12.11.2016 8:00 p.m.
Three improvisatory performances, each with its own take on electronic/acoustic interaction.
- BIG DATA CANE
Three improvisatory performances, each with its own take on electronic/acoustic interaction.
- BIG DATA CANE
The music of Matt Sargent
soft song for solo cello [9'15'']
Tide for 10+1 basses [21']
more snow to fall (2) for solo glockenspiel [6'30'']
Tide for 10+1 cellos [21']
T.J. Borden - cello
Erik Carlson - violin
Dustin Donahue - percussion
Matt Kline - bass
Matt Sargent is a composer and guitarist based in Woodstock, New York. His music grows out of an appreciation of natural resonances, recursive structures, computer modeling, and outdoor listening. He often writes music that responds specifically to the sonic features of acoustic spaces, an interest which has led him to produce work in many unique locations, including the grain elevators of Buffalo’s “Silo City” and the Rhyolite ghost town of Death Valley. His music has been described as “so simple, so natural, and yet sets up a complex set of interactions.” (Jennie Gottschalk, SoundExpanse)
His music has recently been heard in concerts and installations at the 2016 Frequency Festival at Constellation (Chicago), River Concert Series of the Chesapeake Orchestra (Washington D.C.), Darmstadt Ferienkurse für Neue Musik (Germany), New York City Electroacoustic Music Festival, the Wulf (Los Angeles), the Stone (New York), Machine Project (Los Angeles), SEM Ensemble’s “Emerging Composers” series, Kent State University's "Vanguard New Music" series, June in Buffalo Festival, Atlantic Center for the Arts, Yale University Haskins Laboratories, and the Museum of Contemporary Art Cleveland, among others. He is a 2016 composer-in-residence with Ensemble Mise-En and the I-Park Foundation.
Matt is a visiting assistant professor of electronic music and sound at Bard College.
KEVIN LO is a composer, choreographer, and writer recently moved to Oakland from Melbourne, Australia, whose sonic improvising work generally unfolds from preparing and re-preparing instruments as morphological substrate, using violins/the insides/outsides of a piano (depending on availability) with metallic and magnetic objects; sometimes utilizing electronics; often employing extremely close recording techniques.
XelmYa (Alexa Renger - violin, Sylvia Hinz - recorder, Guests - violoncello) was founded in 2008.
One of their goals: to push, foster and develop the instrumentation of the baroque trio sonata into contemporary music and modern times. Since their formation, they performed numerous premieres composed especially for this instrumentation by e.g. Matthias Spahlinger (DE), Makiko Nishikaze (JP), Gunnar Karel Másson (IS), Luis Hilario Arévalo (MX), Arturo Corrales (SV), Tania Sikelianou (GR), Damian Barbeler (AU), and John Strieder (DE). The promotion of contemporary music and music by female composers are two of the main topics of XelmYa.
a wave press, a new publishing initiative by Casey Anderson, celebrates the publication of its first two releases: Casey Anderson's RADIOS and Scott Cazan's Ingress. An installation (RADIOS broadcast via a used FM frequency and played back by 8 radios) bookends a series of performances, including a 4-channel live electronics piece by Scott Cazan. Carmina Escobar and William Hutson, the next two artists producing work for the label, provide a kind of preview glimpse of their upcoming releases with their sets.
RADIOS and Ingress will be available for sale ($10 each).
A night of experimental electronic music, video, and movement featuring:
Carmina Escobar (Mexico, voice and electronics)
Oguri (Japan, dance)
Liew Niyomkarn (Thailand, electronics and performance)
Ulrich Krieger (Germany, saxophone and electronics).
Admission: $10 (or pay what you can) via the ticket link or at the door. Cash and credit card accepted.
Carmina Escobar is an experimental vocalist, performer, improviser, sound and intermedia artist from Mexico City. My work focuses primarily on the voice, the body and their interrelations to physical, social and memory spaces. At the moment I live and breath in Los Angeles, CA. / Carmina Escobar es una vocalista experimental, ejecutante, improvisadora, artista sonora e intermedia originaria de la Ciudad de México. Mi trabajo se enfoca primordialmente sobre la voz, el cuerpo y sus interrelaciones con espacios físicos, sociales y de la memoria. Actualmente vivo y respiro en Los Angeles, California.
