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<nettime-ann> THIS WEEK'S ISSUES: Marc Ribot, Tony Conrad, Ha Yang Kim,
ISSUE Project Room on Tue, 21 Jul 2009 15:41:09 +0200 (CEST)

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<nettime-ann> THIS WEEK'S ISSUES: Marc Ribot, Tony Conrad, Ha Yang Kim, Michael Gira, Jacob Ciocci and More!!!

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July 1-31, 2009 co-curated by Suzanne Fiol and Stephan Moore 
Join us for the 4th week of the Floating Points Festival, a celebration of new work created for our multi-channel hemispherical sound system.






07/21 {AT} 8:00pm - Marc Ribot

Buy Tickets | Admission: $15



Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 - 1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a sidemusician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.

Ribot's recording credits include Tom Waits, Soloman Burke, John Lurie, Elvis Costello, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, David Sylvian, Susana Baca, McCoy Tyner, T-Bone Burnett, The Jazz Passengers, The Lounge Lizards, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, Cibo Mato, Medeski Martin & Wood, James Carter, Vinicio Caposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Joe Henry, Alan Toussaint, Marisa Monte, Allen Ginsburg, Trey Anastasio, Madeline Peyroux, Patti Scialfa, Sam Phillips, Akiko Yano, The Black Keys, and many others. Ribot frequently collaborates with producer T Bone Burnett, most recently on Alison Krauss and Robert Plant's grammy award winning "Raising Sand" and regularly works with composer John Zorn.

Ribot's own recording projects have included the bands Rootless Cosmopolitans (Island Antilles), Shrek (Tzadik), and Los Cubanos Postizos (Atlantic). Marc's solo recordings include "Marc Ribot Plays The Complete Works of Frantz Casseus" (Les Disques Du Crepuscule), "The Book of Heads" (Tzadik), "Don't Blame Me" (DIW), described as "a record filled with savory and unlikely amusements" by Village Voice, "Saints" (Atlantic), and most recently "Exercises in Futility" (Tzadik).

Marc has performed on scores such as "Walk The Line (Mangold)," "Everything is Illuminated," and "The Departed" (Scorcese)." Marc has also recently composed original scores for the PBS documentary "Revolucion: Cinco Miradas," and the film "Drunkboat," starring John Malkovich and John Goodman. Past scoring project include Yoshiko Chuma's "Altogether Different" dance piece, a documentary film by Greg Feldman titled "Joe Schmoe," a feature film by director Joe Brewster titled "The Killing Zone", and "In as Much as Life is Borrowed", a dance piece by famed Belgian choreographer, Wim Vanderkeybus.

Marc's talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.

Marc is currently touring with two bands, the Albert Ayler tribute project "Spiritual Unity" (Pi Recordings), featuring original Ayler bassist Henry Grimes, and Ceramic Dog featuring bassist Shahzad Ismaily an drummer Ches Smith. Ceramic Dog will release their debut album "Party Intellectuals" this May on Pi Recordings in the North America, and Enja in Europe and Japan.


Wed Jul 22

07/22 {AT} 8:00pm - Ha Yang Kim

Buy Tickets | Admission: $15

Artist In Residence: Ha-Yang Kim

Admission: $15

Cellist, composer and improviser Ha-Yang Kim was born in Seoul, Korea. Ha-Yang made her professional solo debut at age 16 with the Atlanta Symphony Orchestra. Hailed as "phenomenal" and playing with "brilliant technique full of energy, concentration, musicality and _expression_" (Mainpost, Germany), she performs new music as a soloist and with ensembles and artists in festivals and concert venues throughout the world. She is the founder of Odd Appetite, a cello-percussion duo which performs and commissions new contemporary works alongside original works and improvisations. Ms. Kim has developed a unique language of extended string techniques and has created her own music based on this work, as well as collaborating on new pieces from other composers. Her musical influences draw equally from a range of western classical music, American experimentalism, rock, jazz, and improvised music, to non-western musical sources from Bali, Korea and South Indian classical music (Karnatic). Her music has been performed in the US, Turkey, The Netherlands, Belgium, Korea, and Germany. In seeking new musical experiences, Ha-Yang has performed traditional and new Balinese music as a member of Gamelan Galak Tika, and has collaborated/ performed with many diverse musicians such as Evan Ziporyn, Cecil Taylor, John Zorn, Christian Wolff, Lee Hyla, Louis Andriessen, Lukas Ligeti, Larry Polansky, and Stefan Poetzsch, with whom she has presented original compositions incorporating electronics, dance, theatre, and multi-media.

