A night of works by Erin Demastis, Thomas Sturm, Joshua Wasterman and Jesee Colins

Jesse Kenas Collins

Solo performance for accordion reeds and computer fans with feedback system and prepared loose speakers.

Erin Demastis

Microphone 2: A expansion of a previous piece entitled Microphone 1 which involved a microphone app on the iPhone 6 that feeds back when opened and multiple jars of varying sizes. Microphone 2 will also involve iPhones and jars in addition to found objects and tools that are amplified with contact mics, and a trio of slinkies attached to PVC that are amplified with dynamic mics.

Thomas Sturm

“A Session with the Phonetiphone” is a musical game for the “Phonetiphone,” an electronic instrument that uses the performer’s mouth as a resonator. It was invented by Samantha Calvetti and Thomas Sturm. To be performed as a quartet by Jesse, Erin, Joshua and Thomas. 

Joshua Wasterman

Presenting "No Area", a performance environment sustaining instrument or voice, electric megaphone, FM transmitter and radios

Carolyn Chen - This is a scream (20 min)
An audio essay on some screaming and crying and feelings in music, or a program note for Monsters, cold and warm.

Kyle Johnson - I'm not really much of a talker. (65 min)
I speak alongside video and stereo audio (all run from my own computer). None of those things are happening all the time. It's a set of 20 kind of independent sections. It comes off as autobiographical, but from a constantly shifting perspective.

Jordan Dykstra: Pitch Gradient with Noise in D?
John Eagle: tuning #3, I. Ascending

Jordan Dykstra and ensemble
Emily Call, violin

Both an ensemble and a once-a-year festival, the Dog Star Orchestra was founded in 2005 by Michael Pisaro as a way of playing recent experimental music by young composers and classic pieces from the experimental tradition. Described as “messily exceptional” by the Los Angeles Times, Dog Star events happen throughout the Los Angeles area and feature performances in out-of-the-way places and more traditional concert settings. 

This year's festival dates are June 3-17. More information at dogstarorchestra.com.

the wulf. presents the "Open Source" electronic music concert series featuring:Ellen Phan, Ryan Gaston and more TBA.

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

the wulf. presents the "Open Source" electronic music concert series featuring: Eric Heep, Tim Tsang and Parches, and Celia Hollander.

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

the wulf. presents the "Open Source" electronic music concert series featuring: Rick Bahto, Corey Fogel and James Rushford.

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

the wulf. presents the "Open Source" electronic music concert series featuring: Eva Aguila, Alex Cooper and Casey Anderson.

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

Daniel Fishkin's Dead Lion
Daniel Fishkin, photodiodes, oscilloscopes, voice

Toshi Ichiyanagi's "Music for Electric Metronome," performed by Andrew Young, Stephanie Smith, Mark So, and Liam Mooney

Daniel Fishkin’s ears are ringing. Composer, sound artist, and instrument builder. Completely ambivalent about music. Daniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra, developed sound installations in abandoned concert halls, and played innumerable basement punk shows. Daniel’s lifework investigating the aesthetics of hearing damage has received international press (Nature Journal, 2014); as an ally in the search for a cure, he has been awarded the title of  “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Recent activities include a Project Grant from the Pew Center for Arts & Heritage. Daniel received his MA in Music Composition from Wesleyan University, has taught analog synthesis at Bard College, and, as fate would have it, is now pursuing his PhD at University of California, San Diego.

Program:

i can't handle your twisted party bullshit
How could I make a “modular” system of my own? One day at my workbench, I realized that the green CRT bream of of my oscilloscope is a very stable sawtooth waveform. I used my photodiode pickups to listen to this signal. I could change the pitch in intervals by varying the Timebase or “Sec/Div” knob. Through rampant misuse of the calibration knob, I could achieve a smooth glissandi. I controlled volume by moving the photodiode away from the beam. Thus I could achieve the classical “theremin” control of an electronic instrument: one hand for pitch, one hand for dynamics.
I built an entire synthesizer system out of four oscilloscopes and a mixer. By sending the same signal into both mixer & oscilloscope, a feedback path is made entirely in the domain of light, between the screen of the CRT and the photodiode microphone. The oscilloscope shows its own sound, and as I manipulate it, I learn from its visual language in order to predict its music. Initially I considering modifying the oscilloscope for voltage control, in order to interface with modular synthesizers, but I realized that the scopes contain so many esoteric inputs and outputs, all of which can be exploited for sound. Each oscilloscope seems to behave uniquely, and thus a mixing of scopes forms a lively ensemble.