Oguri, a native of Japan, began his career as a dancer with master Tatsumi Hijikata, the creator of the Butoh dance form in post World War II Japan. Oguri joined famed dancer Min Tanaka's company, Mai-Juku in 1985, and for five years lived, worked, and helped establish Tanaka's farm outside of Tokyo. A resident of Southern California since 1990, Oguri formed his Los Angeles-based dance company, Renzoku, in 1993. He is the co-founder and artist-in-residence of La Boca, a studio/theater in the Sunshine Mission/Casa de Rosas (the oldest shelter for homeless women in Los Angeles) and an artist-in-residence at the Venice community theater the Electric Lodge. Oguri teaches and performs worldwide, and has received support from the California Arts Council, the James Irvine Foundation/Dance USA, the New England Foundation for the Arts National Dance Project, the Rockefeller Foundation and the City of Los Angeles Cultural Affairs Department.
Liew Niyomkarn is an artist who manifests sound as a medium into a form of performance, sculpture and installation. Liew's work is known for its ecstatic and surprise events which often expresses a sensory of flexibility and impermanence of sound and objects. Liew's compositions also appear in films and advertising. Liew currently lives in Den Hague, Netherlands. Liew's performance is in a support of High Zero Festival.
Ulrich Krieger is a German composer and performer living in Southern California.
Krieger works in new and experimental music, reductionism, drone, minimalism, just intonation, improvisation, electronic music, noise, rock and metal. He performs on saxophones, clarinets and electronics.
Krieger’s recent focus lies on the experimental fringes of contemporary rock and pop culture, in the limbo where noise, metal, ambient, silence and chamber music meet and influence each other—not accepting stylistic boundaries.
His compositional approaches include micro-sounds, microtones, just intonation, ‘instrumental electronics’, drone, and noise. His main compositional interest and research over the last decade was in ‘instrumental electronics’, creating music using sounds produced by extended techniques on traditional instruments, which are reminiscent of and influenced by electronic music.
Amplifying instruments in elaborate ways, he gets down to the 'grains of the sounds', changing their identity and structure from within. This lead him to transcribe and arrange Lou Reeds 'Metal Machine Music' for chamber orchestra.
Krieger studied classical/contemporary saxophone, composition, electronic music, and musicology in Berlin and New York. As composer and performer he worked in Europe, the Americas, Asia and Australia.
As rock, noise and electronic musicians he collaborated and performed with Lou Reed, Lee Ranaldo (Sonic Youth), Merzbow, Carl Stone, John Zorn, Christian Marclay, Faust, and many more.
As classical saxophonist he recorded works by Cage, Berio, Scelsi, Partch, Reich, Riley, Glass, Webern, Cowell, Grainger and worked with LaMonte Young, Phill Niblock, Michael Pisaro, Berlin Philharmonics, Ensemble Modern, PARTCH Ensemble, and many more.
Ulrich Krieger is professor for composition, Experimental Sound Practices and rock music at CalArts, where his special field is the cross-pollination of experimental music and avant-garde rock.
"[Krieger] ranges wide as he seeks the spots where noise and beauty meet"
Anne Power, LA Times
the wulf. presents an encore performance of Harris Wulfson’s Durations and Alison Knowles’ Unfurl at BETALEVEL. Audience members are encouraged to join the performance of the Knowles by bringing something to unfurl.
Final performance of the last chance to dance series before the wulf. moves on to other places. During sunrise; starting at astronomical twilight. The changing hues of the east facing windows as the sun rises are magical.
The title of the piece is minor third abstract and the score simply states: 'with a very gradual, natural and continuous shift of setting'.
Harris Wulfson - durations
Alison Knowles - unfurl
This event will be very similar to our first event on 8.22.2008. Bring something to unfurl / unroll as the idea is to slowly unfurl / unroll things till the space is covered. Here is a video from that first performance: https://www.youtube.com/watch?v=yNvpXT5I_3s
Then, we invite you to spend the night to enjoy one last performance (details in the following event) during sunrise (starting at astronomical twilight). So also feel free to bring something to lay down on comfortably should you feel compelled to stay the night.
Todd and Liam will do something very interesting. Then we will celebrate! Eat, drink, and be merry. And on this night, there will be dancing...
ongoing through the end of august at the wulf.
accessible during all remaining public events, and by appointment
As many of you may already know, the wulf. will be leaving our current location at the end of August. Come September, and until we find a more permanent solution, we will continue our activities at satellite locations to be announced soon.
To celebrate the end of an era (8 amazing years!!!) and the start of a new one, we have scheduled a final series of events here at the current location which we are calling "Last Chance to Dance" (though dancing may not necessarily always be involved). So far, there are 10 events lined up culminating the final weekend of August with a party, a concert similar to our very first event, and a sleepover with a final performance at astronomical twilight.
Details of the events will be available on our website and facebook page.
