The Squid’s Ear Reviews

From The Squid’s Ear:

Nurse With Wound:
The Surveillance Lounge
(Dirter Promotions)

Oren Ambarchi:
(Black Truffle)

Polwechsel & John Tilbury:

Lawrence English:
A Colour for Autumn

Florian Hecker:
Acid in the Style of David Tudor
(Editions Mego)

Greg Davis:
Mutually Arising

Mary Oliver / Johanna Varner:

Urs Leimgruber & Thomas Lehn:

John Cage:

Lussier / Tetreault / Yoshihide:
Elektrik Toboggan

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This Weekend at Lampo

From Chicago’s Lampo:

MAY 9 9pm

R/S—the duo—in its first live performance anywhere in the world.
Peter Rehberg (b. 1968, London) co-founded the influential Mego label in 1994, and soon after began recording under the name Pita. His first solo release, “Seven Tons for Free,” came out in 1996, melding noise with techno. Since then he’s continued in this path, both as a solo artist and in groups such as KTL, Rehberg & Bauer, MIMEO and Fenn O’Berg. In 1999 he received the Prix Ars Electronica Distinction Award for Digital Musics alongside Christian Fennesz. Recently, he’s been primarily focused on working with KTL (w/ Stephen O’Malley) as well as dance and performance pieces (w/ Gisele Vienne). He also runs the Editions Mego label in Vienna. Rehberg appeared at Lampo in March 2003, when he performed the U.S. premiere of “Get Off.”

Marcus Schmickler (b. 1968, Cologne) has been involved with numerous projects over the past decade. While rooted in electronic music, Schmickler also has a background in contemporary composition, having studied under prominent Stockhausen collaborator Johannes Fritsch. As a solo artist, Schmickler has created important works such as Wabi Sabi, Sator Rotas and Param, as well as under the name Pluramon. He also has long-standing electroacoustic collaborative projects, most notably with Thomas Lehn, both in duo and in trio with Keith Rowe, and a duo with British pianist John Tilbury. He is based in Cologne.
Schmickler first appeared at Lampo in Sept 2002 in his Chicago debut. Three years later, in Sept 2005, he performed at Lampo with Thomas Lehn. Most recently, he opened the new Lampo space in December 2007, with the U.S. premiere of his computer music work “Altars of Science.”

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Squid’s Ear Reviews

Mats Gustafsson during a concert in Kongsberg,...
Image via Wikipedia

New reviews from the Squid’s Ear:

Fennesz – Plus Forty Seven Degrees 56′ 37
– Max Schaefer

Paola Prestini Paola Prestini – Body Maps
– Max Schaefer

Pauline Oliveros Pauline Oliveros – Electronic Works 1965-66
– Darren Bergstein

Toot (Axel Dorner / Thomas Lehn / Phil Minton) Toot (Axel Dorner / Thomas Lehn / Phil Minton) – Two
(Another Timbre)
– Wyman Brantley

Anthony Pateras Anthony Pateras – Chromatophore
– Kurt Gottschalk

MIJ MIJ – Yodeling Astrologer
– Kurt Gottschalk

Alexander von Schlippenbach Alexander von Schlippenbach – Piano Solo ’77
– Kurt Gottschalk

Tom Carter Tom Carter – Shots at Infinity 1
– Kurt Gottschalk

Yoshi Fruchter Yoshi Fruchter – Pitom
– Kurt Gottschalk

Gustafsson, Mats Gustafsson, Mats – The Vilnius Explosion
– Wyman Brantley

Tony Malaby Cello Trio Tony Malaby Cello Trio – Warblepeck
– Wyman Brantley

Ryoji Ikeda Ryoji Ikeda – See You At Regis Debray
– Darren Bergstein

Yoshi Wada Yoshi Wada – Off the Wall
– Darren Bergstein

Aidan Baker / Tim Hecker Aidan Baker / Tim Hecker – Fantasma Parastasie
(Alien 8)
– Darren Bergstein

Astro/Hiroshi Hasegawa Astro/Hiroshi Hasegawa – The Echo from the Purple Dawn
– Darren Bergstein

Richard Pinhas & Merzbow Richard Pinhas & Merzbow – Keio Line
– Darren Bergstein

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Thomas Ankersmit at Lampo

From left to right, an E ?   alto saxophone, a...Image via Wikipedia From Chicago’s Lampo:

SEPT 20 9pm
Thomas Ankersmit, whiz kid and Friend of Phill see below , makes his long-awaited Lampo debut. He combines abstract, intensely focused saxophone playing with hyper-kinetic analogue synth and PowerBook improvisation.

Here, he presents a solo concert for alto sax, Serge modular synthesizer and computer. And he ll employ several highly directional loudspeakers—a new component in his work. In performance, Ankersmit walks around the space with the saxophone, reflecting sound from the walls and the floor. The directional speakers project sound to different spots in the room and set distant objects in motion, making them resonate with an ultrasonic beam. He places preparations on them that start to buzz and sing like insects.

For Ankersmit, the set-up is very much an interconnection between the different parts, where digital steers analogue, computer recordings are processed by tape techniques, the synthesizer processes fragmented recordings of its own signals, and the saxophone blends with the electronic sound.
Thomas Ankersmit b. 1979, Leiden, the Netherlands is a 29-year old saxophonist, electronic musician and installation artist, now based in Berlin. He also creates installation pieces that use sound, infrasound and modifications to the acoustic characters of spaces that disrupt the listener’s perception of space and their presence within it. He s a frequent collaborator with New York minimalist Phill Niblock and Milan-based electroacoustic improviser Giuseppe Ielasi, and other improv partners include Gert-Jan Prins, Thomas Lehn, Keith Rowe, Kevin Drumm and Axel Dörner.

Presented with support from the Consulate General of the Netherlands, Chicago

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