Past performances include as soloist at Carnegie Hall, touring and playing at festivals in the US, Europe, Cuba and Bali, Indonesia, performing at the Bang on a Can Marathon with both her duo and the All-Stars, composing for and performing at the Kwacheon International Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für Musik in Würzburg, Germany, and broadcast recordings for the Bavarian Radio Network. Upcoming performances of her music include at festivals in St. Petersburg and Moscow, Russia, Holland, Belgium and in the US. Ama, a CD of her own compositions, is released on Tzadik. Ms. Kim has also recorded for New World, Cold Blue, New Albion, Karnatic Lab and Bridge Records.

She has received prizes and awards including a grant from Meet the Composer, Trust for Mutual Understanding, the Argosy Foundation, the Ruth Schwob Foundation, and The Atlanta Symphony Orchestra. Ms. Kim has been an artist-in-residence at Princeton University, Brown University, Harvard University, Dartmouth College, Bates College, Brandeis University and at the Walden School for Young Composers. Ha-Yang studied cello, improvisation, and microtonality at the New England Conservatory of Music, Karnatic music concepts at the Conservatorium van Amsterdam, and was on the faculty at Franklin Pierce College in New Hampshire, USA. She currently lives in Brooklyn, New York.

ISSUE Project Room's Artist In Residence Program is made possible through generous support from the Jerome Foundation

07/23 {AT} 8:00pm - Thomas Ankersmit + Tony Conrad

Buy Tickets | Admission: $15


Thomas Ankersmit (born 1979, Leiden, The Netherlands) is a musician and artist based in Berlin and Amsterdam. His main instruments are a Serge analogue modular synthesizer, computer and alto saxophone.
His music and installation work have been presented at Hamburger Bahnhof, KW Institute for Contemporary Art and Podewil, Berlin; ZKM, Karlsruhe; Kunsthalle Basel; Serralves Museum of Contemporary Art, Porto and P.S.1 Contemporary Art Center, New York as well as at festivals across Europe, the Americas and Asia.

"Jump-starting his performance on the intimidating Serge modular synthesizer, Ankersmit created a fractured, tension-filled stream of electric sound. Flicking switches and pulling at patchcords at breakneck speed, he shaped his swarm of synthesized blips and metallic jabs into a very deliberate, beautifully coherent composition. Constantly reconfiguring his electroacoustic pinpricks and distorted crackle, microscopic but detail-rich and intensely vibrant, sonic fragments skittered across the stereo spectrum like fireflies.

Continuing on acoustic alto saxophone, he slowed down the event density but maintained the heat, pairing intensely focussed energy and sonic determination with a delicate sensitivity to texture. Ankersmit's saxophone voice is an entrancing, violent mass of multiphonic, shapeshifting sound, oscillating endlessly through circular breathing, penetrating every corner of the room. Far removed from the syntax of jazz or improv, his was a spectacular recontextualisation of the instrument's possibilities, forcing it into uncharted sonic territory." - VPRO

This concert is supported by the Netherlands Fund for Performing Arts+ and DNK Amsterdam


Tony Conrad (b. 1940) teaches on the media study faculty of SUNY at Buffalo.   Over the last twenty years he has been especially active in video.   His work with music composition and performance started while he was a mathematics student, after which he was associated with the founding of "minimal" music and "underground" film.   His movie The Flicker is one of the key early works of the "structural" film movement.   His art videotapes are widely seen, and he has produced more than 250 programs for public access cable in Buffalo.   Conrad performs his recent music regularly at festivals, clubs and new music venues in the US and Europe.

"Tony Conrad is a pioneer, as seminal in his way to American music as Johnny Cash or Captain Beefheart or Ornette Coleman, one of those really savvy Old Guys whom all the kids want to emulate because their ideas, their style are electric and new and somehow indivisible."  - Steve Dollar

07/24 {AT} 8:00pm - Lavalier

Buy Tickets | Admission: $15

Lavalier is in indie-experimental group that formed in NYC in late 2008.  With a penchant for vocal harmonies, fuzz/slide guitar, harpsichord, and accordion, the group creates cinematic music that is both psychedelic and fantastical. Lavalier was created by two longtime friends and musical
collaborators, Steve Milton, and Dave Horowitz. Having met in high school, Milton & Horowitz have played in various bands together, and spent 2005-2007 on tour with NYC indie band, The Cloud Room. Heavily inspired by Tom Waits' occasional DIY-low-fi sound, Beach Boys harmonies, and various forms of cinematic music, Milton & Horowitz began recording the first Lavalier tracks in the Spring of 2008.

In a live setting, the group is interested in a variety of improvisational techniques, one such technique employs a process known as "spatitalization." At various points during the show, different instruments and vocals are sampled in real-time using a custom-designed interface, and played over a ring of loudspeakers installed around the audience area. The group attempts to create a dimensional element that sometimes serves as the back drop or the center piece of the music.