With Much Love,
Steenberge and Lockie present an evening of voices, strings and tubes. Featuring the appearance of Orpheus, the disappearance of the young bride and watery sororicide. Also, some of Laura’s dissertation music. Special guest Caitlyn Conlin.
Stephanie Smith will perform with the latest iteration of her motor control arrays.
Ulrich Krieger's Quantum is a quiet exploration of soft sounds which require amplification to be audible. Adapting these amplified microsounds, Krieger creates a previously unheard soundworld of the saxophone.
A world of quantum sounds., where sounds are always statistical, and never the same.
The probability of sound. The quantum world, the realm of the super-small equals the world of microsounds. In quantum mechanics there is no certainty, the Heisenberg ‘Uncertainty Principle’ rules. Reality is stochastic, at least at the smallest level.Quantum-sounds are similar in the sound world. Sounds that can not be controlled and fixed traditionally, only approached stochastically.
These sounds can be stochastically researched, experience and understood, they can be manipulated and steered in the right direction, but never totally, completely controlled. A quantum sound world of controllable macro-features, but stochastical micro-features.
It is purely ‘interactive’ between the performer and the sounds. Besides the obvious--saxophone type and make, mouthpiece type, ligature--here are too many other factors: textur of reed, strength of reed, duration of use of reed, weather, humidity, etc. for everything to be controllable in a traditional way
Yiannis Christofides (b. 1985, Cyprus) is a soundscape composer, creative sound designer and field recordist. He is co-founder of PHYSICAL PLASTIC, a Los Angeles based theater project with the aim of revealing theater as a concrete language, through collaboration and the organic integration of creative disciplines. His work for art installations, stage and performance pieces, media, and curatorial projects has been presented, among others, at the Athens & Epidaurus Festival, the New York City Electroacoustic Music Festival 2016 | Abrons Arts Center, New York (US), 3LD Art & Technology Center, New York (US), La Triennale di Milano | La Fabbrica del Vapore, Milan (IT), Ecos Urbanos Festival | Fonoteca Nacional de México, Mexico City (MX), Irondale Center, Brooklyn (US), The Invisible Dog Art Center, Brooklyn (US), Point Centre for Contemporary Art, Nicosia (CY), Internationales Klangkunstfest Berlin 2014 (DE), the wulf., Los Angeles (US), Circuit Bridges | Gallery MC, New York (US), The Royal Dockyard Church, Kent (UK), Metamatic: The Art Foundation, Athens (GR), The Ethnological Museum, Nicosia (CY), Queen Elizabeth Hall, Southbank Centre, London (UK), Los Angeles Contemporary Exhibitions (L A C E), Los Angeles (US), Southwark Playhouse Theatre, London (UK), ARTos Cultural and Research Foundation, Nicosia (CY), the Kulturbrauerei, Berlin (DE).
A new performance for harmonium, guitar, and projector all tuned to one another.
Eric Heep // is known for performing with his own mechatronic sculptures and other custom interfaces. He currently attempting to complicate relations between machines and meatbags. // www.ericheep.com
Manuel Lima // composer - performer // http://www.manuel-lima.com/
Davy Sumner // creates electroacoustic music using feedback, chaotic systems, and spatialized sound sources. His recent work involves manipulating antiquated forms of communication (walkie talkies, reel-to-reel tape machines, and record players), for use as noise sources. http://davysumner.bandcamp.com/
In no particular order:
Davy Sumner will present a work.
Davy Sumner and Eric Heep will present a new collaboration.
Manuel Lima will present a short work.
Eric Heep and Manuel Lima will present a new collaboration.
Eric Heep will present a work.
No key but a possible movement by Michael Pisaro
hermit by Ryoko Akama
performed by Scott Worthington - bass, electronics
for the full calendar of Dog Star events visit http://dogstarorchestra.com/
some vexations for taku sugimoto by Johnny Chang
for the full calendar of Dog Star events visit http://dogstarorchestra.com/
economy study by Michael Winter
February Pieces and Ricercare by Samuel Vriezen
and perhaps... 20 Bloques by Liliana Rodríguez Alvarado
for the full calendar of Dog Star events visit http://dogstarorchestra.com/
!!! NOTE EARLY START TIME @ 7PM !!!
