Tag Experimental

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Cellular Chaos EP + Upcoming Shows

Apr 17, ’12 7:13 PM

Cellular Chaos just completed some studio recordings this spring at Menegroth in Queens. We’ll be releasing them later this year as a full record, but for now we’ve put out a limited edition CDR with select recordings from that session. I made the cover art! See below.

We also have a few shows coming up this month, all the info is below. Admiral Grey joined the band as a lead singer recently, which has added a whole new element. If you haven’t seen us yet with a singer, check out this video.

4.17
.Lechuguillas
.Terminator II
.Unstoppable Death Machines
.Cellular Chaos
.Heavy Medical

Death By Audio, 9pm, $7
49 s 2nd st
btw kent & wythe

4.28
:: Quintron and Miss Pussycat
:::: Bosco Delrey
:::::: Cellular Chaos
:::::::: Glittering Prizes
:: dj Musa
| 285 KENT AVE |
285 Kent Ave @ South 1st | Williamsburg, Brooklyn
L-Bedford, G-Metropolitan, JM-Marcy | 8pm | $tba | all ages

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Stream the archive of Richard Kamerman live on EVR

Apr 9, ’12 2:54 AM

Motor used in Richard Kamerman's set

This afternoon, artist Richard Kamerman played a live set and DJed some of his own releases and those on his label, Copy For Your Records on Radio Heart. Sound sources for his composition included a number of rattling motors, metal pieces, a mic’ed old laptop, springs, bottle caps, and more.

You can listen to an archive of the show here.

Richard Kamerman on EVR

More on Richard:

Richard Kamerman (b. 1985, NYC) is a multi-disciplinary artist primarily focused on sound and music (as a composer, improviser, and installation artist) but also developing text-based work, static visuals, and moving image.

His artistic interest is aimed foremost on the task of magnification – both the clarity it can provide and the distortions it can produce – and secondarily, on matters of chance and human error – deliberately and repeatedly placing himself in positions with a high risk of failure to achieving some intended result.

Small sounds, small gestures – made large. Inconsequential events – made important. Basic concepts exploded to discover surprising hidden nuance (that may or may not have existed without being sought by technological means). Format translation errors, bursts of feedback, power supply failures: all embraced as necessary features of the work where they occur.

As a performer, Richard is essentially a percussionist but he rarely sits behind a drum kit, preferring to explore the percussive behaviors of various repurposed electronics, ranging from computer circuit boards to a system of amplification devices and found mechanical parts – fans, motors, etc – that he has been developing since 2006. Frequent collaborators include Reed Evan Rosenberg (as the duo Tandem Electrics), Billy Gomberg & Anne Guthrie (as Delicate Sen), Steven Flato & Corey Larkin (as Fyxzis), Jordan Topiel Paul, Eric Laska, and the quintet Frogwell (with Robert Hardin, Bob Lukomski, Jeremy Slater, and Tamara Yadao).

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Article on Robert Ashley’s “That Morning Thing” in Performa Magazine

Nov 22, ’11 7:18 PM

I did a short write-up on Robert Ashley‘s opera “That Morning Thing” at the Kitchen. (Audio of the original 1969 production at Mills College is available here.) The show was organized as part of the performance art biennial Performa, and the article appears in their publication, Performa Magazine. Teaser below, full review here.

Robert Ashley’s opera That Morning Thing is a rumination on spoken language. Split into three acts and an epilogue, the first piece “Frogs” sets the tone by motioning toward the inevitable misunderstandings and inconsistencies of language. The composition is introduced by audio of various frog species croaking, most likely sampled from scientific recordings, which then gives way to an essay read aloud by a man in a suit. Delivered in a resounding voice and assertive manner, the essay discusses the inadequacy of language to communicate human thought. Four men in a row repeat the numbers 1, 2, 3, 4, and after multiple repetitions, their sounds begin to recall a chorus of frogs. At the same time, a group of women in matching white dresses and rounded goggles, with their hands held up in front of them with open faced palms, walk in robotic lock step. Periodically, the female dancers collide with another and connect hands, an action that triggers flashing lights on the goggles. Their movements seemed both random and controlled, as if they were directed by a larger system. The chance connections between dancers remind the viewer that despite the obstacle of miscommunication, understanding is possible.

MORE

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Stream the archive of Grasshopper live on EVR

Nov 14, ’11 4:22 PM

Grasshopper Performing in EVR's storefront studio

Brooklyn-based noise/drone duo Grasshopper performed live on Radio Heart on Sunday November 13 at 4pm ET. They played 2 separate sets, and even did a few hilarious “man on the street” interviews. You can listen to an archive of the show here.

