here, here, here and here). Here, in his much anticipated return to Chicago, he’ll play with the resonance of Bond Chapel’s neo-Gothic space.

Lescalleet makes his music using a collection of vintage reel-to-reel tape recorders and simple electronics, running loops of crumpled tape between machines. He blends layers of found sound, amplified silences, and artifacts of everyday noise, all transformed through various microphones and speakers.

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