(The fur of a cat in the sun)
(Sticks, numbers, letters)
PIANO PIECE 2005 (2005)
5 TYPOGRAPHIES for Michael Pisaro (2004)
6 TYPOGRAPHIES for Anni Rossi (2004)
a piece of traffic (2007) [Ashbery series]
THE ROMAN EMPIRE to Michael Winter (2007)
all the same color again, to Billy Mintz (2007) [Ashbery series]
FUENTE para Istvàn Zelenka (2015)
PIANO PIECE for Lucky Mosko (2003)
(The fur of a cat in the sun)/(Sticks, numbers, letters) for Adam Overton (2011) [Ashbery series]
solos 2003-2015 performed by heather lockie, liam mooney, sepand shahab, stephanie smith, mark so, mike winter, and...
Underwolf Records presents a deep listening of Desmond Knight’s new album The Remains + new works for voice, saxophone, and electronics performed by Dollshot .
Desmond Knight is a composer and sound artist. An avid armchair naturalist, he has spent many a day and night in far flung regions, recording, collating and archiving all manner of sound for his personal audio library. Knight’s second album, The Remains, is a soundscape crafted of field recordings, found instruments, tape and hiss; a zone of liminal visions and subversive drones.
Dollshot is the collaboration between husband/wife Noah and Rosalie Kaplan. They perform original microtonal Romantic art songs as a duo and chamber band. Their eponymous debut was released in 2011 and featured originals and arrangements of songs by Schoenberg, Poulenc, and Ives. Their new album, Lalande, a future noir song cycle, will be released later this year.
Grace Leslie and Carolyn Chen present an evening of sonic meditations: music for brain, flute, guqin, video, and electronics. Included: a guided nightmare with brainwave accompaniment, an experimental documentary on roundness, music for a Chinese zither traditionally played for private meditation in nature, and a flutist's exploration of inner rhythms through sonified physiological signals.
Scott presents a series of new works for electronics and ensemble. He will be performing his recently completed collaboration with Audition Records, "Grammar" as well as "Play a Song" for small band, and two new works for electronics that involve a slight amount of dancing and Roy Orbison.
!!! NOTE DATE CHANGE FROM APRIL 16TH TO APRIL 15TH !!!
generator, hierarchical dust, and necklaces - Michael Winter (guitar, field recording, digital spectral filter, and video)
Across the street from the wulf. there is a fish distribution company. When the power on the block goes out, they use a huge backup generator with a loud, full-spectrum hum.
Dudley Carter - Abby Sher (60 min.)
90-year old woodsman and sculptor, born in 1891, carves enormous cedar trees with an axe. Story of the changes in 20th century technology told through first hand homestead, logging, WPA experience.
1) Two simultaneous duos, one by Seth Cluett (performed by Cluett and Andy Young) and "The Lost Quartet” by Michael Pisaro (performed by Pisaro and Ben Levinson)
2) Improvisation with Cluett, Pisaro, Levinson, Young, Isaac Aronson, and Luke Martin.
American artist and composer Seth Cluett explores everyday actions at extreme magnification, examines minutae by amplifying impossible tasks, and explores the working of memory in forms that rethink the role of the senses in an increasingly technologized society. Creating work ranging from photography and drawing to installation, concert music, and critical writing, his "subtle...seductive, immersive" (Artforum) sound work has been characterized as "rigorously focused and full of detail" (e/i) and "dramatic, powerful, and at one with nature" (The Wire). The recipient of grants from Foundation for Contemporary Arts Emergency Fund and Meet the Composer, his work has been presented internationally at venues such as The Whitney Museum, MoMA/PS1, Cafe Oto, GRM, and STEIM and is documented on Line, Sedimental, Notice, and Winds Measure recordings.
80, 40 (2016) by Jordan Topiel Paul is a long-form structure of indeterminate duration for web browser and any number of interpreters. Blocks of sonically dense noise, tones and rhythmic pulses are interspersed with periods of silence that articulate the space's resonant qualities and ambient background. As the piece progresses, the repeated elements begin to transform senses of attention, acoustic afterimage and timing.
Jordan Topiel Paul (b. 1985, NYC) is a composer whose work addresses the dynamics of listening, spaces and contemporary culture. Extending from the proposition that music's primary material is listening, his pieces point to an expanded musical context that foregrounds attention, physicality, venue, timing, and genre. His performances and installations have been presented foremost on the internet (http://topiel.info/) as well as in apartments, canyons, motels, chapels, museums, galleries, cafes, public plazas and music spaces throughout North America. He lives and works in Mexico City.
Asthma proprioception soft touch plastics night and day by Yasi Perera is a solo specified in terms of dispositional concious states described spatially, cinematically, or physically, without explicit reference to duration. This approach builds on an interpretation of Jerry Hunt's Sur John Dee in which 'described physically' comes to mean 'instruments whose physical properties specify so-called rhythmic properties'; or the imagination of playing instruments with such properties.