external trigger
Look closely at the instrument panel of a Tektronix 2235 oscilloscope. To the left, an illuminated 3” monitor, lit by a green pixel. To the right, two large knobs control the vertical deflection of that line—the vertical amplifiers. These amplifiers are connected to two inputs. Another large knob, sec/div, controls how fast the pixel travels across the screen. Inside the oscilloscope, a trigger circuit aligns the scan rate to the input frequency of the signal present at the vertical amplifier. This circuit is actually essential to display a stable signal that does not wander horizontally on the screen. Modern scopes have an “automatic” setting, to more reliably trigger with regards to the input signal. However, if desired, one can opt to use an “external trigger”, accessible by an BNC jack with variable coupling options.

gimme gimme gimmen (G. Ginn)
I theorize this project as a band, but it is "dead"—I do not do songs, and thus each performance is a zombie improvisation with no central Urtext. In the recent political situation, I've been searching for text. This performance uses the song text, Gimme Gimme Gimme by Black Flag. I stripped the song of everything but words, and spoke them with my oscilloscopes as accompaniment. I say to the audience, "Imagine that not I am the singer, but rather, the current president of our country."

Candle Piece
I was inspired by Nic Collins’ circuit sculpture In Memoriam, but I thought he picked the wrong candle. I wanted a faster-burning candle, and a piece that was more like pop music in development and flow. I designed my own circuit which is tuned to react to the flame of a 5-minute candle. In darkness, it is silent. When the candle is lit, the circuit plays music which changes as the candle burns.

your lights are going out
have you ever heard a dead lion roar?

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

Alan F Jones (Dallas, TX, 1971) is a San Diego-based audio engineer, composer, and musician. An undersea acoustician, he has spent collective years underwater analyzing, studying and monitoring the acoustic environment of the world's oceans. This performance will feature environmental recordings from recent travels to rural Mississippi and Hawick, Scotland, against which Al will improvise with lap steel and electronics. Al routinely works with other experimental musicians from his studio, Laminal Audio. He also runs the Marginal Frequency performance series and record label of the same name.

http://laminalaudio.com/

Judith Hamann is an Australian-born cellist currently based between Melbourne and San Diego. Her performance practice stretches across various genres, encompassing elements of improvised, art, experimental, and popular music. Judith has studied contemporary repertoire with many cellists, including Charles Curtis and Séverine Ballon. She is developing a strong practice in improvisation through collaborative projects and performances, both in Australia and internationally, including Hammers Lake (with Carolyn Connors) and Golinski/Hamann/Dunscombe trio. She has worked with artists and ensembles, including Oren Ambarchi, ELISION Ensemble, Ellen Fullman, Graham Lambkin, Jon Rose, Not Yet It's Difficult, Ilan Volkov, and La Monte Young and Marian Zazeela. Judith is a founding member of Golden Fur and one-half of the immersive duo project Cello II (with Anthea Caddy).

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

Douglas Farrand is a composer, musician, & educator. He currently resides in Newark NJ and works in Orange NJ. He works as director and teaching artist with Sonic Explorations, a K-4 daily, free music program at Oakwood Avenue Community School, and with the music department of the University of Orange, a free people’s school that builds collective capacity for people to create more equitable cities. Douglas' primary interests are in music and teaching that invite us to explore our myriad processes of listening and embody a collective investigation of place, community, and personhood. Douglas studied composition privately with Craig Shepard and at Oberlin Conservatory with Josh Levine and Ashley Fure.

douglasfarrand.com

Christian is a percussionist/performer residing in Den Haag since completing a Fulbright exchange in Basel, CH in 2016. He is primarily interested in the way music defines our lives, occupies space, and transfers energy. His practice is primarily concerned with the big sounds that come from small things, and using different media and traditional amplification methods to extend these sounds.  He calls a number of composers close collaborators: artists like Marek Poliks, Sabrina Schroeder, Murat Colak, Carolyn Chen, Bethany Younge, Jessie Downs and his partner Cindy Giron. He primarily performs with the Dutch group Oerknal, but is also a guest with Distractfold Ensemble (UK) and has formed his own group Gyre Ensemble (CH). Christian can be heard on a CD of Jürg Frey’s music - ‘String Quartet No.3; Unhörbare Zest’ - and was recorded with the Bozzini Quartet and released on Edition Wandelweiser Records.

