New Release from Atavistic

Recently out on Atavistic Worldwide:

Chicago-based sound artist J.R. Robinson has been creating live, ambient tonefields in museums around the US and Europe over the past two years-including the Andy Warhol Museum in Pittsburgh, the Guggenheim Museum in New York, the Getty Museum in Los Angeles, the Pompidou Center in Paris, and The Art Center Berlin.

Robinson has injected these recordings into collaborations with some like-minded heavy hitters from the noise, post-rock and jazz worlds such as David Yow (Jesus Lizard/Scratch Acid), Mark Shippy & Pat Samson (US Maple), Azita Youssefi, John Herndon & Jeff Parker (Tortoise), Keefe Jackson, Fred Lonberg-Holm and Ken Vandermark. The result (dubbed Wrekmeister Harmonies), is a distinctive hybrid of sound art and avant-garde musics, evoking the essences & influences of masterworks like Joe McPhee‘s Nation Time, Lou Reed’s Metal Machine Music and the sound collages of Stockhausen.

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Free Music General

Ears Wide Open in Fort Worth

The experimental music scene in Fort Worth, Texas is profiled.

Fort Worth has been growing an experimental music scene, bit by bit, for a decade or so. Herb Levy, a well-known “new music” promoter in Boston and Seattle, has been presenting experimental artists of international stature in classy settings like the Modern Art Museum of Fort Worth since 2005. Last weekend, the Metrognome Collective reopened in a new space with the announced intention of providing a venue for experimental sounds. Fort Worth native Michael Chamy is creating some waves with the Zanzibar Snails, his noise/improv outfit, and his Mayrrh Records label. There’s even a house in Arlington that’s been putting on shows by local avant-gardistas.

Some of this music might ring a faint bell for listeners who’ve heard experimental musical influences in movie soundtracks and the work of ’60s rockers like the Beatles, Pink Floyd, and Frank Zappa or even Lou Reed‘s Metal Machine Music.

But experimental sounds in their undiluted form also resonate for a younger generation who came of age with the entire history of recorded music accessible at the click of a mouse. The twentysomething rock ‘n’ roll kids at the Chat Room Pub have been exposed to frontier-pushing innovators from ’70s-era Miles Davis to prolific Japanese noise artist Masami Akita (who performs under the Germanic moniker Merzbow). Their ears are wide open, and there’s more to hear all the time

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Performances Releases Reviews

DMG Newsletter April 3rd, 2009

From DMG:

Sun Ra 6 CD Slugs box .. and Live ’64 with Pharoah! Lou Reed Metal Machine Music Trio Live 2CD! Derek Bailey ’74! Melvin Gibbs With Pete Cosey & John Medeski! Joe Morris! Cooper-Moore! Gunter Hampel original Heartplants ’65!

Bob Moses! Roswell Rudd Trombone Tribe! Miles Okazaki! LaDonna Smith/Michael Evans! Andrea Parkins! Josef Van Wissem! Yoshi Wada! Phil Kline! Remaining INCUS backcatalog!



Richard Foreman is one of the most important theatre directors in the world, and has been a personal hero of John Zorn‘s for over 30 years. This theatre/music piece is the historic first-time collaboration for two masters of the bizarre (both MacArthur geniuses) who individually have challenged, enlightened and entertained adventurous audiences for decades.

ASTRONOME: A NIGHT AT THE OPERA is a work dominated by ecstatic groans, grunts and babbling, and explores the initiation of a group of people into a world where ambiguous behavior alone leads to freedom–perhaps under the tutelage of the necessary “false messiah.” This is one of those events that can only happen downtown – culminating from a chance meeting in the street – independent of any special grants, funding, institution or administration.

Based on ASTRONOME, the intense second CD of a series featuring Mike Patton, Trevor Dunn and Joey Baron, Richard Foreman’s staging of it is absolutely stunning!

Please make a special effort to see this once in a lifetime event, which opened FEBRUARY 5th and RUNNING ONLY through APRIL 5th at the ONOTOLOGICAL-HYSTERIC THEATRE
@ St Marks Church in the East Village, 131 East 10th St on Second Ave!

to purchase tickets, go to:

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Ulrich Krieger at Lampo

From Chicago’s Lampo:

FEB 7 9pm
Something loud, then quiet, then loud again from Ulrich Krieger, German saxophonist, in his hotly anticipated Chicago debut.

At Lampo he presents “R.A.W.”—a new solo program for amplified tenor sax and live electronics. Sub-bass drones, sharp noise attacks, saxophone-controlled pitched feedback, noise and extended playing techniques, ranging from thick wall-of-sound to sparse reductionism. He calls his style of playing “acoustic electronics,” using sounds that appear to be electronic, but that are really produced on acoustic instruments and then sometimes electronically treated.

Ulrich Krieger (b. 1962, Freiburg, Germany) is a composer, performer, improviser and experimental rock musician. His main instruments are saxophones, clarinets, didgeridoo and electronics. He is perhaps best known for transcribing Lou Reed‘s “Metal Machine Music” for the chamber orchestra zeitkratzer in 2002. As a member of that ensemble he also has performed noise music by Merzbow, Zbigniew Karkowski and John Duncan, scored for and faithfully reproduced by classical instruments. Additional projects include the John Cage-focused quartet A Cage of Saxophones; and Text of Light, a group including Lee Ranaldo, Alan Licht and Christian Marclay that improvises soundtracks to avant-garde films. Other collaborations include Phill Niblock, Kasper T. Toeplitz and LaMonte Young. Since 2007 he has lived in Los Angeles, where he is a member of the CalArts music faculty.

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Lou Reed and Ulrich Krieger at REDCAT

Lou Reed
Image via Wikipedia

Reed and Krieger play LA’s REDCAT:

October 2-3, 2008

Unclassified: Lou Reed and Ulrich Krieger
World Premiere

“[Lou Reed] has gotten so far beyond us that he has come around to meet us from the other side.” Spin

Rock music icon Lou Reed and sonic experimentalist Ulrich Krieger take the stage together for the first time to improvise music and make soundscapes. The pair use guitars, saxophones and an array of electronic treatments to venture into deep acoustic space, drawing on new music, free jazz, avant-rock, noise and ambient in a set of intense conceptual pieces and intuitive improvisations. The artists first met in 2002 for the premiere of Krieger’s transcription and arrangement of Metal Machine Music — Reed’s seminal guitar feedback epic — for the chamber orchestra Zeitkratzer. More recently, Reed has been touring a new stage version of his 1973 rock oratorio Berlin, a work that was the subject of the stunning concert film by Julian Schnabel released this summer. Krieger, who has collaborated with artists from Reed and Lee Ranaldo to Phill Niblock and Merzbow, has been a member of CalArts‘ music faculty since last fall.

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