Yasi Perera is a percussionist, married to the road, currently arrested by the love of more than one old man in the San Francisco bay area. Since 2001 he's been working with Don Buchla, who never says "synthesizer". Recent exhibitions include large unsupported works on paper (on the order of 10' to 20' on a side) and technical apparatus for communicating with plants.
TOM CARTER: guitar
Tom Carter's electric guitar work weaves strands of melody, drone, fuzz, and charged silence into intricately detailed instant compositions. He lives in New York City. Best known for his work with iconoclastic acid-folk improvisers Charalambides (which he co-founded with Christina Carter in 1991), Tom Carter has focused on solo performances and recordings since 2012. His 2015 double LP on Three Lobed Records Long Time Underground is the final installment of a trilogy begun in 2009 with The Dance From Which All Dances Come and continued with 2014's Numinal Entry. Long Time Underground was selected as the number-one experimental album of 2015 by The Out Door/ Pitchfork.
Tom Carter frequently collaborates with other musicians. His regular projects include a duo with No Neck Blues Band co-founder Pat Murano, free-rock improvisers Eleven Twenty-Nine (Carter, Marc Orleans, and Michael Evans), Spiderwebs (with Houston guitarist Sandy Ewen), Sarin Smoke (with Pete Swanson), Badgerlore (with Rob Fisk, Ben Chasny, and others), and various ensembles with Bay Area sound artist and composer Robert Horton. Other fellow travelers have included Gate, Loren Connors, Jandek, Bardo Pond, Tom Surgal, Thurston Moore, Steve Gunn, Dredd Foole, Pip Proud, Tim Barnes, Aaron Rosenblum, Dora Bleu, Sam Shalabi, Marcia Bassett, Christian Kiefer, Paul Flaherty, Tetuzi Akiyama, Shawn David McMillen, Inca Ore, Starving Weirdos, Ensemble Economique, Helena Espvall, Robert Millis, and Matt Valentine, among many others.
MICHAEL HENTZ: guitar
Originally from Syracuse, NY, Michael Hentz has performed in the experimental duo American Sphinx along with drummer Jarek Miller alongside many experimental performers such as Tom Carter, Zs, Expo 70, Blues Control, Loren Connors, Magik Markers, and others. Hentz moved to Brooklyn in 2010 and performed solo as Heavy Hymns and joined John Bohannon with his project Ancient Ocean which opened up for such acts as Destruction Unit, Stephen O'Malley of Sunn O)), Byron Westbrook and others. Solace, his first proper solo release on House of Alchemy, taps into the cosmic other: "weaving guitars and synth together to create something that is lush and entrancing". Hentz just recently finished a tour with Yek Koo and currently resides in Los Angeles.
YEK KOO: pocket trumpet, tape
yek koo is the solo project of visual and performing artist Helga Fassonaki (half of free psych duo Metal Rouge), often appearing in a ragged stripped-down cloak of distorted guitar, wailing vocals, pocket trumpet, cassette loops, and body movements. Originally from Los Angeles, she spent the last few years in the East Coast refining her own language for navigating the terrain of performance both with and without ‘the missing element’ – the live contact between audience and performer.
Fassonaki has performed at Audio Foundation Gallery (Auckland, NZ), The Lab (San Francisco) Open Melody Festival at UC Irvine (CA), Ear&Eye Festival (Auckland, NZ), On Land Festival (San Francisco), Human Resources (Los Angeles), Public Fiction (Los Angeles), Whitney Biennial 2012 (NYC), Cafe Oto (London, UK), Wave Farm (NY), and a multitude of other galleries, venues, and radio stations throughout the United States, United Kingdom, Europe, Australia, and New Zealand with an upcoming cassette release on Drawing Room Records. She has collaborated with Andrew Scott, Zaïmph, Gabie Strong, Matana Roberts, Kathleen Kim, Julia Santoli, and Kelly Coats to name a few.
For his second solo performance at the wulf., Mexico City based string player and improviser Alex Bruck premieres Infinite Series, a new work, which albeit simple in concept, can produce very complex results depending on the strategies employed in its realization.
Australian duo Rosalind Hall and Judith Hamann perform long form delicate improvisations built around a musical language the combines and blurs the sonorities of cello and prepared saxophone, creating detailed and slow moving landscapes of sound. Also from Australia, composer Alexander Garsden will perform his own compositions for guitar and electronics.
Alexander Bruck is an improviser and multi-instrumentalist. He studied music and philosophy and was a member of the Mexican National Symphony from 2000 to 2012. His growing interest in contemporary music led to further studies in Paris with Garth Knox on a three year scholarship. He is a cofounder and artistic director of Liminar, the ensemble for new and experimental music, and part of the improvised music collective Generación Espontánea.
