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Last night at Spectrum dancer Luisa Muhr and sound sculptor C. Lavender improvised a literally mesmerizing, often haunting multimedia sonata of sorts, complete with variations on a Give My Love To Rose - Johnny Cash - At Folsom Prison of recurrent tropes and gestures.
It had all the intensity of butoh, but none of the brutality. Her timing was striking to witness. For much of the performance, Muhr swayed, turned, rose and fell at halfspeed, as if underwater. Much of her time onstage was spent contending with an invisible tether:, which seemed to encircle her, encumber her feet, hung in front of her face where she could analyze it, then became a sudden threat.
But just when it seemed that it had finally sent her into a fetal position, and then a crumpled form at the very edge of the stage, she rose from the depths, slowly but ineluctably, in an understatedly steely display of athletic command.
Likewise, during the tether sequence, she fixed her gaze with an unwavering composure but also a profound sadness. This may have been Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants job she had to finish, but it was ripping her up inside.
What exactly was responsible for that, we never found out, although any woman in the current political climate faces an uphill struggle with no comfortable conclusion in sight. Lavender played a set of syndrums and also Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants dulcimer, which she hit gently with mallets.
She ran the sometimes murky, sometimes much more pointillistic torrents of beats through a mixer for effects that diminished from turbulence to a trickle; then the river rose again. Meanwhile, even while the sound looped back through the mix, she doubled the rhythm, adding a layer of arid, blippy textures above the thump and throb.
Seated centerstage, there was as much elegance as restlessness in her performance, something drummers rarely get to channel: often, she was just as fascinating to watch as Muhr.
August 19, Posted by delarue avant garde musicconcertdanceLive EventsMusicmusic, concertNew York CityreviewReviews avant-garde musicc. Trumpeter Nate Wooley has been on the front lines of the New York avant garde for almost twenty years. His latest album Columbia Icefield — streaming at Bandcamp — includes three tracks, two of them about twenty minutes long, a mix of the hypnoic and confrontational, the subdued and the dynamic.
Ripsnorting textures intrude and then recede; finally a series of recognizable, spare, resonant, Wadada Leo Smith -like trumpet variations move to the center of the sonic picture.
Seven in the Woods coalesces quickly into a moody dirge, desolate trumpet over lingering guitar jangle. Once the stringed instruments fade out, it grows more rhythmic and warmer, the second part with a lustrous, ambered brass interlude.
Spacy bubbles from the guitar push it away; a momentary return once again is interrupted, this time by wailing, randomly shreddy fretwork as the drums tumble. The band bring it Frei Geboren - Frei Sterben - Luni* - Barhocker Tour 2014 full circle at the end. Wadada Leo Smith fans will love this record.
April 17, Posted by delarue jazzMusicmusic, concertreviewReviews album reviewavant-garde musicelectroacousticexperimental musicfree jazzjazzjazz improvisationMusicmusic reviewnate wooleyNate Wooley columbai icefield reviewNate Wooley columbia icefieldNate Wooley old stone houseNate Wooley review Leave a comment. The second number, Snare develops from a thicket of echo effects, insectile sounds and breathy bursts, to a wry evocation of a snare drum.
The album ends with the title track, Richards developing a complicated conversation out of late-night desolation in the first part, then a barnyard of the mind or the valves. February 27, Posted by delarue avant garde musicjazzMusicmusic, concertreviewReviews album reviewambient musicatmospheric musicavant-garde musicelectronic musicexperimental musicfunny musicjazz improvisationloopmusicMusicmusic reviewnew musicSteph RichardsSteph Richards full moonSteph Richards full moon reviewSteph Richards owlSteph Richards review Leave a comment.
At his sold-out show last night to close a weekend of performances at the Abrons Arts Center, countertenor Ju-eh hit high notes that were as disconcerting as they were spectacular. It was a profound and often profoundly funny display of awe-inspiring technique matched with witty banter and deep insight into the relationship between audience and performer.
He made his entrance from the side of the stage with a soaring aria by Handel over a solo organ recording. Seated centerstage, his verbal sparring partner Hwarg worked a series of mixers and laptop. Self-doubt quickly became a persistent theme, most poignantly portrayed via a plaintive John Dowland version of an old English air.
After the show, he explained that he always wants audiences at his performances to feel loved. That assessment in many respects makes a lot of sense, in that a lot of people go to a performance to transcend, to see themselves in the music or the narrative and come out on the other side to Where Do Broken Hearts Go? - Various - After Dark better place. But even with all that talent and that resume, Ju-eh remains a fish out of water, even in the rarefied world of countertenors.
There were a lot of very amusing, sometimes coy, sometimes disarmingly down-to-earth extemporaneous moments where Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants and Hwarg discussed how well, or not so well, the show was progressing.
