The Charmed Piano
Jul 28, 4:00pm-6:00pm
First Unitarian Congregational Society (side chapel), 119 Pierrepont St

The Charmed Piano by Bob Bellerue (with Jessica Pavone & Ed Bear)
Loren Connors & Suzanne Langille
Marcia Bassett & Samara Lubelski
 
28 July 2019
4pm
First Unitarian Congregational Society
121 Pierrepont Street, Brooklyn NY
$10-20 sliding scale at the door (no one turned away)
 
 
Bob Bellerue is a sound artist, noise composer, experimental musician, and audio engineer based in Brooklyn NY. Over the last 30 years he has been involved in a wide range of experimental and extreme sonic activities – noise art, experimental / abstract music, junk metal percussion ensembles, Balinese gamelan, sound scores for dance/ theater/ video/ performance art, and sound / video installations. His electronic sound work is focused on resonant feedback systems, using amplified instruments/ objects/ spaces/ circuits in combination with electronics and Supercollider programming. Bob’s work has been presented at The Kitchen, Issue Project Room, MOMA/PS1, Experimental Intermedia, Cafe Oto, Fylkingen, EMS, the Yogyakarta Gamelan Festival, Centre de Cultura Contemporanea de Barcelona, LUFF Festival, Akouphene Festival, Sonic Circuits Festival, Living Arts of Tulsa’s New Genre Festival, CEAIT Festival, Ende Tymes Festival, Denver Noise Festival, Olympia Experimental Music Festival, PDX Noise Festival, Cave12, Diapason Sound Gallery, Roulette, Boulder Museum of Contemporary Art, Elastic Arts, Here Art Center, Radio Epsilonia (Paris), WFMU, WKCR, WNYU, KFJC, KXLU, East Village Radio, NYU, the Art Institute of Chicago, Stanford University, The New School, UCSD, and UCLA. His discography includes dozens of releases on Elevator Bath Records, iDeal Recordings, Banned Productions, Fabrica, P-Tapes, RRR Records, Love Earth Music, Prison Tatt Records, Los Discos Enfantasmes, Zelphabet, Peyote Tapes, No Rent Records, Important Records, and his own Anarchymoon Recordings and Sleepy Hollow Editions. He curates and produces the Ende Tymes Festival of Noise and Experimental Liberation. He was formerly based in Los Angeles, where he ran the sub-garde experimental music/performance space the Il Corral, and curated the Beyond Music series and festival. He works as an audio engineer and technical director, working presently for Issue Project Room and a handful of clients in the NYC area.
http://bobbellerue.net
 
Jessica Pavone is a multi-string instrumentalist and composer residing in Queens, NY. While her earliest training was primarily in classical music, after graduating from conservatory, she began exploring other avenues for creative musical expression. Pavone has received grants and commissions from The American Music Center, New Music USA, Music at the Anthology (MATA), The Jerome Foundation, The Tri-Centric Foundation, Experiments in Opera, and was a composer in residence at Mise-En_Place in 2018. She has premiered new work in venues in New York City such as Roulette Intermedium, Issue Project Room, Abrons Art Center, and The Kitchen. As an instrumentalist, she has personally worked with and interpreted new music by Aaron Siegel, Elliott Sharp, Glenn Branca, Henry Threadgill, Matana Roberts, Matthew Welch, Tristan Perich, Anthony Braxton, and William Parker. As a composer, she has released over a dozen albums produced by Tzadik, Taiga Records, Thirsty Ear, Relative Pitch, and Skirl Records. In 2011, Pavone was featured in NPR’s “The Mix: 100 Composers Under 40″ and since, The Wire magazine has praised her “ability to transform a naked tonal gesture into something special,” and The New York Times described her music as “distinct and beguiling…its core is steely, and its execution clear.”
https://www.jessicapavone.com/`
 