Alexander Garsden is a composer, guitarist and electro-acoustic musician, working in numerous disciplines of exploratory music. He is based in Melbourne, Australia. Recent work includes commissions from the Melbourne and Sydney Symphony Orchestras, Speak Percussion, Michael Kieran Harvey, Jessica Aszodi, Golden Fur, and Jonathan Heilbron, alongside performances with Slave Pianos (Melbourne/Yogyakarta), Quiver, and Kim Myhr & Ole-Henrik Moe (Nor). He performs as a soloist of both notated and improvised musics, and in a range of other contexts including True Strength (with Ida Duelund-Hansen), Yuko Kono, Francis Plagne, Ned Collette and Wirewalker, Forth Impact (with Sam Dunscombe) and in duos with Erkki Veltheim and with Rohan Drape. As an educator he teaches through the RMIT and the University of Melbourne, and is
co-director of the INLAND concert series.
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. She has worked with artists and ensembles, including Oren Ambarchi, Maya Dunietz, Charles Curtis, ELISION Ensemble, Ellen Fullman, Graham Lambkin, Jon Rose, Ilan Volkov, Tashi Wada, and La Monte Young and Marian Zazeela. Judith is a founding member of Golden Fur with James Rushford and Samuel Dunscombe, and an immersive cello duo with Anthea Caddy.
Rosalind Hall works with a multitude of sound technologies and instruments such as a modified saxophone, home made instruments, percussion, field recordings and processing software to create soundtrack, live music and performance work. Rosalind performs with local experimental and improvisatory musicians such as David Brown and Jim Denley and releases solo and collaborative work independently and through labels Avant Whatever, Corpus Collosum Records, pan y rosas discos, Swarming Records and EcoSono.
Archie Carey Bassoon Trio
Archie Carey is an experimental bassoonist and composer living in Los Angeles. He explores acoustic noise as well as analog electronics in his solo work and focuses on microtonality and extended techniques in his orchestral and chamber compositions.
Booker Stardrum Solo
Booker Stardrum is a percussionist/improviser/composer based in Brooklyn, NY. Stardrum's solo work began as an experiment to create new compositional ideas in percussive sound, born from his own idiosyncratic performance practice. In November 2015 he released "Dance And." Using synthesizer and extended percussion and recording techniques, "Dance And" exists at the intersection of minimalism, sound collage and percussive virtuosity. Stardrum co-leads, performs and tours with several projects including Cloud Becomes Your Hand, Landlady, VaVatican, and Delicate Steve and has released music on Northern Spy, NNA, Hometapes and Prom Night.
Andrew Bernstein Solo
Andrew Bernstein continues to redefine the capacity of the modern interdisciplinary musician, exploring the intersections of ecstatic live ritual and academic electronic music. As a member of rock polymaths Horse Lords, Bernstein guides the band's intricate arrangements through African-inspired percussion patterns, and intensifies their busy harmonic frameworks with torrents of cyclical saxophone melody. His solo music contextualizes these impulses into discrete pieces informed by the contemporary classical, minimalist, and avant-garde traditions.
MATCHES by Logan Hone
A new suite for 4 instrument pairs, "MATCHES" is Logan Hone's response to vaporwave, Tinder, Tennis, and matchsticks. Featuring:
Molly Pease + Linnea Sablosky: Voice
Lauren Baba + Patrick Behnke: Viola
Marta Tiesenga + Andrew Conrad: Saxophone
Jake Sucher + Steven Van Betten: Electric Guitar
It Foot It Ears
IT FOOT IT EARS teeters between delicate chamber music and Avant-garage rock. A duo of percussion and electric guitar, IT FOOT uses prepared instruments and extended techniques to create a sound that has been described as adventurous neo-no wave visceral atonal groove rock.
Metal & Breath (2007), Christian Wolff
performed by Erika Bell, Shawn Broukhim, Diego Gaeta, John Pisaro and Michael Pisaro
A certain species of eternity (1996), Michael Pisaro
20161, Manfred Werder
performed concurrently by Michael Pisaro and Manfred Werder
This performance is made possible in part by the Swiss Arts Council Pro Helvetia.