soundcloud.com/christian-s-smith

Erika Bell is a Los Angeles composer and instrumentalist whose work is lightly focused on textural construction, irregular ensemble groupings, and a structure-based approach. Her recent recital piece ‘Sucking Stones’ was an exploration built upon a passage by Samuel Beckett and performed by a twelve-piece ensemble. She has performed with the Dogstar Orchestra and is a frequent composer for the koto-centered trio Pashan.

https://soundcloud.com/erikabell 
https://erikabell.bandcamp.com/ 

Joe Foster was born in Santa Barbara, California in 1972, has lived in Seoul since 2002, and plays improvised music. His main collaborators have been J.P. Jenkins, Bryan Eubanks, Bonnie Jones, Hong Chulki, Choi Joonyong, Ryu Hankil, Jin Sangtae, and Kevin Parks.

He's been in the groups Super Unity, Peevish, Don Brown and Dan Reynolds, and English, and has releases on Rasbliutto, Balloon&Needle, Manual, Homophoni, Doubtmusic, and Erstwhile. He plans to continue playing until death.

https://joefoster.blogspot.com/

Jean-Paul Jenkins has been making sounds in front of people since 1991. Inspired by the sound of one hand clapping, he integrates multiple forms of attention and performance to create sonic spaces for healing and relaxation. Accompanying physical movement and meditation has been his primary focus for the last decade.

https://jean-pauljenkins.bandcamp.com/
https://www.discogs.com/Joe-Foster-3-JP-Jenkins-Money-Desert/release/9759380

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

Action/Figures
Pieces by three composers featuring guest composer Stellan Bark from Berlin

the subtleties of pokeberry rouge (2017)
Self-portrait with Helmut Lachenmann and Vloggers, or: spoken drag act on a Dolly Parton story.

Performed by:
Jesse Nicholas Quebbeman - Turley
Orr Sinay
Stellan Bark

on my stomach asking the floor to get up
Duet for voices, drums, words

Performed by:
Jesse Nicholas Quebbeman - Turley
Tim Reid

Resonating Body
Solo/duo/trio piece of upright bass, contact mics, and one human being..

Performed by:
Orr Sinay

action/figures in three rooms: 
a collaboration written by the three composers performers especially for the event.

ear action
Ear Action’ is a composition played on ear-protection-headphones. These headphones, which are normally used to protect the user's ears from noises, are working as a resonator directly on the ears of the audience member.

Michael Winter's 'necklaces' for 4 plucked strings accompanied with 'quieting rooms', an electronic piece which attempts to put signals out of phase.

John Eagle's 'tuning #3 (first position)' for violin and sine tones, performed by Emily Call, explores the possible chords in one hand shape in the violin's first position and their extended harmonies/combination tones.

The music of Black Book (Jeff Klarin/Chris Baugh) is about strategic chaos. Their compositions begin with exploratory improvisations that are deconstructed and reconfigured to make ‘listenable’ noise.

Black Book will be performing three new ‘planned’ improvisations alongside deconstructed original footage (Nicolas Simonin/Jeff Klarin).

1) ROAD travels from industrial landscape to mysterious mountain forest.

2) KOMOREBI is a Japanese word that describes ‘the light through the trees’. The juxtaposition of natural settings that begin to fold-in on each other creating a synchronicity of experience and moments.

3) DISRUPT speaks to the human condition and the current climate of dissent enveloping the listener in distortion and overtones.

Black Book History
Their sound has been described as a soundtrack for an Eastern European horror film. It is cinematic, percussive unexpected elisions and distortions. Their atmospheric sound is foggy, startling, embracing the maw.

They have performed and improvised entire audio soundtracks for Valhalla Rising, 2001 and Sans Soleil. Their project Musical Chairs presented 6 performers that rotated counter-clockwise around 6 performance stations that utilized acoustic, electronic and found object instruments. Each performer utilized the ‘instruments’ creating six unique improvisation. Future projects include In Situ, site specific improvisations inspired by surroundings as diverse as deep forest, industrial landscape, beachhead and barren desert.