Ed Bear [b. 1983] is an American performing artist and engineer. His work with robotics, sound, video, transmission and collective improvisation investigates the questionable calibration of social relationships with material technology. As an educator and designer committed to an equitable, open source world, he researches and practices material reuse as a civil responsibility. He has toured extensively in North America and Europe as a musician and teacher. In 2009 and 2010 he received NSF and other funds to study e-waste streams as educational resources, software defined radio, and novel energy harvesting using ionic polymer metal composites. As a research specialist at the Lighting Research Center in 2012 and 2013, he developed solutions control of emerging solid-state lighting systems for multiple markets with funding from the Environmental Protection Agency and the Alliance for Solid-State Illumination Systems and Technologies. He is currently working with littleBits, Inc. to revolutionize modular electronics. He was a 2019 Pioneer Works, 2017 Harvestworks and Signal Culture, 2016 Unit 11, 2015 WaveFarm, and 2012 LMCC SwingSpace artist-in-residence, a 2010 free103point9 AIRtime fellow and received the 2008 Roulette Emerging Composer Commission. His music is available on Peira, Azul Discographica, Roar Tapes, and several other record labels.
 
 
Loren Connors has improvised and composed original guitar music for over four decades. His music embraces the underlying aesthetics of blues, Irish airs, blues-based rock and other genres while letting go of rigid forms. He names abstract expressionist painter Mark Rothko as his most important influence. Connors has performed solo and with many veterans of independent music such as Keiji Haino, Thurston Moore, Daniel Carter, Samara Lubelski, Alan Licht and Kim Gordon. Connors has worked closely over the years with vocalist Suzanne Langille, including in an avant blues band called Haunted House with guitarist Andrew Burnes and percussionist Neel Murgai. His recordings have been released on Family Vineyard, Northern Spy, Drag City, Recital, and other labels.
http://www.lorenconnors.net/
 
The Wire once described lyricist Suzanne Langille’s vocals without describing her voice at all. Instead, it focused on Langille’s aesthetic, how she abandons ego to “throw herself at the feet of her material and let it speak through her.” A vocalist, lyricist and aesthetic editor who has collaborated over the years with partner and guitarist Loren Connors and with the band Haunted House (Connors. Langille, Burnes and Murgai), Langille has also performed with saxophonist/trumpeter/flutist Daniel Carter, sitarist/percussionist Neel Murgai, the band San Agustin, guitarist David Daniell, violinist Laura Ortman and poet Yuko Otoma. Her recordings have been released on the Family Vineyard, Secretly Canadian and Northern Spy labels. Langille’s new LP with Neel Murgai, “Come When the Raven Calls,” is scheduled for release later this year on the Family Vineyard label.
https://family-vineyard.com/artists/suzanne-langille
 
 
MARCIA BASSETT (guitar) and SAMARA LUBELSKI (violin) first performed as a duo in 2009, improvising musical scores to films by Michael Snow and Hollis Frampton at X-Initiative, Next Years Model series at DIA. Since their initial collaboration, Bassett and Lubelski have continued to draw from their like-minded approach to improvisational music; creating personal interplay with the environmental surroundings to expand on abstraction, chromatic noise, and long form drone. Both Bassett and Lubelski have extensive backgrounds in the East Coast /NYC sub-underground. Bassett has performed in experimental music projects for over twenty years including Un, GHQ, Hototogisu, Double Leopards and her solo project Zaïmph. Lubelski is best known as a solo artist with eight full-length releases, but she has also been involved in various art-music provocations, Hall of Fame, Tower Recordings, as a member of Thurston Moore’s band, and in her associations with the long-standing German collective Metabolismus. The 2012 release of their first LP “Sunday Night, Sunday Afternoon”, on KYE Records, was praised as having “ … incredible expanses and delicately menacing interplay with an increasingly satisfying audaciousness upon each subsequent listen.” — Paul Haney, Tiny Mix Tapes. The latest LP, ‘Live NYC’, Feeding Tube Records (June 2017), “Elegantly shows just how much brain damage you can do using only a guitar and a violin… A tale of twinned and lightly fuzzed tones, twirling and blending…The threads of sound absolutely phosphoresce. It’s an incredible mix of motion, stillness and power.” – Byron Coley.

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