Brian Eno is heading out on his first-ever solo tour later this year. He will present a show called ‘Ships’ during a run of European dates following a commission from La Biennale di Venezia. The run of gigs kicks off on October 21 at Teatro la Fenice as the centre piece of the 2023 Venice Biennale Musica, with Eno set to perform alongside an orchestra, the Baltic Sea Philharmonic, for the first time.
Chicago journalist and jazz aficionado Andy Pierce hosts “Another Place” Sundays at midnight. The show explores creative music, jazz and the avant-garde, and delves into the longer, more complex compositions and improvisations in jazz.
The Moers Festival began in 1972, and retains its green, hippy-ish legacy. It’s located outside the town of the same name, on the German side of the border with the Netherlands. Events are spread between the Berg – an open space overlooked by a small hill – the Halle, a large sports hall, and the Annex, a small quadrangle in the music school. The festival runs over four event-packed days, which I caught from day two.
JEAN CARLA RODEA: ALL YOUR SOJOURNS HAVE LED TO THIS (CONTINUUM)
Thursday, June 15, 2023 – 8:00 pm
ISSUE in partnership with Smack Mellon are pleased to present the next iteration of 2023 Artist-In-Residence Jean Carla Rodea’s ongoing project All Your Sojourns Have Led to This (Continuum).
KEKE HUNT (JUST THE RIGHT HEIGHT): I LOVE EVERYTHING VIDEO PREMIERE
Thursday, June 22, 2023 – 7:00 pm
NYU Brooklyn: The Garage
ISSUE in partnership with Harvestworks is pleased to present a preview of a new music video by musician, interdisciplinary artist, and 2023 ISSUE Artist-In-Residence Keke Hunt (Just The Right Height).
Suzanne Fiol Curatorial Fellowship 2023
EVERYTHING MUST GO! CAL FISH & MORE EAZE
Thursday, June 29, 2023 – 8:00 pm
140 2nd Ave., #503
2023 Suzanne Fiol Curatorial Fellow evil dentist (Alice Gerlach and David Farrow) present “everything must go!,” a durational office space performance featuring performances by Cal Fish and More Eaze.
ROCKET SCIENCE (PETER EVANS, IKUE MORI, SAM PLUTA, CRAIG TABORN)
Friday, July 7, 2023 – 8:00 pm
Brooklyn Music School
ISSUE is pleased to present a rare performance from Rocket Science, a collaborative improvising ensemble formed in 2012. Initially composed of Evan Parker, Peter Evans, Sam Pluta, and Craig Taborn, the group has expanded on occasion to include Ikue Mori on live electronics.
Dal Niente Announces 2022-23 season closing concerts: el río murmura
June 15, 2023 @ 7pm EST
680 Park Avenue, New York, NY
June 17, 2023 @ 8pm CST
Nichols Concert Hall, Evanston, IL
1490 Chicago Ave
CHICAGO: Dal Niente closes its 2022-2023 season with performances of music by leading South and Central American composers. The centerpiece of the show will be the world premiere of Tomas Gueglio’s Canciones que el río murmura (Songs murmured by the river) for soprano Carrie Shaw and ensemble. In Gueglio’s latest work, the soprano’s plainchant-like voice entwines with microtonal electronics, forming a murmuring river that winds through pointillistic instrumental textures. Dal Niente will also give the North American premiere of Paulo Raposo’s blistering Sextet, which the ensemble first performed in São Paulo in 2022; Hilda Paredes’ Reencuentro for flute, clarinet, and cello, where three instruments layer subtly shifting motifs into a virtuosic sonic kaleidoscope; Marcos Balter’s haunting Ear, Skin, and Bone Riddles, first performed by the ensemble in 2014; a world premiere of Melissa Vargas Franco’s new solo work for soprano, and the piercing, hypnotic Libres en el sonido… by the late Uruguayan-Argentinian composer Graciela Paraskevaídis.
The final show of the 2023 Winter / Spring program and marking their 25th anniversary, Lampo welcomed back Marcus Schmickler. As many may know, Lampo has been a massively appreciated fixture in the Chicago experimental music scene since the 90s. The organization has been consistently and tirelessly presenting boundary-breaking musical performances, the likes of which would probably never have happened without them. This show marked the 8th time Marcus Schmickler has performed here under the Lampo umbrella, more than any other artist they have presented. While there was no doubt in my mind that this would be outstanding, the performance starkly illustrated why Schmickler was chosen for this special night.
Acoustically, the 3rd floor space at the Graham was a perfect setting for the 60-minute acousmatic epic that MS delivered. With the four large monitors set up in each corner of the room and the audience seated in a Napoleonic Square facing the center… the energy in the room was mesmerizing. A palpable sense of occulted forces seemed drawn and focused on the space in the center where Schmickler was seated on a backless stool in front of a chrome stand supporting his MacBook.
It was hard to tell if this was a composed piece, improvised, or a little of both, but I was taken by how effortlessly it flowed. With its myriad of interconnected motifs, my mind sometimes wandered from the fact that this was ostensibly a drone-based work. Lying below the cosmic chaos enfolding and engulfing above, there was a polished chrome-plated foundation that worked as the pillars supporting this sonic night sky.
And what a sky it was! Sharp, discreet stilettos of light/sound appearing, disappearing and then re-appearing again seemed to physically shoot around the available air space and through any corporeal object in their path. The synthetic tolling of a bell in the far and middle distance eventually gave way to its ringing colossal discord within the performance space. An unintelligible, and very mecha-like language made its presence known more than once… a psychopompic entity guiding not to the land of the dead but somewhere else, somewhere ascending. Long tones of an electronic nature, scrubbed clean and stripped of any outer layer of form revealed its skeletal structure and were suddenly cut clean from their source by an impossibly dramatic… and dare I say psyche damaging, Lovecraftian scalpel. A cut that EXPLODED… allowing for a brief glimpse of the birth of time.
All the while, what was initially a very austere and minimalistic foundation had, unbeknownst to me morphed into a dark, rumbling, moist and airless drone, still holding fast to support the whole edifice.
This performance was equal parts terrifying in its scope and majestic in its revelatory gnosis. Was it fitting for the 25th anniversary of the Lampo organization? Yes, really it was!!! Thank you, Marcus, and especially thank you Lampo! Can’t wait to see what’s in store for the next 25.