Musique Machine Reviews

English: Penny Rimbaud photographed by Graham ...

Source: Musique Machine.

Pinkcourtesyphone – Elision

Hooded Menace – Ossuarium Silhouettes Unhallowed

Coldmoon – Ténèbres Des Marais

Statichor – Smolder

Bruising Pattern – Life As Seen Through A Distorting Lens

Shurayuki-hime – In The Beginning, Woman Was The Sun

Various Artists – Visions of Darkness (In Iranian Contemporary Music

Penny Rimbaud – Kernschmelze II | Cantata For Improvised Voice

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 DOWNTOWNMUSIC.NET Photos

Source: DOWNTOWNMUSIC.NET.

January 28, 2018
Michael Vatcher & Jack Wright, Downtown Music Gallery
Michael Vatcher Jack Wright

January 28, 2018
While We Still Have Bodies, Downtown Music Gallery
Sean Ali Michael Foster Ben Gerstein Flin van Hemmen

January 23, 2018
Kris Davis Trio, The Stone
Kris Davis Trevor Dunn Tom Rainey

January 17, 2018
Du-Ah-Oh!, Balboa
Sean Ali Jake Henry

January 17, 2018
Barker Trio, Balboa
Andrew Barker Tim Dahl Michael Foster

Fluid Radio Reviews

Source: Fluid Radio.

Mythologies

Shuttle358 – Field

Hakobune – Parhelion

Dr – Field Recording Meets Sound

Rosalind Hall and Judith Hamann – Gossamers

Strië – Perpetual Journey

Eilean 58

Tyler Wilcox – Works for Two Chapels

Ljerke

Sarah Payton & Rutger Zuydervelt – What It Seems to Be

Ensemble 0 – 0=12

Ian Hawgood &Amp; Danny Norbury – Faintly Recollected

We Like We – next to the Entire all

Kate Carr – from a Wind Turbine to Vultures (and Back)

5049 Records Podcast Episode 147 – Taylor Ho Bynum 

Source: 5049 Records.

Taylor Ho Bynum is a cornetist, bandleader, curator and administrator who has worked closely with Anthony Braxton, Mary Halvorson, Tomas Fujiwara, Bill Dixon and many others. He lives in New Haven, CT and stays incredibly active across a broad range of musical activity. He is the director of the jazz and creative music ensembles at Dartmouth College and the executive director of Anthony Braxton’s Tri Centric Foundation. For this talk, we discuss a wide range of things from arts administration to pop music, Prince to Ives. A good one.

Julius Eastman Performance Reviewed

Source: The New York Times.

The performance on Sunday, at the Knockdown Center in Queens, was part of the essential festival Julius Eastman: That Which Is Fundamental. Organized by the artist Tiona Nekkia McClodden and by Dustin Hurt of Bowerbird, a Philadelphia arts organization, along with members of the curatorial team at the Kitchen in Chelsea, it is the latest marker in the ongoing restoration of a crucial artist.

It continues. Go, on Tuesday at the Kitchen, to an evening exploring Eastman’s dance collaborations. And on Saturday there, for the reincarnation of his unruly “Trumpet” and the intense “Holy Presence of Joan D’Arc,” for 10 cellos. See, until Feb. 10, an exhibition blending archival riches and contemporary reverberations.

February at the IBeam Brooklyn

Source: IBeam Brooklyn.

Novoa / Kamaguchi / Takeishi: Barcelona Meets Brooklyn series.5
Saturday, February 3rd 8:00 PM $15 Suggested Donation
Eva Novoa (p)
Masatoshi Kamaguchi (bs)
Satoshi Takeishi (dr)

Joe Morris + Tomas Fujiwara
Thursday, February 8th 8:30 PM $15 Suggested Donation
Joe Morris – Guitar
Tomas Fujiwara – Drums

Sean Lovato’s Cycles of Animation + Noriega / Novoa / Yang
Saturday, February 10th 8:00 PM $15 Suggested Donation
Sean Lovato’s Cycles of Animation (8 pm)
Oscar Noriega, alto saxophone
Brad Shepik, guitar
Santiago Leibson, piano
Sean Lovato, bass and compositions
Chris Carroll, drums
Noriega / Novoa / Yang (9 pm)
Oscar Noriega (asx & dr)
Eva Novoa (p)
Jeong Lim Yang (bs)

AMN Reviews: John McCowen – Solo Contra (2017; International Anthem)

You would think that a title such as Solo Contra would be a fairly solid description of an album, but words fail to capture to subtleties and nuances of John McCowen’s recent release (though we will try to describe it anyway). Originally a vocalist in rock bands, McCowen studied under Roscoe Mitchell before releasing this album of contrabass clarinet compositions that sounds unlike anything resembling clarinet music.

Clocking in at only 27 minutes over three tracks, McCowen makes his statements concisely and directly. The opener, Fur Korv is comprised of a series of multiphonic drones. From there, he moves on to Chopper HD, featuring rapid vibrato and discordant walls of sound. Berths 1-3 is the longest piece, at 16 minutes. On it, McCowan begins with breathy, quiet drones that slowly build in intensity. About a third of the way through, he adds rude, wavering dissonances to the mix that continue for the rest of the track, adding a post-industrial flavor.

Solo instrumental albums are difficult to pull off successfully. There are notable exceptions, of course, and it is time to add Solo Contra to the list. McCowan’s sense of space and use of timbre alone make this release a must-hear.