Frieze/Static Form/Division is composer-guitarist Ian Vine’s tripartite essay into immersive sound for acoustic or electric guitar and electronics. The recording is somewhat deceptive in that what at first appears to the casual listen to be drone music in fact on closer consideration reveals itself to be music of deliberately slow harmonic rhythm. Frieze, the opening track, does indeed begin as a ringing drone, but over the course of its eighteen minutes it develops through gradual changes in color and texture as well as harmonic movement brought about by the backgrounding and foregrounding of different overtones. The rougher-surfaced Static Form follows with melodic movement in slowly descending tones, while the final track, Division, maintains a sense of tension by holding harmonic resolution dramatically in abeyance.
From the NOW now, an organization that puts on improv music in Australia:
WELCOME TO THE NOW NOW
Our 9th festival is happening JAN Friday 22- Sunday 24 2010 in the Blue Mountains.
starring…THE SPLINTER ORCHESTRA, Mark Boar (damaged guitar, tapes); Kirsty Stegwazi (violin cello, etc), STREIFENJUNKO (NOR), Somaya Langley (electronics) & Jon Hunter (guitar, electronics), Kris Wanders (sax), Adam Sussman (guitar), Rory Brown (bass) & Mani Neumeier (drums), Rizili (vox, guitar); Martin Ng (tuntables, electronics);Borce Markovski (vocals); Mike Majkowski (vox), PEKING: Clare Cooper (bass guitar); Brendan Walls (guitar); Stu Olsen (drums), Ensemble playing various microtonal instruments of Kraig Grady, Kraig Grady, Terumi Narushima, Alex Masso, Fin Ryan, Laura Altman (clarinet); Rory Brown (double bass); Aemon Webb (electronics); Kim Myhr (guitar); Espen Reinertsen (tenor sax & flute), SIMS PROJECT: Claire Herbert (laptop/MAXMSP); Fred Rodrigues (laptop); Abel Cross (bass guitar, pedals); Adrian Klumpes (keys); Hirofumi Uchino (electronics); Tony Osbourne (vocals), QUINTET EXPERIMENTA (ARG): Adriana de los Santos (prepared piano, objects); Grod Morel (sampler, laptop); Claudio Calmens (electric guitar, wind instruments); Zypce (electric percussion, tuntable, CD); Claudio Koremblit (visuals, prepared electric guitar), POTATO MASTA: Hayato Yoshinari (electronics, vox), CHRONOX, Jon Rose (fence), Neill Duncan (sax,); Alex Masso (percussion, drums); Sam Pettigrew (double bass); Sam Dobson (double bass); Alister Spence (piano), ZEIT KUNST 6, Michel Doneda (sax); Kim Myhr (guitar, objects); Matthias Muche (trombone); Clayton Thomas (bugle, kazoo, etc); Sven Hahne (computer), Clare Cooper (Guzheng), NHOMEAS, JOEY AND THE CALYPSOES, Interactive Netball, facilitated by Jon Rose and lots more
Related articles by Zemanta
- bst.cr: improvised music, organized mutiny, free association (waywardmusic.blogspot.com)
- Jesse Canterbury & Friends (waywardmusic.blogspot.com)
- Harris Eisenstadt’s CD Release Tour Begins Tomorrow (improvisedcommunications.wordpress.com)
- Joel Palmer & Scott Ezell: Electroacoustic Daydreams (waywardmusic.blogspot.com)
- Earshot: Kaufmann/Gratkowski/de Joode (waywardmusic.blogspot.com)
A free(?) show coming to New York’s Zebulon:
8:30 pm (free)
258 Wythe Ave
Brooklyn, NY 11211-3914
Jessica Pavone presents:
Wordless songs inspired by life’s cast of characters
Jessica Pavone – violin, viola
Brandon Seabrook – guitar
Jonti Siman – eletric bass
Harris Eisenstadt – drums
Brian Drye (farfisa organ, synth)
Timothy Monaghan (drums, guitar)
Brandon Seabrook (electric guitar and banjo)
Christopher Tordini (bass)
Curha (alto trombone, guitar and other odd items).
The Curha-chestra is a group that strives to combine electronic music concepts with an acoustic mindset. Somehow, the music creates a thin line between new wave and old time with the ever-shifting orchestral possibilities keeping the sound fresh and interesting. Curtis Hasselbring is the creative voice behind the Curha-chestra. Under the moniker Curha, he has created a large body of works that are a combination of lo-fi electronics, sample-based technology and his own skills as a multi-instrumentalist/composer. Curha has also remixed the music of Slavic Soul Party, Golem and Frank London in addition to his self-made releases.
Brian Drye Presents:
Brian Drye – Trombone / Compositions
Vinnie Sperrazza – Drums
Geoff Kraly – Electric Bass
Brian Drye (Slavic Soul Party, Frank London, Firewater) has formed a new power trio with new compositions. These days, trombone is the new guitar.
Related articles by Zemanta
- Coming Up Next: 193 : 2 October 2009 (netnewmusic.net)
- The Boredoms @ EMPAC, 9/11/09 (timesunion.com)
- Glenn Branca played PS1, playing LPR, Issue Project Room (brooklynvegan.com)
by N.E.W. (Noble/Edwards/Ward)
N.E.W are the combined improvising talents of Steve Noble (Drums/Percussion), John Edwards (Bass), and Alex Ward (electric guitar). This, the third release for N.E.W, catches them in all their live ferocity, potency and inventive group improvisation, equal measures free improv as avant-rock, these 3 lives tracks reveal the sheer power, attack and total commitment that these three have to reaching new heights.
