Point of Departure 48 is Out

From the Point of Departure webzine.

Page One: a column by Bill Shoemaker

Rich Halley: The Outsider: by Troy Collins

A Fickle Sonance: a column by Art Lange

The Book Cooks:
The Execution of Sun Ra
Volume II: The Mysterious Tale of a Dark Body
Sent to Earth to Usher in an Unprecedented Era of
Cosmic Regeneration and Happiness
by Thomas Stanley
(Wasteland Press; Shelbyville, Kentucky)

Far Cry: a column by Brian Morton

Moment’s Notice: Reviews of Recent Recordings

Ezz-thetics: a column by Stuart Broomer

Travellin’ Light: Rob Mazurek

Sonic Circuits Preview

Sonic Circuits Festival Preview
October 3-5
Pyramid Atlantic, 8230 Georgia Ave, Silver Spring, MD
two blocks from Silver Spring metro (redline)
Buy tickets: http://dc-soniccircuits.org/#festival
Facebook event: https://www.facebook.com/events/753068434751566/

Friday October 3 @7:30pm – $15 | students $10

INSECT ARK is the new solo project from Dana Schechter, known for her work with M. Gira’s Angels of Light (Swans) and Bee and Flower. Based in Brooklyn, INSECT ARK is composed and performed as an analog-electronic hybrid: one woman, a sampler, a bass, a lapsteel and a keyboard.

Lazurite is the solo project of Megan Moncrief, mostly employing the ukelin (an oddball 36-stringed invention sold door to door during the Great Depression). String drones, feedback, and percussive strikes bleed together with synths, homemade effects, and drum loops, all processed through the ominous digital buzz of a stack of throwaway pedals. The first Lazurite tape, Secular Geometry, was self-released in 2011.

[ówt krì] (Helsinki)
I find inspiration in words of poetry and in colored fields of abstract paintings. I seek for sounds in nature in order to replicate and revamp them for my own paintings and poems that I build from sounds. My sense of aesthetics does not suit everyone, but in the end I create pictures and feelings that my sanity craves I get out.
My canvas is the airwaves that shiver our eardrums, my words are more often written in notes than letters. I do not give out everything of my works. I enjoy leaving something to the listener. Maybe you feel joy or sadness, love or hate…maybe disgust or, in the best of cases, pleasure. All I hope at the end of the day is that at least one of my works have woken some feelings within you.”

Also appearing on Friday: Mind Over Matter Music Over Mind, Chester Hawkins (outdoor video+audio performance), Bonnie Jones, Chris Lynn

Saturday October 4 @5:00pm – $20 | students $15

GILLES AUBRY is a Swiss sound artist based in Berlin since 2002. He uses location recordings, audio archives and interviews to create live performances, sound installations, music publications and movies without pictures. Informed by researches on cultural, material and historical aspects of sound production and reception, Aubry’s works generally address issues related to the politics of the audible.

The sound-constellation 100110 was formed in spring 2012 as a collaboration between the two artists. What started as a side-project to experimenta sound-trio Triumph-Adler evolved into becoming “..one of Swedens most interesting combinations of sound-art, electronic improv, or whatever you call it..” (review in swedish by Thomas Millroth on sound of music) and in October 2012 they released their first EP 001 as well as taking a mini-tour, with Ljudodyssé (Sound-Odyssey) perfoming in Gothenburg, Sweden & London, UK.

From Latin “extremus” meaning “extreme” and Greek “philiā (φιλία)” meaning “love”, Extremophile (NYC) is an organism made up of Lucio Menegon (guitar), David Grollman (percussion), Emilie Lesbros (voice), Sean Ali & Pascal Niggenkemper (standup bass) that thrives in sonic and improvisational extremes that are full of love yet detrimental to most life on Earth.

Bruzgynai (eng.”brushwood”) is the long-time project of Arma, one of the most active Lithuanian experimentalist and promoter. Bruzgynai is constantly evolving act pushing the boundaries of genres and disciplines and hardly staying still for long in one point. Arma perfectly controls his expressive on-stage alter-ego as well as organic emissions of weird noises. Spontaneous and unpredictable madness. Lo-fi aesthetics, sound adventures, drone mystique, outsider noise. Hermitic moods and a ritual action of Nature unknown.