Lavalier is:

Steve Milton - Vox and Various stuff
Dave Horowitz - Guitars
Terence Caulkins - Glockenspiel, DSP
Yasmin Reshamwala - Keytar and Vox
Melati Melay - Guitar and Vox
Nathan Hasalby - Bass
Jason Pharr - Percussion


07/25 {AT} 6:00pm - Michael Gira + Wooden Wand

Buy Tickets | Admission: $15

Special Event with Rooftop Films (Stars Like Fleas {AT} 8:30 & Stay the Same Never Change {AT} 9:00)
Buy Tickets for both events $20
See information below

Show starts {AT} 6:00 Doors {AT} 5:30


Michael Gira (Angels Of Light / Swans)

Michael Gira founded the seminal NYC band Swans in 1982. Quickly infamous for their punishing, brutal and repetitive onslaughts of sound, extreme volume levels, and the self-abusing, abject shouts and growls of Gira's sloganeering vocals, Swans gradually transformed over 15 years, ultimately venturing into harsh mechanical proto-industrial rock, to sprawling shifts of texture and perspective  (see the bucolic atmospheric folk idles and martial stomps of their much heralded Children of God double LP from 1987), to gentle acoustic-based songs, and finally on to their ultimate statement, Soundtracks For The Blind (1997) which somehow incorporated all of these elements at once, across well over 2 hours of music in one album. At this point, Gira called it quits after 15 years of relentless touring and productivity, and disbanded Swans. Since 1999 Gira has released his music under the name Angels Of Light. He writes the songs for Angels Of Light on acoustic guitar and orchestrates them using a shifting cadre of musicians, employing a wide variety of instrumentation such as strings, wind, brass, electric guitars, electronics and choral vocals. The songs are often eccentric and extreme, in keeping with Gira's love of soundtrack music. Though nominally more traditional than Swans, Angels Of Light is often just as hard hitting through different means. The most recent album by Angels Of Light is We Are Him. Though Angels Of Light recordings are often elaborately orchestrated, Gira has recently chosen to tour exclusively solo, using acoustic guitar and voice. The performances are raw, to the point, and emotionally powerful. When not recording, writing music, or touring, Gira spends his time producing and releasing music through his label Young God Records. He's been responsible of late for such notable talents as Devendra Banhart, Lisa Germano, Akron/Family, Fire On Fire, and most recently, Larkin Grimm. In early 2009 Young God will release the YGR debut by the acclaimed composer/guitarist James Blackshaw.

TIME OUT NY/  CONCERT PREVIEW (excerpt) 2008, by Jordan Mamone:

" Armed with only an acoustic guitar and a commanding baritone, Michael Gira

could make mincemeat out of the most "extreme" metal and punk bands. His

heavy-handed strumming and clear, virile voice--not to mention his impeccable, neatly pressed appearance--lend ample gravitas to even his prettiest folk ballads. (Lyrics like "When you open your mouth you're too stupid to scream" will seduce misanthropes who dig Thomas Bernhard novels rather than pixies who worship Joanna Newsom CDs.)...' It's heartening to see that Gira, the erstwhile East Village confrontationist, now in his early fifties and living upstate, has reached one more peak in his long, unpredictable career. "


"No-one - but no-one - does menace like Michael Gira. Not Liars, not Black Dice, not Selfish Cunt or indeed any of today's confrontational young bucks. None of the bands that Gira has influenced, in his thirty-odd (and they are odd) years making music comes close to the

darkness that bubbles so deliciously through his music. But then, Gira's life story so far is nothing short of extraordinary.

A 'difficult' child (born to difficult parents), he ran away from home at 14, ended up at a kibbutz in Israel, selling drugs and his own blood on the streets, in jail, and then working in a copper mine. His father eventually tracked him down through Interpol, and Gira was shipped back to California to go to high school. He dropped out, and by the time he arrived in New York in '81, Gira describes himself as 'boiling over with non-specific rage'.

Enter then, Swans, legendarily the Loudest Band Ever. To this day, rock nerds' faces light up as they remember the inter-crowd injury/vomiting/deafness that characterised the art rockers' live shows; Gira would be physically pummelled by the drone, hurling himself at the ground repeatedly, knocking out teeth in the process (it rather puts Richie Manic's '4 Real' to shame).

