AMN Picks of the Week: Chicago-London Underground / Reid Karris / Mostly Other People Do The Killing / Peter Bjärgö / Webber, Stemeseder, Gray

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

Chicago / London Underground – A Night Walking Through Mirrors (2017)
Reid Karris – Divinatio Exitium (2017)
Mostly Other People Do The Killing – Loafer’s Hollow (2017)
Peter Bjärgö – Animus Retinentia (2017)
Anna Webber / Elias Stemeseder / Devin Gray – Jagged Spheres II (2017)

AMN Reviews: Mauro Sambo – Quel mutamento era il primo di una serie infinita [Plus Timbre PT 043]

A sound collage of understated drama and almost tangible atmosphere, Mauro Sambo’s Quel mutamento era il primo di una serie infinita (“what change was the first in an infinite series”) is a perfectly symmetrical suite made up of twenty parts of two minutes and twenty-three seconds each. Sambo deftly combines and recombines a set of recurring sounds—tolling bells, bits of operatic recordings heard from a distance, hammered metallic sounds reminiscent of a foundry or factory, the low buzz of a bass clarinet—in layers suggesting extension in physical space. The recapitulation of sounds within the suite gives it the feel of an uncannily familiar dream made up of repeating and evolving soft-edged images.

http://www.plustimbre.com/

Daniel Barbiero

This Week in New York 

Source: I CARE IF YOU LISTEN.

UNREMEMBERED
Unremembered is an hour-long, thirteen-part song cycle for seven voices, chamber orchestra, and electronics by composer Sarah Kirkland Snider, inspired by poems and illustrations by writer and visual artist Nathaniel Bellows.
Tuesday, March 14 at 7:00 PM
Tickets $29
National Sawdust, 80 North 6th Street, Brooklyn, NY

GENERATIVE, INDETERMINATE, & HYBRID WORKS | JOSEPH BRANCIFORTE & KENNETH KIRSCHNER
The concert will explore digitally-mediated acoustic compositions for small ensemble, from acoustic translations of works created in the electronic domain to real-time generative scores. In the latter case, custom-designed software generates a rule-based score which can be continuously modified as to its orchestration, harmony, form, and dynamics during performance. The resulting composition is displayed live as traditional musical notation via a network of laptops.
Wednesday, March 15 at 8:00 PM
Tickets $10
Scholes Street Studio, 375 Lorimer Street, Brooklyn, NY

ROBIN HOLCOMB: QUARTET | CURATED BY MEREDITH MONK
Singer-songwriter Robin Holcomb returns to Roulette to perform new compositions and songs with long-time collaborator Peggy Lee on cello, Sara Schoenbeck on bassoon, and Guy Klucevsek on accordion. The same quartet performed her score for Yasujiro Ozu’s 2010 film That Night’s Wife, which will premiered as part of the evening’s program.
Friday, March 17 at 8:00 PM
Tickets $15-$20
Roulette, 509 Atlantic Avenue, Brooklyn, NY

TRISTAN PERICH: FIVE WORKS
The Kitchen presents Tristan Perich: Five Works, two evenings of compositions by the composer/visual artist, including a number of premieres, performed by DUO X88, ACME, DITHER, So Percussion, JACK Quartet, and Mariel Roberts. In this concert, So Percussion and JACK Quartet premiere a major revision of Perich’s Sequential, for string quartet and percussion quartet.
Saturday, March 18 at 8:00 PM
Tickets $20 for one performance, $30 for both performances
The Kitchen, 512 West 19th Street, New York, NY

MORTON FELDMAN’S PIANO, VIOLIN, VIOLA, CELLO
Karl Larson (piano), Josie Davis (Violin), Kate Outterbridge (Viola), and Zan Berry (Cello) perform Morton Feldman’s Piano, Violin, Viola, Cello.
Saturday, March 18 at 8:00 PM
Tickets $15, $10 students
Scholes Street Studio, 375 Lorimer St, Brooklyn, NY

MORTON FELDMAN: THE LATE PIANO WORKS
Pianist Tania Chen plays Morton Feldman’s For Bunita Marcus (1985).
Sunday, March 19 at 7:00 PM
Tickets $10
Spectrum, 121 Ludlow Street, 2nd Floor, New York, NY

Remembering Sonny Sharrock

Sonny Sharrock

Source: Reverb.

When Sonny Sharrock’s grandmother told him he should go to church, he told her she should go listen to John Coltrane. That’s Sonny Sharrock in a nutshell. Nothing was sacred. There was no right way to do things besides his own. Sonny was a blues player who didn’t care that the blues was a formula. Sonny was a jazz player that plugged his Les Paul into a Marshall full stack and pumped the gain.