Jon Leidecker / Wobbly
Monitress for iOS devices and mixer
Growing up as an electronic musician there was always more than a little bit of envy for acoustic instrumentalists. Portable sound emanating from devices with no boot times; feeling left out when two guitarist friends sat comfortably under a tree playing quiet music while watching a storm front slowly move in. The last five years have seen a very quiet revolution. Credible models of the bulkiest hallmark synthesizers in electronic music history now comfortably reside on a small device with a loudspeaker that I carry with me at all times. Given five minutes in line at a bank, social media can not compete with rehearsing any number of incredible new apps; my phone has become my primary instrument in a very short period of time. Of course, there is also a dark side: we can only trust that these apps are not abusing their access to these portable cameras and microphones that are in the room with us during our most private moments.
Growing out of the work I engaged in as a member of the group Negativland with primitive feedback oscillators from 2011-2013, 'Monitress' is a piece where the audio inputs of 2-4 iOS devices are routed in various configurations, causing self-playing chain reactions as they listen to each other to either process the audio, or convert the signal to MIDI information to drive a synth app's output. The resulting sounds are frequently uncontrollable, but also very intimate, and audibly born out of my increasingly personal relationship with the mobile device. In performance this piece runs anywhere from 20 to 180 minutes; today's performance will dovetail into a solo piano performance by Tania Chen.
solo on laptop and electronics
Chen / Leidecker duo, Color Field Studies
The interaction of colors
The interaction of sounds
These studies begin and end with a visual grid as a reference in which sounds are interspersed within the durational space. We will be using electronics, keyboards and found sound material.
Jon Leidecker / Wobbly
Improviser and master of electronic touslings, Jon Leidecker / Wobbly has plundered the realms of sampling and collage using electronics in all its forms, notably with the Bay Area based NegativLand, & has collaborated with the electronic based bands Moebius and Matmos. Wobbly is currently investigating the way his iPads, iPhones and the Super Booper Electronic Oscillator - an analog feedback device made from bits of scavenged radios and amplifiers - can communicate with each other in his compositions and in live improvised performance. Jon's work with NegativeLand has taken him across Europe and the USA from Paris, Spain, London to New York and beyond.
Performance artist, experimental musician, and free improviser, Tania Chen is also a leading interpreter of compositions by John Cage, Cornelius Cardew and Morton Feldman. Her adventures in the world of free improvisation have given rise to many musical collaborations such as with Steve Beresford on the album "Ointment", and albums with Henry Kaiser and Wadada Leo Smith. She performs regularly with the bands Trois Chapeaux and Tender Buttons. Tania's music performances have taken her across the globe from Berlin, London, Tokyo, to San Francisco, New York and beyond.
Jacob Wick - trumpet solo
Christian Weber - doublebass solo
Wick / Weber - trumpet / doublebass duo
Christian Weber is a Swiss doublebassist equally comfortable in the harsh world of industrial noise (Sudden Infant) as jazz orchestras (Zirkumpolare Jazz Orchestre). He plays contemporary classical chamber music with the Ensemble für Neue Musik Zürich, prog jams with Christy Doran's Bunter Hund, and minimal gitzoid with Voice Crack's Norbert Moslang and Andy Guhl. What he brings to his improvisations is the glue of all that.
An edited list of folks he has worked with: Tim Barnes, Johannes Bauer, Han Bennink, Jeb Bishop, Andres Bosshard, John Butcher, Antoine Chessex, Gene Coleman, Lol Coxhill, Tim Daisy, Jacques Demierre, Bertrand Denzler, Robert Dick, Michel Doneda, Christy Doran, Paul Dunmall, Markus Eichenberger, Ellery Eskelin, Peter Evans, Kai Fagaschinski, Pierre Favre, Peter K Frey, Charles Gayle, Gegenklang, Andy Guhl, Uli Gumpert, Boris Hauf, Franz Hautzinger, Gerry Hemingway, Mazen Kerbaj, Hans Koch, Ritsche Koch, Tomas Korber, Peter Kowald, Joachim Kühn, Oliver Lake, Joke Lanz, Urs Leimgruber, Tony Levin, Werner Lüdi, Paul Lytton, Rudi Mahall, Phil Minton, Norbert Möslang, Michael Moser, Jon Mueller, Günter Müller, Simon Nabatov, Lucas Niggli, Noid, Evan Parker, Wolfgang Reisinger, Paul Rogers, Olaf Rupp, Jorge Sanchez-Chiong, Irène Schweizer, Christine Sehnaoui, Sharif Sehnaoui, Elliott Sharp, Martin Siewert, Steamboat Switzerland, Michael Thieke, Tom Varner, Stephan Wittwer, Nils Wogram, Christian Wolfarth, Michael Wollny, Nate Wooley, Katsura Yamauchi, Raed Yassin, Otomo Yoshihide, Michael Zerang…
Jacob Wick is a trumpet player and improvisor who lives in Mexico City and Chicago. He practices an "object-oriented" approach to improvisation, privileging the perspective, experience, and expressive capacities of ambient non-human actors—air ducts, airplanes, birds, cement—over his own. Current projects include the rain in its avoided effects, a solo trumpet performance and listening exercise; and Tres Hongos, an improvising trio with Marc Riordan and Frank Rosaly.
