2012 Sonic Circuits Festival
Detailed performer bios & videos can be seen on our tumblr site.
Friday September 28
Lab II - 12noon
DC Premiere of "Romantic Warriors II - About Rock In Opposition"
Two programs of recent avant-garde films are organized around particular concepts––one relates to a sense of place, and the other deals with the notion of journeys. Found music, recycled music, collaborations with sound artists, experiments with the soundtrack, musique concrete, field recordings, acousmatic sound. What all the pieces have in common is the key element that sound plays in evoking these particular cinematic themes.
Lab II - 3pm
Film Program I - Sense of Place
Lab II - 4pm
Film Program II - Journeys
Lab II - 5pm
Lang Theater - 7pm
Saturday September 29
Lab II - 10am - FREE
Theremin Seminar presented by Arthur Harrison
Great Hall - 11am
Mercury Fools the Alchemist
Lang Theater - 12noon
Violet & Sylvia Schedelbauer
Great Hall - 1:30pm
Lab II - 2:30pm
Great Hall - 4:30pm
Lab II - 5:00pm
Lang Theater - 7pm
Sunday September 30
Great Hall - 11am
Lab II - 1pm
Dì Tuī Piàn Duàn / 遞推片段
Great Hall - 2:30pm
DC Improvisers Collective (DCIC)
Lab II - 3:30pm
Lang Theater - 7pm
Festival Pass - $130 (limited quantity)
36 is the solo noise project of American drummer Sam Lohman. 36 began in Osaka Japan with the first live performance at Zokai Center. 36 is the Japanese numeric spelling of sam. 36 has performed live across Japan, the U.S.A., Canada, Australia and Europe with releases on Japan Overseas, Exile Osaka, Anti Everything Noise, Sounds From The Pocket, Electric Possible and Radon. After a hiatus of several years 36 has begun a series of performances in the d.c. area. Sam lohman also plays with Trio 000, Matta Gawa, Borborites , Setve Mackay and the radon Ensemble, Cash Slave Clique and Akris.
Pat Gillis (b. 1965, USA) performs as TL0741, broadcasting structured improvisations from an adjacent dimension of harmony-avoidant electronic sound.
"Synthetic morsels of deeper perception, intoxicating diffusions, corrosions of remote harmonies and ringing-around orbiting bodies let us recall different exploratory eras at once; we notice an evident respect for earlier-period pioneers and an attentive ear on the evolutional side of electronic music. Gillis knows what he’s doing and 'Back To Minus' is a highly enjoyable demonstration of the development of his sonic ideals, a perfect proportionality between the chaotic activities of contradictory anti-patterns and the intricate mechanisms that – miraculously - preserve an ideal “galactic equilibrium”."
Aki Onda is an electronic musician, composer, and visual artist. Onda was born in Japan and currently resides in New York. He is particularly known for his Cassette Memories project – works compiled from a “sound diary” of field-recordings collected by Onda over a span of two decades. Onda’s musical instrument of choice is the cassette Walkman. Not only does he capture field recordings with the Walkman, he also physically manipulates multiple Walkmans with electronics in his performances. In another of his projects, Cinemage, Onda shows slide projections of still photo images, shot by himself, as a performance or installation. Onda has collaborated with artists such as Michael Snow, Ken Jacobs, Alan Licht, Loren Connors, MV Carbon, Oren Ambarchi, Noël Akchoté, Jean-François Pauvros, Jac Berrocal, Lionel Marchetti, Linda Sharrock, and Blixa Bargeld.
Alec K. Redfearn & the Eyesores
This marvelous large ensemble from Providence, Rhode Island has been in existence for a decade now, bringing their very original music to audiences in the US and Europe. The Blind Spot is their 6th release and their second for Cuneiform and it's also surprisingly different from The Quiet Room. It includes a few shorter songs but the main focus of the album is a very ambitious work entitled "I am the Resurrection and the Light", which is a song cycle for a large ensemble featuring a number of different players: appearing are accordion, violin, viola, French horn, guitar, alto sax, bassoon, contrabass, drums, 'loops, processing and other eletronic mayhem' and layers and layers of vocals from up to 4 vocalists (Alec and 3 female voices). This song cycle is a eulogy and meditation about drug addiction and death from drug addiction and related causes. A compelling, powerful, demanding and ultimately beautiful and moving work. No one else sounds like The Eyesores and with this album, no one combines such purity of vocal and instrumental work with such a sense of impending uneasiness (and I mean this as the highest compliment!).