From DC’s Sonic Circuits:
Monday June 15
Doors 730pm Music 8pm SHARP
8230 Georgia Avenue, Silver Spring MD 20910
located three blocks south of the silver spring metro station (red line)
Free parking in gated lot out front
Gregg Kowalsky resides in Oakland, California where he completed a Master of Fine Arts degree in Electronic Music and Recording Media at Mills College. Kowalsky’s compositions range from drone and noise pieces to meditative psychedelia with minimalist aesthetic. Gregg has composed dance, sound installations, ?lm and acoustic ensembles.
For the past 15 years, Ben Bracken has slowly been creating a unique sonic language utilizing electronics, acoustic sound sources (guitar, cymbal, bells, found objects, etc), electric guitar, and field recordings. Primarily interested in the possibilities of a kind of echo- relocation that exists with sound based art, his work has oscillated from performance to installation, often blurring the lines between the two. In both, the location of the event becomes an active participant, intimately shaping the nature and direction of each work. After finishing a graduate degree in Electronic Music at Mills College in Oakland, CA, Ben moved on to his current technical support position at Cycling ‘74, the developers of Max/MSP. Ben also curates the Totally Intense Fractal Mindgaze Hut, a performance space in West Oakland, CA. Some previous or current musical groups include Crystal Village (with Gregg Kowalsky), Flashpapr, Tiny Lights, Remote Viewing Ensemble, Duo with Luis Maurette, Duo with Zach Wallace, Bones (with Jacqueline Gordon). Ben has improvised with Le-Quan Ninh, Brent Guetzeit, Kevin Drumm, Peter Kowald, Chris Cutler, Phil Minton, Rhodri Davies, Werner Dafeldecker, Fred Van Hove, Johannes Bauer, among others.
Trio O is Rich O’Meara (Kwo’m Percussion Group, Silent Orchestra) on amplified vibes, electronics and percussion, Kevin O’Meara (Videohippos, Blood Baby) on drums and percussion and Gary Rouser (Vector Trio, Nine Strings) on NS bass/cello and other objects.
Coming on June 20, from Metropolis Underground:
Tom Carter is best known for his work with acclaimed psych-drone iconoclasts Charalambides, which he co-founded with Christina Carter in 1991, he has branched out into other collaborations since 2001, playing and recording with long-term projects Zaika (with Marcia Bassett) and Badgerlore (with Rob Fisk, Ben Chasny, Liz Harris, and Peter Swanson), as well as in frequent collaborations with Bay Area sound artist Robert Horton. Other fellow travelers have included Christian Kiefer, Tetuzi Akiyama, Thurston Moore, Shawn David McMillen, Dredd Foole, Lorren Connors, Pip Proud, Inca Ore, Jandek, Bardo Pond, and Matt Valentine, among many others.
Most recently, Carter has focused on his solo performances and recordings, touring constantly from 2007-2008, and finally settling in New York City in early 2009. His solo work covers a vast territory, but latter-day sightings show him to be concentrating on looped guitar drones of immensely-stacked grit and beauty, with heaps of psychedelic melodic content missing from the repertoires of many noise and drone bands.
Shawn David McMillen met Tom and Christina Carter Charalambides—now considered early pioneers of the present avant-folk movement—as well as Heather Leigh Murray. Heather and Shawn moved to Galveston, where she attended Texas A&M/Galveston while “working at an animal clinic, recording music constantly, and having cataclysmic experiences on acid together at the beach.” Shawn and Heather recorded together as Ash Castles on the Ghost Coast, releasing one CD on Charalambides’ Wholly Other imprint and playing one show with Palace Brothers. Circa 1999, the pair moved to Austin where they played with Rick Reed in Abrasion Ensemble and later formed Iron Kite. Recorded mostly at night, Catfish is acoustic-based only because Shawn had no electric guitar at the time. Other instruments include autoharp, Roland keyboard, Indian goat bell, Indonesian gongs, bowed electric bass, African kalimba (thumb piano), and shakuhachi (Japanese bamboo flute). Cited influences at the time include American Indian lore, music from the Middle East and India, Phil Yost, Robbie Basho, and Malachi.
Steve Gunn plies his trade in the Northeast, calling Brooklyn home. He’s best know for the major role he plays in the group GHQ. Over the course of numerous excellent releases, it became clear that Gunn was a real force in experimental music. Once his solo music started being unearthed, there was no turning back. Steve will be performing a mix of improvisational blues based guitar works.
The Boy Who Spoke Clouds is the moniker of Adam Casey, former guitarist and singer of Australian sextet, Seascapes of the Interior. The Boy Who Spoke Clouds began as a musical departure point from Seascapes of the Interior, amalgamating Adam’s love of gypsy and indigenous music and the polyrhythmic approach of composers such as Steve Reich and Gyorgi Ligeti with his bittersweet shamanic-folk based compositions.
Show starts @ 8pm
One of probably many reviews of this weekend’s concerts:
Braxton was a busy man, moving from composing to playing three instruments (alto, soprano and sopranino sax?) as part of the ensemble. At times, Braxton and Thompson were conducting simultaneously, using a combination of their musical systems (Language Music and Soundpainting, respectively) to shape the music and action (there were also a group of actors who moved behind and through the musicians and contributed various vocalizations – spoken, chanted and sung). Instruments included (prepared?) piano, synth, electric guitar, bass, various horns, gong and woodblock percussion, cello and violin.