The IBeam in December

English: Ingrid Laubrock, moers festival 2010

Source: Brooklyn’s IBeam.

Kyoko Kitamura’s Tidepool Fauna + Andy Green Quartet
Thursday, December 1st 8:00 PM $15 Suggested Donation
Tidepool Fauna – 8:00 pm
Kyoko Kitamura (voice, compositions)
Ingrid Laubrock (tenor sax)
Ken Filiano (bass)
Brian Drye 9:00
Solo Trombone
Andy Green Quartet – 9:30 pm
Andy Green – Guitar
JC Sanford – Trombone
Jeremy Udden – Saxophone
Dave Ambrosio – Bass

Jacob Sacks + Orlando Hernandez
Friday, December 9th 12:00 AM $15 Suggested Donation
Jacob Sacks – Piano
Orlando Hernandez – Tap

Jacob Sacks + Orlando Hernandez (Night 2)
Saturday, December 10th 8:30 PM $15 Suggested Donation
Jacob Sacks – Piano
Orlando Hernandez – Tap

Saturday, December 17th 8:30 PM $15 Suggested Donation
Billy Martin – drums and percussion
Chris Cochrane – guitar and…
Kato Hideki – Bass

A Closer Listen Reviews

Source: A Closer Listen.

Svetlana Maraš and Bodies Under The Waterfall ~ Angry Ambient Artists Vol. 2
Tim Linghaus ~ Vhoir
Various Artists ~ Camp Blue Pines
Stefano Guzzetti ~ Escape (music for a ballet)
Pinkcourtesyphone ~ Taking into Account Only a Portion of Your Emotions
Canti Magnetici ~ Tape Batch #2: Luca Garino, Videobasic, Absent Outfit, Danny Clay + Greg Gorlen

AMN Reviews: Jack ‘O The Clock – Repetitions of the Old City – I (2016; Bandcamp)


San Francisco Bay Area experimental rock / prog / folk outfit Jack ‘O The Clock returns for their first album of new, original material since 2013’s outstanding All My Friends. Those familiar with that album will find plenty to like here as well. As the title would suggest, Repetitions of the Old City – I is indeed the first part of two albums. Leader Damon Waitkus describes the band as having recorded “the basic tracks to an hour and a half of music two years ago” and that it is “not a double album per se, just two parts of one body of work.”

The band remains a five piece, with Waitkus on vocals, guitars, hammer dulcimers, among several other instruments, Emily Packard on violins, Kate McLoughlin on bassoon, vocals, and flute, Jason Hoopes on basses, vocals, and zither, and Jordan Glenn drums, percussion, marimba, vibraphone. Guest musicians include Fred Frith of Henry Cow and Art Bears fame. His inclusion is appropriate given that Jack ‘O The Clock has often been compared to these Rock In Opposition pioneers.

But the music is a departure – not for the group, but from any other context the listener might bring to the table. Through 10 years of recordings, Jack ‘O The Clock is now established as a category unto themselves. The music often takes the form of complex, contrapuntal pieces with beautiful interplay between the hammer dulcimer, bassoon, violin, and guitar. The intertwined themes build and meander, but maintain a solid grounding that never quite extends into the pure avant-garde. On top of this are Waitkus’s poignant vocals, adding to the melancholic atmosphere.

Listening to Jack ‘O The Clock invokes a twisted view of America post World War II – or perhaps projects that view to the rural blight of today. Lyrically, the group does not make a statement in particular. They offer no positions, polemics, nor solutions. Instead, their songs explore dark slices of life, unusual and disturbing happenings involving people both ordinary and strange. This unassuming and non-pretentious approach is a welcome contrast to today’s screaming-head social commentators.

One could try to categorize Jack ‘O The Clock as modern progressive rock. With the aftermentioned Henry Cow and Art Bears influences (and throw in some Gentle Giant for good measure), this would be an apt parallel. But whereas prog has turned into a sound of its own, Jack ‘O The Clock moves forward without overt regard for categorization or genre.

Another excellent release from this group.