More on Grasshopper:

Using trumpets, effects and an EVI, members Josh Millrod and Jesse DeRosa have crafted a singular sound, which is at times ominous and transcendent. Both classically trained horn players, their unique approach to the trumpet is informed equally by figures as various as Miles Davis, Morton Subotnick and Wolf Eyes, resulting in compositions akin to a grittier Brian Eno or low-fi Jon Hassell. Their most recent releases are a cassette on 905 Tapes entitled “Classical Music” and an LP “Goodnight My Sweet Prince” on Baked Tapes. Their premiere vinyl release “Calling All Creeps” came out last year on Prison Tatt Records.

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Photos from Dense Mesh V

Oct 24, ’11 6:35 PM

I took some photos from Dense Mesh V, a salon for experimental music organized by Lea Bertucci. The fifth in the series, the bill from this past Saturday included: Doron Sadja, Charles “Lumpy” Dube, Tristan Shepherd, Bob Bellerue and Wanda Gala, and Max Eilbacher. The highlight, for me, was Doron’s set which integrated the sound of fire alarms into one of the compositions. Roughly 10 or so alarms were dispersed throughout the space, and were activated during the performance by a smoke machine.

Doron Sadja

Doron Sadja

Max Eilbacher

Max Eilbacher unveiling the light

Max Eilbacher

Tristan Shepherd

Bob Bellerue and Wanda Gala

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Frieze Magazine | Archive | Surround Sound

Oct 18, ’11 6:16 PM

On the occasion of a major retrospective in London, Paul Schütze talked to pioneering composer Eliane Radigue about her 50-year career, which spans electronic music, Tibetan Buddhism, musique concrète and ‘anti-acoustics’

Born in Paris in 1932, Eliane Radigue occupies a unique place in the 20th-century musical avant-garde. Trained first in classical piano, she became a student of musique concrète pioneer Pierre Schaeffer and an assistant to composer Pierre Henry. Drawn to the American minimalists, Radigue availed herself of the newly developed synthesizer technology at New York University in the early 1970s. While many of her European contemporaries were slicing, splicing and shattering sound into recombined shapes and montages, she teased and caressed it into forms so large and tremulous their edges were seldom even glimpsed. Radigue has developed a sound world of infinitesimal delicacy, languorous duration and psychoacoustic daring. In the late ’70s she encountered Tibetan Buddhism and, soon after, the influence was expressed through a cycle of works based upon the Book of the Dead. This summer, Sound & Music presented an extensive retrospective of concerts in London, premiering Radigue’s first works for acoustic instruments and transmitting a language, honed over decades working alone in electronics, to a new generation of collaborating performers.

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Archive of Byron Westbrook/Corridors Live on EVR

Oct 1, ’11 3:25 PM


Last week, sound artist Byron Westbrook did a live set on Radio Heart.

You can listen to the archive of the show here.

See below for more information about his work. (And here, for a recent interview on the always fantastic Root Blog.)

Interested in the dynamic quality of physical space, and using multi-channel sound, images and objects to inhabit that space, Westbrook has adopted the moniker CORRIDORS for his live performances involving the distribution of processed instrumental and environmental recordings through a multi-channel environment. His installation-based work explores unique and participatory listening formats utilizing common technology. He has presented at venues such as Tonic, Roulette, The Stone, Diapason Gallery, Issue Project Room, Experimental Intermedia, Exit Art Gallery, (NYC), Les Voûtes (FR), Wien Konzerthaus (Austria), O’ (Milano), Cave12 (Geneva), NonEvent (Boston), Sonic Circuits Festival (DC), and Institute of Intermedia (CZ).

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Stream the archive of Xiphiidae live on EVR

Sep 12, ’11 7:25 PM

Yesterday I had a last minute guest performance on Radio Heart, Xiphiidae, who was in town this weekend for a show organized by Tranquility Tapes. Xiphiidae is the solo project of Jeffry Astin of Gainesville, Florida. He has released numerous recordings on his own label Housecraft Records, as well as imprints like 905 Tapes, Cloud Valley, Stunned, and NNA Tapes. He produces heavily textured and rhythmic drone.

Listen to the archive here.

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Rootmix – Jefre Cantu-Ledesma – Komisch Sommer – Root Blog

Aug 30, ’11 12:30 AM

Komisch Sommer
Rootmix by Jefre Cantu-Ledesma
August, 2011

Enjoy fantasy film - just click here! | Trading Point | clip art 3ds model here

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Tashi Wada – Revenant – Performed by Stephan Mathieu – Root Blog

Aug 25, ’11 7:08 PM

Tashi WadaRevenantPerformed by Stephan Mathieu on June 9. 2011 in the XIII century portico of Collége des Bernardins in Paris.
“Revenant is written for two virginals and electromagnets, in this performance I played a Dolmetsch 1952 Octave Virgnal with 5 Ebows live along to a pre-recorded second voice performed on the same instrument.Both instruments are tuned in a symmetrical version of 2/7-comma meantone temperament with A=415HzThe piece was played back through four loudspeakers patched double mono, one mono pair for the amplified live instrument, another for the recorded take.The audience moved freely in the space.”

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