Apocalypso explores possibility using improvised sound, movement and video.
Arturas Bumšteinas & Liudas Mockūnas
Duo consisting of Europe’s leading jazz saxophonist Liudas Mockūnas & composer/improviser Arturas Bumšteinas. The duo was founded in the year 2011 in order to perform and record music for the “Voicescapes” project. This project was premiered in St.Catherine’s Church in Vilnius during the opening of international Vilnius Jazz Festival 2011. The CD version of “Voicescapes” is comming out on Semplice Records in the spring of 2012.
Arthur Harrison is the president and CEO of Harrison Instruments, Inc., a Maryland-based company that designs and manufactures electronic systems for a wide range of applications, including consumer articles for electronic music. Mr. Harrison has over 35 years of experience with electronic music, and has performed on theremin for a decade. His work appears on numerous audio recordings and sound tracks, and he is considered one of the world's technical authorities on the theremin, with his circuit designs implemented by electronic music enthusiasts around the world.
Mr. Harrison will present a seminar in which he will describe the aspects of theremins in general, and present several of the theremins his company manufactures. Participants are encouraged to ask questions throughout the presentation. The discussion will be tailored to the specific theremin-related interests of the audience.
Boris Bobby is the premier of a new composition by Jimmy Ghaphery for 21 electroacoustic improvisors. Based on the 1972 Chess World Championship between Boris Spaasky and Bobby Fischer, the score will revolve around the end of game chessboards from each of the 21 matches. Strategy, restraint, concentration, and tension are promised, with a nod toward unsustainable Cold War ideology.
Bushmeat and Gut Head
Thomas Stanley (Bushmeat) and Mark Cooley (Gut Head) are professors at the George Mason University's School of Art where they have found common cause in the use of radical sound art as a solvent for dissolving Babylon's War Machine and rendering it incapable of any further harm. Needless to say, it is a work in progress.
Three piece space rawk improv unit comprised of Jason Mullinax, Chester Hawkins & Jeff Barsky.
Christopher S. Feltner
Christopher S. Feltner (b. 1978) is a Virginia-based sound artist. Noise synths, effects pedals, voice, breath, throat noises, plastic and metal objects, didgeridoo, microphone, guitar, shakers, samples, and vibrators are some of the tools used to create pieces and songs with Degollado (experimental rock two-piece) and under the solo moniker, Kingdom of Sharks. Add to this frequent collaborations with VA harsh noise unit, Sex Complex, and myriad of live collaborations, and you get a guy suffering with frequent migraines and sleep deprivation.
Starting in 2011, Feltner decided to take sound and performance to a much more free and, inevitably, darker place where he refuses to take Kingdom of Sharks. The result is the marriage of sound and performance art under his birth name.
Colla Parte –loosely translated, “with the lead voice”—a kind of music in which sounds interweave in a free counterpoint of constantly changing lead and counter-lead voices— a braiding of melodies around each other in improvised polyphony. Colla Parte the ensemble is a trio consisting of (in alphabetical order) Daniel Barbiero (double bass), Perry Conticchio (reeds), and Rich O’Meara (vibes and percussion).
“Colla Parte…bridges beautifully the territory between jazz and contemporary art music, a sort of free jazz improvisation taking the form of chamber music. “
--Ettore Garzia, Percorsi Musicali
A native of New Haven, CT, double bassist Daniel Barbiero has been active in experimental and improvised music in the Baltimore-Washington area for several years as a performer, composer, and bandleader. His music reflects his long-standing engagement with scalar and free improvisation, aleatory and graphic composition and contemporary extended string technique. In addition to performing with his own ensembles, he has supported Blue Note recording artist Greg Osby, Italian percussionist/composer Andrea Centazzo, and pianist Nobu Stowe, and played in the Nakatani Gong Orchestra. Current projects and collaborations include nine_strings and work with composer/electronics artist Steve Hilmy. In addition, he plays and composes with Nancy Havlik's Dance Performance Group.
