Coming to Seattle

English: Seattle composer and educator Neal Ko...


From Seattle’s Wayward Music Series:


THU. 12/12 – Triptet is a meeting of minds and spontaneous electrical impulses between Michael Monhart (saxophone, electronics), Tom Baker (fretless guitar, theremin, electronics), and Greg Campbell (percussion, french horn, electronics)

FRI. 12/13 – Yesod creates rich, living soundscapes best described as a blend of world, blues, jazz and ambient music styles.

SAT. 12/14 – Composer/pianist Neal Kosaly-Meyer performs a new installment of his composition-in-perpetual progress, Gradus: for Fux, Tesla, and Milo the Wrestler.

THU. 12/19 – Christian Pincock

FRI. 12/20 – Noisegasm + Distorrent

SAT. 12/21 – Phil Kline‘s Unsilent Night

SAT. 12/28 – Vanessa Skantze


Ingrid Laubrock Profile and Interview

Ingrid Laubrock

From 21st Century Improvised Music on the New York Scene:

Ingrid Laubrock has hit the New York scene like a bombshell over the past four years. Having played nearly twenty years on the London scene, Laubrock began making frequent visits to New York in 2008 and formally relocated to the city the following year. Since that time, she has become one of her generation’s leaders through her composing, playing, and diverse associations with some of the most prominent figures making music in New York today.

AMN Reviews: Angus Carlyle & Cathy Lane – On Listening

Angus Carlyle & Cathy Lane: On Listening (Devon: Uniform Books, 2013)

The act of listening is a complex one accomplished at the intersection of the world as given—the vibrations in the air surrounding us—and the world as taken—those same vibrations converted into meaningful sounds by our perceptual and conceptual makeup.

On Listening, a collection of forty brief essays, considers the act, content and context of listening from multiple perspectives. Although quite diverse, the essays all start from an understanding of listening as, above all, a situation.

The listening situation can be defined as the synthesis of sound and space within the listener’s flux of perception.  What makes the listening situation a situation per se and not just an inert condition is the active participation of the listener, through whom sound and space are transformed from brute material facts into an experienced situation. Thus the listening situation is something of a phenomenological artifact, that is, something we create through the act of listening as we receive and integrate the modalities of sound—its pitch, timbre, amplitude, duration, and so forth—into a meaningful whole that also takes in the surrounding framework provided by the environment in which sound is apprehended.

As many of the book’s contributions show, through the mediation of the act of listening sound and environment are mutually influencing and mutually revealing.  Listening conveys information about different features of the physical environment and about different physical environments themselves, as addressed in essays on the bioacoustics of underwater sound (Gianni Pavan), the sound ecology of the airspace over a military installation in the southwestern American desert (Steve Rowell), or the experience of hearing music outdoors (Jérôme Joy).

And yet it is the listener who realizes this synthesis of sound and environment through the complex act of listening. Several contributors consider the role of the listener as an active agent in creating the listening situation. Michael Gallagher, in critically examining the relationship of listening to the extraction of meaning from sound, suggests that a better approach might be to ask “what listening does.” This essay seems to be an invitation to the formulation of a theory of listening acts somewhat analogous to the theory of speech acts, and something that would be fascinating to see worked out. One possible point of departure for doing so may be offered by Barry Blesser and Linda-Ruth Salter, who put listening into a functional context grounded in evolutionary demands.

Some of the essays examine the ways in which listening is mediated not only through the listener’s own perceptual and conceptual apparatus, but by the technologies enabling, hindering and otherwise affecting listening. Here too, the situatedness of listening comes to the fore, whether listening is set within a movie theater (Michael Chanan), afforded by radio—described by David Hendy in a nice turn of phrase as a continuous “jumbled aural tapestry”—or interpreted by technological models of human listening mechanisms (Volkmar Klien).

Other essays analyze listening in its social dimensions, whether as a relationship between people in conflict mediation (Jean de Dieu Basabose, Nicola Triscott), or personal narration (Polly Nash), or as a relationship to oneself through an inner voice (Diana Corley Schnapp, Daniel Smith).

The handful of individual essays mentioned above represent only a sampling of what the book holds. The wide variety of reflections on listening and the audio arts collected here ensures that On Listening will be useful to people involved in sound art in all of its aspects. This isn’t a book to be read in one sitting. Rather it’s the kind of book to be picked up and savored over multiple occasions, whether in relation to specific topics of interest or simply for a serendipitous encounter with a provocative idea.


