Journalist and filmmaker Stephanie Castillo has accomplished a combination coup and tour de force with her documentary on the music and life of composer–saxophonist-flautist Thomas Chapin (1957-1998). Chapin was a master musician willing and able to crisscross assumed genre boundaries whose intensive activities were interrupted at the age of 40 by a sudden intrusion of leukemia.
Source: Igloo Magazine.
Blackwood :: As the World Rots Away (Subsound)
Revolutionary Army of the Infant Jesus :: Beauty Will Save the World (Occultation)
Ocoeur :: Reversed (n5MD)
Dextro :: In The Crossing (16k)
Roel Funcken :: Iridium Flare (Funckarma.com)
Tom Knapp :: Mophoc Rez EP (Ge-stell)
port-royal :: Where Are You Now (n5MD)
Source: New York’s Roulette.
This May, Roulette hosts the 70th anniversary celebration of Germany’s revered Darmstadt Institute. The three-day festival brings together New York’s top contemporary ensembles and performers to pay homage to Darmstadt’s most influential faculty and alumni. Tuesday’s performance will be preceded by a panel discussion moderated by curator Zach Layton.
Here’s the full lineup:
Monday, May 9 @ 8pm
Darmstadt Institute New York: 70 Year Anniversary Celebration: Wet Ink Ensemble // Jennifer Walsh
– Matthias Spahlinger – “Extension” (1979-80)
Tuesday, May 10 @ 8pm
Darmstadt Institute New York: 70 Year Anniversary Celebration: ICE – International Contemporary Ensemble // Mivos Quartet
– Works by Ashley Fure / Chaya Czernowin / Luigi Nono
– Helmut Lachenmann – “Grido” (2001)
– Scott Wollschleger’s “Quartet” (2014)
Wednesday, May 11 @ 8pm
Darmstadt Institute New York: 70 Year Anniversary Celebration: Talea Ensemble // SEM Ensemble
– Karlheinz Stockhausen – “Mikrophonie I” (1964)
– John Cage – “Concert for Piano and Orchestra” (1957-58)
– Morton Feldman – “Why Patterns?” (1978)
– Iannis Xenakis – “Mikka and Mikka “S”” (1971, 1976)
– Karlheinz Stockhausen’s “Zietmasze” (1955-1956)
Source: Beacon Jazz Festival 2016, taking place north of New York, has an interesting lineup for this June. Artists include:
Sun Ra Arkestra, under the direction of Marshall Allen — The legendary big band that has traveled the spaceways for over six decades and continues blazing the intergalactic trail launched by the late composer, pianist and cosmic philosopher Sun Ra, continues its voyages now under the indefatigable leadership of the Arkestra’s longtime alto saxophonist, 91-year-old Marshall Allen;
New Standard Trio — The classic sound of keyboard trio jazz is honored and given a alluringly modern slant in the hands of these celebrated figures on their respective instruments: Jamie Saft on Fender Rhodes piano and organ, Steve Swallow on acoustic bass guitar and Bobby Previte on drums;
Joe McPhee Quartet — The world-renowned multi-instrumental force in boundary-pushing creative music for half a century and longtime Poughkeepsie resident, McPhee (on trumpets and saxophones) leads a dynamic quartet featuring Billy Stein on guitar, Michael Bisio on bass and Charles Downs on drums.
Source: The Concordian
Though experimental in nature, avant-garde art tends to push past convention and move right into the absurdist and the bizarre. Many works of its ilk defy fixed categorization due to their bewilderingly unfamiliar content, often pushing past what is deemed normal in an effort to shake up the playing field. Needless to say, the avant-garde is often seen as a provocation to the status quo.
So what happens when you apply these forward-thinking concepts to heavy metal music? You get something genuinely weird and wholly spectacular. Amalgamating elements from other disparate genres in refreshingly postmodern ways, avant-garde metal is primarily distinguished by its willingness to go all the way. After all, there’s nothing wrong with being weird, especially when it just means being yourself.
Source: The Guardian.
This trilby-clad sage has spent a lifetime antagonising the art world – and dabbling in rather more than just spices. His route in came after a degree at Harvard in 1962: he found maths lacking next to the adventures promised by John Cage, Henry Flynt and La Monte Young, experimental musicians whose orbit he was drawn into after he moved to New York. “It appeared as if Schoenberg had destroyed music,” he says, of the Austrian composer who had ripped up the rulebook. “Then it appeared as if Cage had destroyed Schoenberg. Our project was to destroy Cage.”