The Baltimore SDIY Group announces its 2017 Winterfest concerts, to be held Friday, February 24 and Saturday, February 25 at the Electric Maid, 268 Carroll Street NW, Washington DC 20012. Both concerts are all-ages with a $10 admission.
Concert One features Stefan Prosky; Arthur Loves Plastic (Bev Stanton) & John Saint John as Novparolo; Logan Mitchell, Sr.’s Synth Tech Project with Stuart Rosenzweig; Rick Kowalski’s Spooky Action; and Engel Caceres.
Friday, February 24, 7:30 PM. Doors at 7:00 PM.
Concert Two features Dave Vosh & Chris Videll; Arthur Loves Plastic (Bev Stanton); Ezekiel’s Wheel; John Saint John’s Winston Psmith Project; and Travis Johns’ Vaux Flores.
Saturday, February 25, 7:30 PM. Doors at 7:00.
For more information, visit the Baltimore SDIY webpages.
Much of composer Michael Pisaro’s work is driven by the desire to explore the often complex ramifications of an ostensibly simple, fundamental idea. It isn’t unusual for him to take as his starting point the act of listening, whether to environmental sounds or to the properties of the material resources—sometimes deceptively basic—that his compositions call for. And focused listening does seem to be the key to the reception of the two long pieces collected on Resting in a Fold of the Fog.
Grounded Cloud (2015-2016) is a work for electric guitar, electronics and amplified bass drum. The latter instrument, played by the Dedalus Ensemble’s Stéphane Garin, gives the performance a distinctive, rain-like sound by having been prepared with grains of rice arranged to vibrate on its surface. Over its twenty-minute length the piece traces a long-period, undulating dynamic of accumulation and dispersal helped along by noise from Pisaro’s electronics and the electric guitar of Didier Aschour, also of the Dedalus Ensemble. (Although Pisaro played electric guitar on the piece’s premiere performance in November 2015, here he is on laptop.)
Hearing Metal 4 (2010-2011) for bowed glockenspiel, electric guitar and laptop, is the fourth in a series of compositions centered on the sonic properties of a specified metal percussion instrument. Originating with a piece for sixty-inch tam-tam, with this installment the series moves to a much smaller and higher-pitched instrument. As with many of Pisaro’s compositions, the focus of Hearing Metal 4 is on making explicit the multiplicity of sounds implicit in a single material or sonic gesture. The pitch material is accordingly simple: An ascending A major scale. The scale is arranged as a series of events separated by silences; with each succeeding tone the glockenspiel’s thin, almost transparent sound shimmers when intersected by the guitar and electronics. When listened to closely this piece, like the previous one, yields a sometimes surprising, albeit restrained, sensuality.
February 15, 2017
Kenny Warren Quartet, Rye
Noah Garabedian JP Schlegelmilch Satoshi Takeishi Kenny Warren
February 13, 2017
Paul Hembree & Sam Wells, ShapeShifter Lab
Paul Hembree Sam Wells
February 13, 2017
|||||||||Moda||||||||||||, ShapeShifter Lab
Nicola Hein Lester St. Louis Weston Olencki
February 6, 2017
Stephanos Chytiris Trio, ShapeShifter Lab
Stephanos Chytiris Ingrid Laubrock Elias Stemeseder