The Experimental Music Yearbook Presents two works from the latest issue of the annual journal:

Ulrich Krieger's "In the Shadow of the End," a work involving two just intoned electric guitars and a minimum of 6 sustaining instruments
http://experimentalmusicyearbook.com/In-the-Shadow-of-the-End
http://www.ulrich-krieger.de/

Andrew C. Smith's "How To Get There From Here" for solo performer.
http://experimentalmusicyearbook.com/How-To-Get-There-From-Here
http://andrewchristophersmith.com/

The Experimental Music Yearbook is a repository for composers, performers, and the public to glean the methods and styles of various artists working in the experimental music tradition. As the modes of experimentation in the arts change from year to year, the Experimental Music Yearbook’s annual issues will build into a comprehensive, and varied, database of experimentation in music/sound.
http://experimentalmusicyearbook.com/

voice?

an evening of solo violin pieces, part of a one-week concert series around Los Angeles
www.4inthetimeof7.com

songs, images and tunes:
music by
Michael Finnissy, Raven Chacon, Renée Coulombe, Luke Martin | Andrew Tholl, Adam Greene, Juan Pablo Contreras, Evan Johnson, Sylvano Bussotti, Roger Reynolds | Rand Steiger, Ross Carey, Elaine Barkin, Mark Menzies

Mark Menzies has established an important, world-wide reputation as a violist, violinist, pianist, conductor, and composer. Currently a Professor of Music at Canterbury University, Christchurch, New Zealand in July 2016, Mark has previously lived in the United States for 26 years. His career as a viola and violin virtuoso, chamber musician and conductor and advocate of contemporary music, has seen performances in Europe, Brazil, Mexico, Australia, Japan, New Zealand and across the United States, including a series of appearances at New York's Carnegie Hall. He is a member of Formalist Quartet, now in its 10th season, with performance highlights including two appearances at the Walt Disney Concert Hall in Los Angeles, and a series of recordings.

Davy Sumner will be performing a new solo piece using a 1960’s Film Rewind, salvaged from the soon-to-be-demolished King Hing theater in LA’s Chinatown. Spawned by the creepy, disintegrating remains of the glory days of the King Hing, the piece explores the repetitive motions of a film projectionist at work in what might be an alternate reality. 

Museum of Extinct Sounds and Imaginary Water Creatures
a trip through underwater amplification and cryptozoology
Musical object theater | Sound Installation | Museum of Sounds

a rare visit to a museum of sounds from the future, with exhibits of underwater recovered sounds from the past of planet earth, and of new life forms that have evolved in this future world where humans cease to exist.
*For the performance Ma'ayan will be joined by Laura Steenberge, Carolyn Chen and ? (one more unknown person)

Davy Sumner is a composer, installation artist, drummer/percussionist, sound engineer, and educator from Los Angeles CA, and Eau Claire, WI. He creates things that are inspired by the natural world, noise, geometry, and society, often utilizing sound spaitialization, feedback-based systems, chaos, and technology as his compositional elements.

Ma'ayan Tsadka: musician; composer; sound-explorer;educator.
compose sounds for people, instruments, objects, buildings, metal rails, and more. Current activity and research topics includes: underwater sonic-scapes, site-specific pieces, fossils of harmonic structures, audio/visual pieces, and echo and resonance in musical, political, and social context: from the rhythms of protest chants, to a series of site-specific pieces which calls for active participation and challenges common musical hierarchies. Completed a DMA in music composition at UCSC, working with Larry Polansky, Hi Kyung Kim, David Cope and Amy Beal. Currently resides in Jaffa and teaches at Haifa university.

the wulf.'s electronic music series was supported by New Music USA. To follow the project as it unfolds, visit our project page:
https://www.newmusicusa.org/projects/open-source-the-wulf-s-electronic-music-series/

An evening of works by Luke Martin, Michael Pisaro and Andrew Young

"so softly that it came, a wild dim chatter, meaningless" (Martin)
"Helligkeit, die Tiefe hatte, nicht keine Fläche" (Pisaro)
"verses" (Young)

Performed by Ryan W. Gaston, Amy Golden, Ben Levinson, Luke Martin, Davy Sumner and Andrew Young