There were also points where he took crowd members and put them centerstage, then continued singing from their seats. The most haunting of those moments was when he delivered a stark, aching verse and chorus of Sometimes I Feel Like a Motherless Child from the front row.
The funniest revelation was that Ju-eh had come up with a brief interlude where he lay on the floor in order to give himself a breather rather than to add any kind of meaning. February 24, Posted by delarue avant garde musicconcertexperimental musicLive EventsMusicmusic, concertNew York CityoperareviewReviews avant-garde musiccomedyconcert Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants , concert reviewelectronic musicexperimental musichwarghwarg musicju-ehju-eh abronsju-eh abrons reviewju-eh living dying operaju-eh living dying opera reivewju-eh operaju-eh reviewju-eh singerliving dying operaliving dying opera abrons reviewliving dying opera reviewliving dyling opera abornsMusicmusic reviewoperaperformance art Leave a comment.
Why on earth would anyone be interested in an album of solo percussion? The first clocks in at a bit more than twenty minutes, the second at about seventeen. A gentle drone punctuated by wavelike gong pulses, then a mysterious flicker or two!
Somethihng is afoot! The crank of an antique car engine, a jaunty whistle or two, a perplexed persistence…the motor sputters but never quite starts. The way Costa mimics a cello or violin simply by rubbing his drumheads is astonishing.
Persistent squeaks over calm ambience, agitated chirps alternating with playful rattles…then a jungle begins to come to life! That, or a bagpipe gone off the rails while a thunderstorm looms in the distance. A squeaky if steady crank slowly loses its grooves. Scurrying insectile phrases against lingering, high washes conclude album side one. Side two opens with a kitchen-sink feel that grows to a Ambiguité - Modern Jazz Quartet* / John LewisMilton Jackson*, Percy Heath, Connie Kay - I Giganti series of Rube Goldberg machine polyrhythms, once again over that ominous series of cumulo-nimbus gong hits in the background.
Tree frogs! A woodpecker! A dude with a bandsaw trying to cut down the tree with the woodpecker in it? Rain on the music box…hacksaws on a particularly stubborn pipe…Dr. Seuss clockwork…a squeaky wheel that gets no grease…and there you have it, the most Ballad - Shiv Kumar Sharma* - Music Of The Mountains entertaining percussion album of the century! November 22, Posted by delarue avant garde musicjazzMusicmusic, concertreviewReviews album reviewcarlo costacarlo costa jackcarlo costa obliocarlo costa oblio reviewexperimental musicjazzjazz improvisationJoanna MattreyLeila BordreuilMusicmusic reviewnew musicsean ali Leave a comment.
That Leila Bordreuil could sell out the Kitchen on Thanksgiving eve testifies to the impact the French-born cellist has had on the New York experimental music scene. After a long residency at Issue Project Room, she keeps raising the bar for herself and everybody else. This past evening she led a six-bass septet through her latest and arguably greatest creation, the Piece for Cello and Double Bass Ensemble II.
To call it a feast of low tonalities would be only half the story. As they bowed steadily, keening flickers of overtones began to waft over a rumble that grew grittier and grittier, eventually shaking the woofers of the amps.
Yet only Bordreuil seemed to be using a pedalboard, first for crackling cello-metal distortion, then grey noise, then flitting accents akin to a swarm of wasps circling a potential prey. Still, the overall ambience was comforting to the extreme, a womblike berth deep in a truly unsinkable Titanic, diesels at full power behind a bulkhead. The rest of the show was more dynamic,and counterintuitive.
The second movement began with the composer leading a pitch-and-follow sequence of slow midrange glissandos, then she deviated to enigmatic microtonal phrases over the somber washes behind her. The final movements were surprisingly rapt and quiet — and much further up Granula Masy - Various - Limited Edition Box Set Vol.
1 (Box Set, LP) scale, a whispery, ghostly series of variations on high harmonic pitches. Methodically working a series of mixers and a small keyboard, opening act Dylan Scheer turned in an entertaining, texturally diverse, industrially icy set of kinetic stoner soundscapes. Flying without a net is hard work, and Scheer made it look easy, dexterously shifting from an echoey, metallic drainpipe vortex, to gamelanesque rings and pings, starrily oscillating comet trails and hints of distant fireworks followed by allusions to a thumping dancefloor anthem that never materialized.
That the set went on as long as it did — seemingly twice as long as the headliners — could have been intentional. It was also too loud. The Kitchen is a sonically superior space: sounds Canto O Fado - Carlos Ramos - Essencial get lost in the mix elsewhere remain in the picture here.