With surprising instrumentation, innovative songwriting, quirky melodies, and a healthy sense humor, Bee vs. Moth (Austin, TX) plays music that defies traditional categories. The band has one foot in the world of jazz and creative improvisation, and the other firmly planted on a distortion pedal. Is Bee vs. Moth serious or silly? Virtuosic or spazzy? We’ll find the answer somewhere between doom metal and a brass band.

The Subtle Body Transmission Orchestra + Movement is a site-specific music & dance collaboration exploring the outdoor environment around Pyramid Atlantic with sound and improvised movement.
Daniel Barbiero (1958, New Haven CT) is a double bassist, sound artist and composer in the Washington DC area. He has released work under his own name and with If, Bwana (Al Margolis), Ictus Records percussionist Andrea Centazzo, Blue Note recording artist Greg Osby, and electronic sound artist Steve Hilmy, among others. In addition to his solo work and work with The Subtle Body Transmission Orchestra, he is a founding member of the free improvisation quartet Colla Parte and is a regular contributor to Avant Music News and Percorsi Musicali. The Subtle Body Transmission Orchestra is:
Daniel Barbiero, double bass, Sam Byrd, percussion & miscellany, Tim Harding, alto saxophone, Rich O’Meara, vibraphone & percussion, Tom Wall, baritone saxophone, with Jeff Surak, real-time tape interventions
and dancers Ken Manheimer & others

Also appearing on Saturday: oceans roar 1000 drums, xambuca, Anthony Pirog, The Use, Limax Maximus, cebec

Sunday October 5 @5:00pm – $20 | students $15

Mia Zabelka, composer, violinist and vocalist from Vienna, with czech, jewish and french family background, lives in the Austrian region of southern Styria. As a performer of Avantegarde Music she has developed a unique language based on the deand reconstruction of the violin’s sonic possibilities, expanding the instrument using live electronic devices and innovative performance techniques. Mia Zabelka developed the process she describes as automatic playing, continuously exploring sound and music as physical phenomena, always pushing back the boundaries in radical and provocative performances and compositions that question established notions and given structures. She has given concerts and performances throughout Europe, America and Asia. Recipient of numerous prizes (3-time winner oft the Prix Ars Electronica) and awards, she was a guest of the DAAD’s (German Academic Exchange Service’s) international artists’ programme in Berlin and the Fulbright Commission in New York. ]

Gen Ken Montgomery & Andrea, Enchantress of Bioluminosity present “A Light Odyssey” – walkie talkie transmissions, subtly projected lights, hypnotic movement, spontaneous recordings & live manipulations of electronic & analog tape samples to create an immersive aural & optical journey out of the darkness.
Gen Ken Montgomery is a New York-based artist whose involvement in the cassette-culture and mail-art movements of the late seventies led to the creation of Generator, New York’s first sound art gallery in 1989. Montgomery has used sound as the primary source material in his artwork and performances since 1980. Montgomery founded A.T.M.O.T.W. (Art Is Throwing Money Out The Window) in 1994 for the production of his multi-disciplinary and sonic activities. Using sound as a form of transportation, Montgomery playfully thrives on creating and sharing listening experiences, making books, laminating ephemera, & sending home-made postcards. In 1996 Montgomery was appointed Minister of Lamination in The Kingdoms of Elgalnad-Vargaland. In 2013 a retrospective of Montgomery’s immersive multi-channel concerts was presented at Harvestworks, & the Generator was recreated at AVA in New York City.

Andrea Beeman, the Enchantress of Bioluminosity, is a dancer, choreographer & vocalist whose versatile performance palette ranges from the traditional dances of the Middle East & India to technologically savvy multimedia performance art. Since 1987 she has performed in theaters, concert halls, cabarets, restaurants, nightclubs, museums, & universities in NYC & abroad. Whether it’s baladi, Bollywood or bioluminosity, she combines a love of ethnic music & dance with a reverence for tradition and a search for new expressive frontiers. The Enchantress also sings & performs in the post-punk/new wave electronic dance band Crash Course in Science.

Sarah O’Halloran is a composer from Ireland currently living in Washington D.C. She recently completed a residency at George Washington University where she worked on her multi-media music drama Stitching. Sarah is also a doctoral candidate in Composition and Computer Technology at the University of Virginia. Much of Sarah’s compositional work focuses on interactions between music, drama, and storytelling. Recent pieces have explored themes including Irish maritime folklore, the boundary between real and imagined sensation, and the whimsy and darkness of children’s stories. Sarah is particularly interested in collaborating with other artists and scholars. She has a longstanding partnership with Margaret Schedel, they compose and perform together as kite•string.

