Avant Scena Reviews

Source: Avant Scena.

Francois Carrier – “Elements” (FMR, 2018)

Daniel Carter/Patrick Holmes/Matthew Putman/Hilliard Greene/Federico Ughi – “Telepatia Liquida” (577 Records, 2018)

Ingrid Laubrock – “Contemporary Chaos Practics: Two Works For Orchestra With Soloists Mary Halvorson, Kris Davis, Nate Wooley, Ingrid Laubrock” (Intakt, 2018)

Jason Mears Quartet – “Ammonite” (2018)

Tyshawn Sorey – “Pillars” (Firehouse 12, 2018)

Agustí Fernández & Sarah Claman – “Antipodal Suite” (Sirulita Records, 2018)

Mountweazel – “Doublethink” (Aut Records, 2018)


Pitchfork Midwinter 2018 in Chicago

Source: Pitchfork Midwinter 2018. This takes place February 15-17.

Friday 2/15
DJ Koze
William Basinski The Disintegration Loops with the Chicago Philharmonic
Mykki Blanco
Mount Eerie
Yves Tumor
Sudan Archives
Baba Stiltz
Special Guest TBA

Saturday 2/16
Kamasi Washington
Panda Bear
Tortoise TNT 21st Anniversary Performance
William Basinski Solo Performance of On Time Out of Time

Sunday 2/17
Oneohtrix Point Never
Laurie Anderson
Perfume Genius
Zola Jesus
Joey Purp
Weyes Blood
Hiss Golden Messenger

All Weekend
Madison McFerrin
Mary Lattimore
Daniel Bachman
Haley Fohr of Circuit des Yeux
Marisa Anderson

Experimental Label Slip Imprint Makes the Avant-Garde Fun

Source: Bandcamp Daily.

Experimental label Slip Imprint’s co-head Laurie Tompkins first started releasing music during his composition undergrad in Manchester, handmaking micro-runs of avant acoustic and electronic music on CD-R alongside fellow students, as Slip Discs. “Our first Slip Imprint release proper was Joe Snape’s Brittle Love, in 2015,” Tompkins says. “Up to that point I’d worked on Slip Discs from 2012 until 2015, but with a shift of gear in what we were all working on—plus, us all moving from Manchester to London and Berlin—it felt like the right time to drop the pun and push on.”

15 Questions for Heather Leigh 

Source: 15 questions.

I was obsessed with music from a young age though I didn’t start making my own until I was a teenager. Early passions included my uncle’s heavy metal vinyl + 8track collection, storybook 7” records made by Disney – particularly Peter & The Wolf – I had quite a nice collection of various singles that I always played on my cheap plastic Fisher Price record player. Another major early touchstone for me was the “Chilling, Thrilling Sounds of The Haunted House” LP by Disney, I must have played it thousands of times, I found it so evocative and truly scary, it no doubt influenced my love for horror films a bit later though my mother taking me to see The Shining in the theatre when I was 4 also haunted me throughout childhood, both the imagery and the soundtrack had a lasting influence.

L.A. Phil’s Green Umbrella takes on the European avant-garde 

Source: Los Angeles Times.

The Walt Disney Concert Hall organ pipes were bathed in a slimy green light that made them look like they were up to no good. To begin a Los Angeles Philharmonic Green Umbrella program Tuesday night, Italian composer and organist Francesco Filidei, who has written such pieces as the aptly titled “Killing Bach,” sat motionless at the organ keyboard onstage, as if waiting.

Waiting for what? Was it the faint rumbling that sounded like it was coming from backstage? When it got a little louder, and the vibrations were mildly felt under foot, another possibility came to mind that no one wanted to think about.

Filidei’s feet weren’t moving, but they were on the pedals. He was stirring the barely audible but plenty physical lowest notes on the largest pipes, summoning colliding pitches capable of producing a rumble. Ever stronger, rumble became roar, the organ pipes now seeming some slimy green monster from the deep.

Over all that, a tinnitus-like high pitch, with the sound of a flute, ominously pierced the atmosphere. The piece eventually reached a huge climax before dying away. Throughout, Filidei produced a repertory of sounds I had never heard before from this magnificent instrument.

Seattle Scene: November 15-30, 2018

From Seattle’s Wayward Music Series:


Chapel Performance Space at Good Shepherd Center

4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)

Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

Heather Bentley & Friends
Thu. Nov. 15, 8 PM; $5 – $15 donation at door

Busy Seattle bow slinger Heather Bentley celebrates her birthday with her 7-string violin and an assortment of musical friends: an improvising trio with drummer Dio Jean Baptiste and video artist Darren Palmer + the new ensemble CHA, with electric harpist Carol Levin and vocalist/spoken word artist/mover Amelia Love Clearheart explores spontaneously arising lyrical/poetic/musical journeys.

Tamara Zenobia
Fri. Nov 16, 8 PM; $5 – $15 donation at door

Alaskan-born storyteller, performance artist and vocal alchemist Tamara Zenobia combines the elements of Vocal Alchemy, divination, percussion, electronic music and other world instruments, song and spoken word into her performance to create a very eclectic mix of groovy sounds and hypnotic beats. Tonight she will be joined by Dick Valentine, who will add his extraordinary flute playing to the performance.

A Night for 4 Drummers
Sat. Nov. 17, 7 PM; $5 – $15 donation at door

Solo works for drum set, focusing on each musician’s singular relationship with the drums, solo performance, music and identity: Mike Gebhart (The Sky Is A Suitcase, Terror/Cactus, February, New Series One); Ruby Dunphy (Thunderpussy); D’Andre Fontanelle (The Backslide gospel, Kate Dinsmore, Elena Loper); Casey Adams (Dorian Slay, nothing but the dead and dying).

Thu. 11/29 – Inverted Space Ensemble plays music of Kerrith Livengood and Pauline Oliveros

FRI. 11/30 – composer Tom Baker and dancer Alia Swersky + friends present Vol. 2 of their Body.Space.Time.Sound series for improvising musicians and movers

John Butcher Discography Reviewed

Source: John Butcher.

In the Building a Jazz Library article on Evan Parker, it says that seasoned Parker followers would describe him as the finest improvising saxophonist of his generation. Curiously, many of those same people would use exactly that phrase about John Butcher. The simple explanation for this apparent contradiction is that we are talking about two generations; Parker (born 1944) is a member of the “first generation of free improvisation” (along with Derek Bailey, Tony Oxley, John Stevens, Paul Rutherford, Barry Guy…) whereas Butcher (born 1954) is from the second generation (along with the similarly-aged Chris Burn, Phil Durrant, John Russell, Alan Wilkinson…) This is well illustrated by their discographies; Parker’s first recording, Challenge (Eyemark), was released in 1966, while Butcher’s first, Fonetiks (Bead)—a duo with Burn—came out in 1984.