But musically, there's so much more to Gira than these shock-horror stories. Perhaps what is most surprising is that in his years as Angels Of Light, Gira has produced a series of mesmerically beautiful records, often boasting a shimmering delicacy. As a child, before all

the craziness happened, Gira used to listen to Disney and Burle Ives records, and this world of fantasy and fairytale saturates his latest album 'We Are Him' (it's notable too, that Gira and his wife Siobhan Duffy 'discovered' Devendra Banhart and produced his first, gnarly

folk records on Gira's Young God label, now also home to Akron/Family).

A huge, handsome man, Gira now sports immaculate suits, braces, and a Stetson onstage, booming out songs with the assuredness of an old-fashioned preacher. The darkness Gira deals in today is far subtler than those early days - just don't doubt for a second that you'll be left breathless."




In addition to running the Polyamory label with Tovah O'Rourke, James Toth was the leader of New York-based avant-garde/freak folk ensemble Wooden Wand & the Vanishing Voice. Taking the first part of that name as his own -- and occasionally billing himself as "Wooden Wand Jehovah" -- Toth gathered at one point or another O'Rourke (who also comprised Dead Machines with her husband, Wolf Eyes' John Olson), Satya Sai, Glucas Crane, Steven the Harvester, and Heidi Diehl. There were others, too -- the Vanishing Voice lineup shifted as much as its members' various aliases. The sounds the group made were fluid, too, incorporating everything from the '60s mysticism of Donovan and Van Morrison to free jazz, /p>

oise rock, folk raditionals, and the entire Silt Breeze catalog. Wooden Wand & the Vanishing Voice released numerous CD-R and vinyl recordings into the indie folk/experimental underground during the early 2000s; they were also responsible for relatively more conventional releases like 2003's Xiao (Destijl, later reissued by Troubleman Unlimited), 2004's Sunset Sleeves (Weird Forest), and Buck Dharma, issued in September 2005 through 5 Rue Christine. That same year Toth released Harem of the Sundrum & the Witness Figg simply as Wooden Wand. The recording's skeletal folk structures and evocative lyrics garnered quite a bit of positive press, especially in the wake of Devendra Banhart's success. The band released two albums in 2006, Gipsy Freedom and Second Attention. 2007 saw the release of James and the Quiet, followed in 2009 by Hard Knox, a collection of demo and home recordings under the moniker Wand.

07/26 {AT} 8:00pm - Jacob Ciocci (Paperrad) presents 2 Blessed 2 B stressed + Fortress of Amplitude


"Pittsburgh artist Jacob Ciocci will present a new 20-minute mix of original videos and animations. He will also be presenting his new performance I Let My Nightmares Go which uses a video projector and live dance moves to grapple with mental demons, web 2.0, G.O.D., 21st-century breakdown, real lies and fake truths, cartoon violence, and awareness bracelets.

David Wightman will perform as Fortress of Amplitude, a guitar wielding minstrel from another time and place. Accompanied by a blast beat playing drum machine, He will execute a musical composition focusing on fantasy, repetition and ecstacy."




Wed Jul 29

Suzanne Thorpe + Zeena Parkins

Thurs Jul 30
Dan Senn + Stephen Vitiello with Molly Berg

Fri Jul 31

Morton Subotnick


Reception 7:30 pm

Performance 8:30 pm

Tickets $15

Available at Door
Purchase in advance online


All concerts take place at ISSUE PROJECT ROOM
At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

Telephone: 718-330-0313



Subway F Line, Subway G Line
Walk East down Third St over Gowanus Canal to Third Av = 5 min walk

Subway F Line, Subway M Line, Subway R Line
Walk North on Fourth Av. West on Third St to Third Av = 5 min walk

Bus B37, Bus B71
to THIRD AVE-THIRD ST (Westbound) or THIRD AVE-UNION ST (Eastbound)
>From Union St, walk South on Third Ave to Third St = 3 min walk


From Manhattan Bridge = 5-10 min drive
Proceed straight on to Flatbush Ave. Right on Third Ave (just after Fulton-Nevins Sts) to Third St.

From Brooklyn Bridge = 5-10 min drive
Proceed straight on to Adams St. Left on Atlantic Ave. Right on Third Ave to Third St.

From Battery Tunnel (Right lane toll booth) = 3-5 min drive
Take first exit (just after toll) on to Hamilton Ave. Left on Smith St. Right on Third St to Third Ave.

From BQE (278) West = 5-10 min drive
Exit on Tillary St. Left on Flatbush Ave. Right on Third Ave to Third St.

From Gowanus Expwy (278) East = 5-10 min drive
Exit at 39 St. First left on Fourth Ave. Left on Third St to Third Ave.

From Prospect Expwy (27) North = 3-5 min drive
Exit at Fourth Ave. Right on Fourth Ave. Left on Third St to Third Ave.



232 3rd Street, 3rd Floor | Brooklyn, NY 11215 US

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