Layne Garrett is a musician and sound artist based in Washington, DC. He plays guitar non-conventionally both on his own and in the improvising duo Weed Tree (with drummer Amanda Huron). He also works with found objects and self-built instruments recorded to cassette tape and layered in real time. He has released several recordings on the DC-based Sockets label and toured North America by Greyhound bus to share his sounds. His recorded music has been appreciated by the likes of Wire, Arthur, and Foxy Digitalis. His guitar playing has been called “riveting” (-Id M Theft Able) and been likened to that of Bill Orcutt, “if Orcutt didn’t like melody” (-Ian McColm). He is active in the DC experimental music scene, hosting house shows for the past six or seven years. For his performance Layne will create a sound installation consisting of rooftop gongs reverberating through thin wires running the length of the Pyramid Atlantic parking lot and amplified by floating styrofoam boxes.

Sound / Source at MoMA, Oct. 19

Tyondai Braxton
Cover of Tyondai Braxton

From New York’s MoMA PS1:

Sound / Source is a day-long exploration of electroacoustic music in all its forms, featuring collaborations between legends, luminaries, and newcomers as they examine the interplay between human and machine sounds. Using the elasticity of the human voice and the endless expanse of its interpretation through electronic processing as a guiding principle, Sound / Source takes at its center a rare live performance of pieces from Paul Lansky‘s series of Idle Chatter compositions on the 30th anniversary of the series’ birth, including a new live vocal arrangement performed by members of Roomful of Teeth as well as an 8-channel surround sound arrangement performed by Lansky himself. The significant, continued resonance of these compositions will be represented in a new interpretation by artist/composer Holly Herndon.

A special performance of Alvin Lucier‘s classic piece I am sitting in a room will launch the day’s festivities by exploring the resonant frequencies of MoMA PS1’s geodesic dome. Additional performances, including sets by Tyondai Braxton and pianist Vicky Chow, will showcase new and vital pathways being forged in the electronic field. Chow will perform composer and visual artist Tristan Perich’s Surface Image on the occasion of the piece’s release on New Amsterdam Records.

Complementing the performances in the dome will be a collection of new, site-specific sound installations filling the MoMA PS1 building from top to bottom, created by some of today’s most talented and challenging electronic artists. Nate Boyce and Daniel Lopatin (Oneohtrix Point Never) will collaborate on an installation in MoMA PS1’s basement Boiler Room. Daniel Wohl will present a live, performative installation with Olga Bell and Caroline Shaw in MoMA PS1’s Richard Serra room on the museum roof. A special score of elevator music created by electronic duo Lucky Dragons will ferry viewers between the museum’s basement and rooftop spaces. In addition to these artist installations, MOOG will create an interactive electronic installation of handcrafted electronic instruments.

Claire Chase Performs Density 2036 in NY

From The Kitchen:

On October 2 and 3, 2014, Claire Chase returns to The Kitchen with the second phase of an ambitious 22-year project, which she began in 2013. Chase, a flutist and the founding artistic director of International Contemporary Ensemble (ICE), is intent on commissioning an entirely new repertoire for solo flute each year from 2014 to 2036: the 100th anniversary of Edgard Varèse’s Density 21.5. This year, Chase will perform a 70-minute program of world premieres by Du Yun and George Lewis, and US premieres by Felipe Lara and Matthias Pintscher.

Chase will also be bringing the Density 2036: part ii program to Northwestern University (November 5, 2014), Boston Conservatory (November 20, 2014), and The Center for the Art of Performance at UCLA (April 4, 2015).


Claire Chase, flutes
Levy Lorenzo, sound engineer
David Michalek, lighting designer

Felipe Lara: Meditation and Calligraphy for solo bass flute (2014)
Written at the Civitella Ranieri Foundation

Felipe Lara: Parabola na caverna for solo amplified flute (2014)
Commissioned by the Fromm Music Foundation, written for Claire Chase

George Lewis: Emergent for solo flute and electronics (2014)
Commissioned by the Pnea Foundation, written for Claire Chase

Matthias Pintscher: Beyond (a system of passing) for solo flute (2013)
Commissioned by the Salzburg Foundation and the Pnea Foundation, written for Emmanuel Pahud and Claire Chase

Du Yun: an empty garlic for solo bass flute and electronics (2014)
Commissioned by Project&, written for Claire Chase

Edgard Varèse: Density 21.5 for solo flute (1936)