Source: Wayward Music Series.
Right Brain Music Minifest
Sat. Sep. 18, 7:30 PM; $5 – $15 at the door
A one-night explosion of improvised music, featuring local virtuosos Bill Horist, Amy Denio, Spontanea, and Outlaw Space + chance trios randomly chosen by audience members and a massive full ensemble jam.
Fri. Sep. 24, 8 PM; $20 in advance
With Galactic Pyramid Transmissions, vocal alchemist Tamara Zenobia uses her voice, singing bowls and percussion to transcend space and time and bring you galactic messages from within her self-built pyramid.
Erin Jorgensen + Kyle Hanson
Thu. Sep. 23, 7 PM; $5 – $15 at the door
Kyle Hanson produces shimmering waves of sound on the accordion, using an original bellows technique. Erin Jorgensen plays meditative, calming soundscapes on a five-octave marimba accompanied with ephemeral vocals.
Orgone Donor + RN White
Sat. Sep. 25, 8 PM; $10 – $20 donation at door
Obscure & Terrible presents the debut of paranormal synth/sax trio Orgone Donor (V. Vecker, Dustin Williams, Riley Reasor) + harsh noise scraped from the mind of vocalist RN White (Rachel N LeBlanc). Experimental guitarist John Saint-Pelvyn opens.
Source: Point of Departure.
Page One: Corey Mwamba: Accessing Freeness: a column by Bill Shoemaker
James Brandon Lewis: All Becomes One: an interview with Troy Collins
Ezzthetics: a column by Stuart Broomer
An Anarchic Society of Sounds – Apartment House and John Cage’s Number Pieces
by Michael Rosenstein
John Tchicai’s Metal Poems: by Gabriel Bristow
Geri Allen and Spatial Grammar: by Serubiri Moses
Mark Whitecage, 1997: An Interview: by Marc Chaloin
The Book Cooks:
Steve Lacy (Unfinished)
Edited by Guillaume Tarche (Lenka Lente; Nantes, France)
John Tchicai: A chaos with some kind of order
Margriet Naber (Ear Mind Heart Media; Nijmegen, The Netherlands)
Moment’s Notice: Reviews of Recent Media
Landing squarely between dark ambient and post-rock, Sleepwalker’s guitar and percussion soundscapes are both haunting and majestic. The album’s four tracks begin with the self-titled opener, featuring cosmic layered guitar drones. The second track, Le Cercle Rouge, couples undistorted guitar melodies with harmonies made up of long-held notes, as well as semi-martial percussion. The percussion becomes more involved, almost tribal, on Dream Cycle, as the guitars produce waves of textures. All of this culminates in Neverending Journey Through the Void, a 29-minute excursion with slow but heavy chording and stark synth melodies. Quieter passages are introspective and reminiscent of dark ambient, while aggressive percussion and guitar, as well as a hint of chanted vocals, drive the more assertive movements to crescendo.
Monument from the Void was released on August 13 by Ksenza Records.
Even in a position where you get to hear quite a large amount of unusual music on a regular basis, that does not prepare you for Cecilia Lopez’s new release, RED (DB). On one 50-minute track, Lopez combines her electronics with the skills of drummer Gerald Cleaver and bassist Brandon Lopez to create humming textures and drones as well glissando-like sounds. Julia Cavagna provided scored actions.
The reason for this uniqueness is that the recording comes from a performable sound installation. At New York’s Roulette, drums and double bass were hung from suspended woven wire nets. These nets resonated as the instruments were played, creating feedback that accompanied Cecilia’s electronics. Cleaver’s percussion is indirectly heard, as he mostly generates abstractions and pulses of rattling. Aside from a few powerfully-played passages, his efforts do not sound like kit-based drumming. Brandon makes use of bowed bass, and plays entirely in an outside fashion. He lets his angular motifs echo in a loop-like fashion.
Structurally, the piece includes a roughly-hewn background drone, electronics that resembles a siren (that latter evolve into discordant warbling), and two voices of throbbing foreground improvisation. Often, these lines combine into sound walls. Again, the focus here is not on melody or rhythm, but texture and color. The closest comparison that comes to mind is the recent release of Three Drones by Wóma, also based on “playing” a form of resonator, but this piece is more dynamic. Regardless, RED (DB) stands on its own as a singular and oddly beautiful offering.
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.
Cecilia Lopez – RED (DB) (2021)
Wendy Eisenberg – Bloodletting (2021)
Pedro Melo Alves’ Omniae Large Ensemble – Lumina (2021)
Eric Chamberlain – Quadratura Cinetectura (2021)
Various Artists – Tymbal (2021)
A new album from Lawrence English is reviewed.
Also, a new album from Jimmy Bennington is reviewed.
Pi Recordings is profiled in the Wire.
A Cafe Oto performance from Jenny Moore and Rattle is reviewed.
And in news that should not be news, Peter Brotzmann doesn’t care that a late-night comedian has made fun of him.
Source: The Free Jazz Collective.
Ingrid Schmoliner & Hamid Drake – Awon Ona (Klanggalerie, 2021) ****½
Joëlle Léandre / Pauline Oliveros / George Lewis – Play As You Go (Trost, 2021) *****
Benoît Delbecq 4 – Gentle Ghosts (Jazzdor, 2021) ****
Jeff Cosgrove – History Gets Ahead of Itself (s/r, 2021) ****
Jaimie Branch – Fly Or Die Live (International Anthem, 2021) *****
Ronald Shannon Jackson and the Decoding Society – Live at the North Sea Jazz Festival 1983 (The Decoding Society, 2021) ****½
John Blum and Jackson Krall – Duplexity (Relative Pitch, 2020) ****