P-Orridge in 2007
P-Orridge in 2007 (Photo credit: Wikipedia)




December 7, 2013
Hanna Hartman Solo, Issue Project Room
Hanna Hartman

December 7, 2013
Henrik Rylander & MV Carbon, Issue Project Room
Henrik Rylander MV Carbon

December 7, 2013
Mats Gustafsson Solo, Issue Project Room
Dror Feiler Mats Gustafsson

December 7, 2013
Mats Lindström & Marina Rosenfeld, Issue Project Room
Marina Rosenfeld Mats Lindström

December 7, 2013
The Space In Between, Issue Project Room
Alba G. Corral Mónica ‘Nikka’ Muñoz

December 6, 2013
Dror Feiler Solo, Issue Project Room
Dror Feiler

December 6, 2013
Genesis Breyer P-Orridge DJ Set, Issue Project Room
Genesis Breyer P-Orridge Lawrence Kumpf Mats Lindström

December 6, 2013
Kevin Drumm & Joachim Nordwall, Issue Project Room
Joachim Nordwall Kevin Drumm


Musique Machine Reviews

From Musique Machine:

Corduroy – Very Yeah – The Director’s Cut: Complete Compositi
Stavros Gasparatos – Seven
Waves Crashing Piano Chords – It Turns Me On Because it Shouldn’t
Nighttime In The Abyss – People For the Ethical Treatment of Abominations
Cory Strand – Three Pieces For Lindsay
Stephan Mathieu – Un Coeur Simple
Å – Troglodyte
Swallowing Bile – What You Deserve…
Die Reitenden Leichen – F.O.A.D
I watched You Die/Nascitari – Split
Bastard Noise vs. Brutal Truth – Axiom of Post Inhumanity
Steve Moore – Pangaea Ultima
Daniel Blinkhorn – Terra Subfónica

Fresh Sound Music Series Winter / Spring Schedule

English: Zeena Parkins performing with Cosa Br...


From San Diego’s Fresh Sound:


We are pleased to announce the upcoming season of exciting new music at Bread & Salt. As usual, we are bringing musicians from around the globe, this time from Brisbane, Australia; New York and further-north California.

Friday, January 24th, 2014 · 7:30PM · Clocked Out Duo
Vanessa Tomlinson, percussion Erik Griswold, prepared piano and percussion, from Brisbane, Australia Clocked Out Duo creates new music with a sense of play and adventure. They use prepared piano, percussion, found objects and toys to craft their trademark “warped grooves” …

Friday, February 21st, 2014 · 7:30PM · Zeena Parkins
Zeena Parkins, pioneer of contemporary harp practice and performance, re-imagines the instrument as a “sound machine of limitless capacity.” Taking the harp into the realms of the avant garde, Ms. Parkins will play an improvised set on her unique one-of-a …

Friday, March 7th, 2014 · 7:30PM · Nicole Mitchell with Sun Dial Ensemble
Sun Dial unites luminary musicians from diverse musical communities, connecting forces of Nicole Mitchell, flutes/composition; Dwight Trible, vocals; Michael Dessen, trombone; Jeff Parker, guitar; Najite Agindotan, percussion.

Bread & Salt 1955 Julian Ave. San Diego, CA 92113
From the 5 South, take the Cesar Chavez exit
Turn left on Logan
Turn left on Cesar Chavez
Turn right on Julian.

We are also pleased to announce our Spring Season as well:
7:30 pm

Weds, April 2 — Ned Rothenberg saxophones, clarinets, flute and shakuhachi — New York

Sunday, April 20 — Chris Speed Trio with Speed, saxophone; Dave King, drums; Chris Tordini, bass — New York

Friday, May 16th — Marco Eneidi, saxophone with a great drummer. — Vienna and Mexico


Newsbits: Orphy Robinson and Others in Brighton / Avant-Garde in Melbourne / Wil Blades Kickstarter

Orphy Robinson

On the Edge presents, December 18th, 2013 – 8pm, Orphy Robinson + Alison Blunt / Gianni Mimmo at The Safehouse Brighton, 132 Dyke Road, Brighton BN1 3TE.

Melbourne’s Avantwhatever Presents… Rishin Singh (Trombone), Ingar Zach (Percussion), Kjell Bjørgeengen (Video), Kim Myhr (Guitar), Jim Denley, (Saxophone) at Conduit Arts, 83 Brunswick St, Fitzroy, Sunday January 19.

Wil Blades has launched a Kickstarter for his next project, which features Jeff Parker and Simon Lott.