So there was no need to blast the audience with almost supersonic highs which gained painfully, to the point that the earplugs the ushers were handing out became necessary. November 21, Posted by delarue avant garde musicconcertexperimental musicjazzLive EventsMusicmusic, concertNew York CityreviewReviews 21st century musicambient musicatmospheric musicavant-garde musicBritton Powellconcertconcert reviewdylan scheerelectronic musicexperimental musicfree jazzGreg Chudzikimprovisational musicjazz improvisationLeila BordreuilLeila Bordreuil kitchenDaniel Rowdens Pants - The Carters - Daniel Rowdens Pants Bordreuil kitchen reviewLeila Bordreuil reviewMusicmusic reviewnew musicNick Dunstonpsychedeliapsychedelic musicsean alistoner musicVinicius Ciccone CajadoZach Rowdens Leave a comment.
Since then, he has a long history of Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants unexpected sounds out of arcane devices, which was the name he recorded under for many years. Myers at the controls is the orchestrator. The result can be surreal, or lulling and peaceful, and deliciously psychedelic. The opening track has a subtly shifting drone behind Sharazan - Al Bano & Romina Power - The Collection sounds like calm, matter-of-bact footfalls around a laboratory — this particular professor is anything but mad.
Rigid and Fluid Bodies starts out as a bubbly aquarium, then goes into playfully echoey, blinking R2D2 territory and morphs into deep-space whale song. Mysers works a series of shifts in Astabilized: cold, grim post-industrial Cousin Silas -style sonics, a quasar pulse through a Martian Leslie speaker, keening drones and sputters. Arabic Science, as Myers sees it, is a contrast between calm ambience and and lava lamp waveforms rather than anything specifically Middle Eastern.
The Dynamics of Particles is sort of a sonic counterpart to those old screensavers where the ball rises until it bounces off the top of the frame — it becomes more animated as it goes along. Echoey long-tone phrases and sputters fade out, replaced by pitchy, asymmetrical loops in Radial-Axial: imagine Terry Riley at his tranciest. Myers closes with the epic Dorsal Streaming, neatly synopsizing the album with keening lathe tones, rhythmic and ambient contrasts, a mechanical dog in heat.
Turn on, tune in, you know the drill. December 13, Posted by delarue avant garde musicexperimental musicMusicmusic, concertreviewReviews 21st century musicalbum reviewambient musicatmospheric musicavant-garde musicDavid Lee MyersDavid Lee Myers ether musicDavid Lee Myers ether music reviewDavid Lee Myers reviewelectronic musicexperimental musicMusicmusic reviewnew musicstarkland recordstod dockstader Leave a comment.
One recurrent, provocative image was fingerprints or zoning diagrams superimposed on imposingly out-of-focus images of a massive, grey Mayan temple. Another persistent image was a twisted, bright crimson Adagio - Johann Sebastian Bach, Stuttgarter Kammerorchester - Six Brandenburg Concertos BWV 1046-105. Another amusing interlude involved an old s beatnik avant garde trope: rubbing two balloons together.
Put enough reverb on them, and suddenly the squeak and squonk take on an unanticipated menace. Symbolism anyone? One of the more animated themes was a Romany-flavored violin melody and variations, which could have been Schubert. In more concretely melodic moments, he built lingering, austerely moody piano themes. Meanwhile, the percussion echoed and whooshed in and out, other times evoking steel pans or a gamelan via an array of singing bowls and small gongs spun through a vortex of effects.
The video aspect was often similarly grim. Something that could have been a mossy rock but also some kind of dead cetacean washed up on a beach; gritty industrial decay contrasting with serene, ornate doorways and architectural ornaments from bygone centuries. Yet ultimately both the music and visuals reflected a resolute optimism, hope residing Always (Sanford Mix) - Jessica Curry - Dear Esther the handmade and the artistic rather than the machine.
At the end, the musicians dedicated the suite to the survivors of the Mexico City earthquake, and also to the hope that cross-cultural collaboration will trump conflict. Carlo Nicolau reviewcelebrate mexico nowcelebrate mexico nowconcertconcert review Keep On Skanking - Bob Marley & The Wailers - Trench Town Rock, electronic musicexperimental musicMusicmusic reviewPaisajes SonorosPaisajes Sonoros reviewsound artVanessa Garcia LemboVicente Rojo Daniel Rowdens Pants - The Carters - Daniel Rowdens Pants video Leave a comment.
Sterne Der Heimat - Ernst Mosch & Seine Original Egerländer Musikanten* - Die Grossen Erfolge • Jubi, Calcutta Blues - Various - Raw Blues, Permissive Twit Part 1 - Gilbert OSullivan - Himself (8-Track Cartridge), Mondschein An Der Eger - Various - Gruss An Die Heimat - Vom Egerland Bis Oberkrain