Jack O’ The Clock Reviews:

Interview with Damon Waitkus:

Coming to the ISSUE Project Room

English: Marc Ribot at Jazzfestival Saalfelden...

Source: New York’s ISSUE Project Room.

Sat 10 Dec, 2016, 8pm, 22 Boerum Place, Brooklyn
We commemorate the near close of the season with a special year-end event with unclassifiable sound artist Id M Theft Able, and two new compositions from sound artist/composer Lea Bertucci and performer, composer and curator Chris McIntyre.

Fri 16 Dec, 2016, 8pm, 22 Boerum Place, Brooklyn
Leila Bordreuil continues her ISSUE residency with an evening of spatialized music in solo and large ensemble formats. Following a solo set, Bordreuil premieres “Memory City,” a new piece for large ensemble featuring Nate Wooley, Anne Guthrie, Chris McIntyre, Michael Foster and Ben Bennet.

Sat 31 Dec, 2016, 10pm, 22 Boerum Place, Brooklyn
Join ISSUE, Marc Ribot, drummer Chad Taylor and legendary Albert Ayler alumnus bassist Henry Grimes in harnessing the power of improvisation and the music of Albert Ayler to renew spirits for a New Year of music, love, rage, and resistance.

CTM Berlin – Festival for Adventurous Music and Art

Robert Henke performing as Monolake at MUTEK i...

Source: CTM 2017.

A major aim of the CTM Festival since its inception has been to make space for radical forms of musical expression and dissonant emotions. Under the title FEAR ANGER LOVE, CTM 2017 will focus explicitly on such emotions found in or through music and will examine the diverse strategies that are applied to unleash or harness them. With special projects and commissions, performances, an intensive daytime programme and an outlook that continues to search the fringes of current music geographies, CTM 2017 will examine the unhinging and emancipatory potential of resonant (musical) emotion to recurrently question and challenge the status quo.

From 27 January – 5 February 2017, CTM 2017 Fear Anger Love returns to its constellation of exciting nightlife and cultural venues in Berlin, including HAU Hebbel am Ufer, Berghain, Yaam, and Heimathafen Neukölln. Early Bird passes are now available until quantities last.

The CTM 2017 music programme will feature:

Actress [UK]
“Bight of the Twin,” film by Hazel Hill McCarthy III [US]
CTM x Set [IR] feat Sote with Arash Bolouri, Behrou Pashaei and Tarik Barri, Siavash Amini, 9T Antiope
Enrique Tomás – “Embodied Gestures” [ES]
Gazelle Twin – “Kingdome Come” [UK]
Genesis Breyer P-Orridge with Aaron Dilloway [UK/US]
Julian Bonequi – “The Death of the Anthropocene [MX]
Monolake – “VLSI Surround” [DE]
Moor Mother [US]
NON Worldwide [INT] in collaboration with Ligia Lewis, feat. Chino Amobi, Nkisi, Angel Ho, Dedekind Cut, Embaci, DJ Lady Lane
Princess Nokia [US]
Rima Najdi with Kathy Alberici and Ana Nieves Moya – “Happy New Fear” [INT]
Tanya Tagaq [CA]
Thomas Ankersmit – “INFRA” [NL]
Tommy Genesis [CA]
Vomir [FR]

As well as the world premiere installation: “SOL” by Kurt Hentschläger [AT]
CTM enters the cavernous Halle am Berghain for the first time for the world premiere of Kurt Hentschläger’s “SOL,” an installation that builds on loss of control, shifts in awareness and feelings of dislocation and timelessness.

And the CTM 2017 exhibition: “Critical Constellations of the Audio-Machine in Mexico” by Carlos Prieto Acevedo
The exhibition, titled “Critical Constellations of the Audio-Machine in Mexico,” will be created in close collaboration with researcher and curator Carlos Prieto Acevedo [MX]. It traces the history and current state of electronic music and sound art in Mexico. It pays special attention to the interactions between sonic imaginaries and the nation’s collective struggles with survival, fragility and identity.