Originally from the suburbs of Chicago, Wick has lived in Brooklyn, Oakland, and Los Angeles, and has performed with a variety of improvisers and composers in a variety of contexts, including at the Whitney Museum of American Art (US), the Moers Jazz Festival (DE), and el Museo Universitario Arte Contemporáneo (MX). He has performed with Toshimaru Nakamura, Bonnie Jones, Katherine Young, Andrew D'Angelo, Josh Roseman, and many others. He has released recordings on Prom Night Records (Brooklyn, NY), Peira (Chicago, IL), Diatribe (Dublin, IE), and Creative Sources (Lisbon, PT). He holds a BM from Purchase College, SUNY, and an MFA from the California College of the Arts.
Ute Wassermann: strange songs 1 - 8 for voice and bird whistles
Pia Palme: Patterns to punctuate Song with darkness
Michael Maierhof: Daily Song 5 Lied E
Ute Wassermann is known as a vocal soloist and composer/performer for her extraordinary, many-voiced and extreme vocal sound-language, which she has brought into contemporary music in diverse ways. She defamiliarizes the sound of her voice using birdcall-whistles, palate whistles, speaker objects or field recordings. A particular interest is the development of compositions for spaces with unusual acoustic qualities.
She has performed as a vocal soloist in the area of contemporary and experimental music in festivals in Europe, Australia and Asia. She is an integral part of the Berlin and London experimental music scenes. Regular performances with ongoing groups like speak easy (Phil Minton, Martin Blume, Thomas Lehn, Ute Wassermann), John Russel, Aleksander Kolkowski, Els Vandeweyer, Michael Vorfeld (percussion & lights), Birgit Ulher and others and is a member of the Berlin-based composer/performer ensemble Les Femmes Savantes. She has given premieres of works composed for her voice, for example by Richard Barrett, Chaya Czernowin, Henning Christiansen, Hans-Joachim Hespos, Matthias Kaul, Michael Maierhof, Michael Finnissy, Cathy van Eck, Simon Steen-Andersen, Andrew Noble and works by Salvatore Sciarrino, John Cage and others.
This performance is made possible in part by the Goethe-Institut Munich.
VRS is the project of Los Angeles based performer Ellen Phan. Founded in 2013, VRS focuses primarily on digital audio experimentation as means to generate abstract electronic music. VRS utilizes custom Max/MSP programming, found sound, and other hardware/software to create works that range from quiet and minimal to loud and dense, conveying expression through texture/composition/form. Tonight, she will present a new piece exploring modalities of experimental sound.
Ted Byrnes & William Hutson
Ted Byrnes and William Hutson will perform an improvisation for percussion and electronics. This will be the pair’s debut as a duo.
Cameron Shafii is a San Francisco-based composer and computational linguist, practicing generative and systems music. His compositions are inflected by software processing built on recombination and string matching algorithms. His music has been published by Ge-stell and Anòmia. Shafii is currently recording an album in collaboration with Joe Gilmore (Alku, Entr’acte), a multidisciplinary artist, who is based in the north of England. He will be performing a solo sound piece from this collaboration, which transforms brass and string instruments by spectral analysis.
John Krausbauer & David Kendall
“PDRM” is a composition constructed from a “just” tuned, three-string electric guitar with real-time and algorithmic delay and spatialization processing. Slow, spectral tonal movements and a deluge of polyrhythmic beats occur through (de)tunings and altered tempi. A four-channel speaker system is employed to achieve maximum specialization and to activate the psychoacoustic potentials in the sonic variants.
An evening of string quartets by Luke Martin and Aaron Foster Bresley, performed by Thea Mesirow, Jonathan Tang, Yvette Holzwarth, and Joy Yi.
CD release and premiere of "residues" by Luke Martin. "residues" is a series of five graphic score string quartets exploring uncertain relational space between subjects and everyday objects existing as residues of themselves due to their leftover or forgotten status. CDs will be available at the concert.
Premiere of a new work by Aaron Foster Bresley, for string quartet. "barrier - bend/erect" is a string quartet based on motion void of direction or destination. The four instruments are posited as a circuit of unique and precise states, and given music through which they may become together.