Charlemagne Palestine still pushes his keyboard to the limit

From the Los Angeles Times:

Palestine, known in music circles for his marathon all-night concerts in the 1970s (they were often so intense that he bled on the keys) is returning to the Los Angeles stage tonight after an 11-year absence. As part of the Monday Evening Concerts series, he will perform one of his seminal works, “Schlingen-Blängen,” on one of the world’s largest church pipe organs at the First Congregational Church.

“I can’t say, at 61 years old, that I can be maximal every day,” he added. “But when I play this big organ, it’s going to resound like Armageddon come home.”

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Sonomu Reviews

From Sonomu:

Clinker, On the Other Side… (for L. Cohen) (CDR Dragon´s Eye Recordings)
Dragon´s Eye Recordings have recently slid down the American west coast from Seattle to Los Angeles. Home of a small cadre of artists mainly committed to shaping and manipulating the very air and architecture around them, as witnessed by recent releases like Yann Novak´s pulsating “In Residence”… [read]
Posted by Stephen Fruitman at 07:40, 25 Feb 2009

Deadbeat, Roots and Wire (Wagon Repair)
Deadbeat is Scott Monteith, a Montrealer drawn to Berlin by the affinity between the sound he has been honing for nearly a decade and the rich seam of minimal dub which was first disovered and is being so meticulously mined in the German capital. As Deadbeat, the artist is nicely turning out to… [read]
Posted by Stephen Fruitman at 07:22, 25 Feb 2009

Various Artists, Perceived Distances (Blue Oasis)
This brand new London, Ontario based label, sistering with Europe´s Data Obscura, collects exclusive tracks by a new generation of ambient artists, most of whom have been garnering a reputation and an audeince through that most ambient of all media, the netlabel. It is the brainchid of one of its… [read]
Posted by Stephen Fruitman at 07:10, 25 Feb 2009

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John Duncan at Lampo

From Chicago’s Lampo:

FEB 21 9pm

John Duncan returns to Chicago for his first visit in over five years, presenting a new 4-channel work, “The Hidden.” Digital audio debris, generated noise, field recordings and shortwave radio static. Cinema for the blind, where the sighted are the challenged.
John Duncan (b. 1953, Wichita, Kan.) is widely recognized for his performance events, music and installations, often exploring audience response to sensory deprivation and stimuli. His work has been presented at MOCA in Los Angeles, PS1 in New York, MAK in Vienna, MACBA in Barcelona and MOT in Tokyo.

His formative artistic years were spent in and around Los Angeles. As a teenager Duncan left Wichita and his strict Calvinist upbringing for CalArts, where he studied for 18 months before moving to Hollywood and then Pasadena. Throughout the 1970s he presented his first controversial performance events, recorded early audio experiments with shortwave radio, hung out with friends Paul McCarthy (with whom he co-produced Close Radio) and Tom Recchion (John says, “Tom introduced me to an entire spectrum of sound, patiently playing one record after another…”) and was an unofficial L.A.F.M.S. associate. He spent most of the 1980s in Tokyo collaborating with Japanese noise artists, and the 1990s in Amsterdam, before moving to Italy. He now lives and works in Bologna.

Of special note, his 1996 project “The Crackling,” composed with Max Springer from field recordings made at the Stanford Linear Accelerator Center in California is considered a landmark in experimental sound. “Nav,” his audio project with Francisco López, received a 1999 Prix Ars Electronica award for digital music. More recent work includes collaborations with zeitkratzer, Carl Michael von Hausswolff, Asmus Tietchens, Valerio Tricoli, and Pan Sonic members Mika Vainio and Ilpo Väisänen.
John Duncan first appeared at Lampo in April 2000, when he performed the U.S. premiere of “Palace of Mind.” In October 2003 he presented “Infrasound-Tidal,” made with sounds derived from seismic data and tidal readings collected on the Australian coast.

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Upcoming Events in LA

Three shows coming later this month to Los Angeles.

February 27, 2009

Tribal presents three indie jazz bands: Slumgum, Whale Shark, & Colter Frazier/Matt Crane. Come sample an emerging SoCal modern jazz scene with bands from LA and Santa Barbara.

Tribal Café
1651 W. Temple St., #A
Los Angeles, CA., 90026-5026
(Echo Park)
no cover/$6 minimum delicious purchase

SLUMGUM combines elements of jazz, free improvisation, world music, and contemporary classical music to shape a unique voice as a band. Their exhilarating live shows take the audience through a sonic journey that is both communicative and provocative. Using an arsenal of compositions by all band members as a point of departure, Slumgum weaves original music and standards into a performance of fun, unpredictable improvisation. This band is committed to creating music that is innovative and visceral, yet accessible and rooted in the tradition of American music to create an exciting experience for any listener.

COLTER FRAZIER (tenor sax) and MATT CRANE (drums) perform music to uplift the spirit and instill positivity into the heart. Relatively isolated in Santa Barbara for many years, Colter Frasier has been honing a unique playing style and compositional sound that shines like a beacon of hope in a dark world of jazz that too often lacks individuality.

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Throbbing Gristle US Tour

Additional cover
Image via Wikipedia

Throbbing Gristle will tour this Spring.



**”In The Shadow Of The Sun” soundtrack performance only.

Throbbing Gristle announce their first US performances in 28 years – including an appearance Sunday April 19th at the 2009 Coachella Music Festival! The band, who have not performed in the United States since May 1981, will also be playing Chicago and New York for the first time

To mark these special occasions, Throbbing Gristle will play TWO SET events in New York and Chicago. The performances begin with a new live soundtrack to Derek Jarman’s 60min 1980 alchemical film “In The Shadow Of The Sun,” followed by a second set of material from across TG’s history.

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