Saxophonist and composer Perry Conticchio has built his 35-year career using the singular jazz sounds of the 1960s as a point of departure. His formal studies were at Miami University of Ohio and Berklee College of Music in Boston, where he studied with Joe Viola, John LaPorta and Charley Mariano. Moving to the Washington, DC area in 1976, Perry became an established figure in the "new" music scene, during which time he performed with Don Cherry, Anthony Braxton, Sam Rivers and many others. With his own quartet he has performed at many Washington area cultural events and venues including The DC Jazz Festival, The Smithsonian Folk-Life Festival, Johns-Hopkins Spring Fest, Blues Alley, One Step Down, Twin's Jazz, The 9:30 Club and too many others to mention. His most recent CD “Speak Your Truth” contains almost all original compositions and has received profuse critical praise and reached airwaves worldwide.
Rich O'Meara (b. 1957) is currently a member of Silent Orchestra, a collaboration with composer/ keyboardist Carlos Garza to develop, perform and record new scores for classic silent films, with performances at film festivals, museums, and theaters. He has performed with Kwo’m Percussion Group, One Earth Percussion Theatre, the Contemporary Music Forum, the Lenox Ensemble, and Sky Music and has played jazz, rock and experimental music in many local groups. He gave a marimba master class and concert at the 8th International Festival of Percussion in Patagonia, Argentina in June, 2010. His compositions for marimba and small ensemble are published by KPP (a division of Malletech) and Music for Percussion. His work was featured several times on the NPR program “New Sounds” and the PBS documentary “The Music Instinct, Science and Song”. Recordings of his work are found on the Audite, Cybele, Animato, Codamusic, and Koch Discover International record labels. O’Meara is a three time winner of the ASCAP Plus award.
David Behrman Ensemble
David Behrman has had a long and storied career as a
composer, academic, and record producer. His early work featured
homemade electronics, but he eventually moved to using computers to
create interactive systems that respond to players, sensing their
inputs to generate complementary material. He worked at Columbia
Records producing the “Music of Our Time” series of new music
recordings for Columbia Masterworks, which presented works by Cage,
Oliveros, Lucier, Reich, Riley and other influential composers. Over
the years he worked as a composer/performer with the Merce Cunningham
Dance Company and has made sound and multimedia installations for
gallery spaces. Recordings of his works are on the XI and Lovely Music
For over forty years, baritone Thomas Buckner has been active as a singer and producer of new, experimental composed and improvised music. He has performed throughout North America, Europe, Asia and in Africa. Long term collaborators include Roscoe Mitchell, Robert Ashley, Annea Lockwood, David Wessel, Tom Hamilton, Earl Howard, Joseph Kubera, Petr Kotik, Matthias Kaul, Bun-Ching Lam and Wadada Leo Smith. In the seventies he founded 1750 Arch Concerts in Berkeley, California where he produced over 100 concerts a year, the 23 piece Arch Ensemble for Experimental Music, and 1750 Arch Records. In the 1980s, he began touring with Roscoe Mitchell and Gerald Oshita in the group "Space", performing in major festivals in Europe and the US. He returned to New York, where he became a member of Robert Ashley's opera company, and founded the Interpretations concert series for new and experimental music, and the Mutable Music record label. Throughout his career, he has commissioned, performed and recorded new works by emerging and established composers. More at thomasbuckner.com.
Eric Barsness (bass vocalist) has sung with a number of contemporary composers, including premiere performances of works by David Berhman, Joe Hannan, Jill Kroesen, Frankie Mann and David Tcimpidis. His performances with the Delaware Valley Opera include Leporello in Mozart’s Don Giovanni, Don Alfonso in Mozart’s Cosí fan Tutte, Colline in Puccini’s La bohème, and most recently General Harrison Howell in Cole Porter’s Kiss Me Kate. His recital repertory ranges from Henry Purcell and Franz Schubert to Noel Coward. He can be heard on CD in David Behrman’s My Dear Siegfried (XI Records), on DVD in Frankie Mann’s Island, and plays chef Antonin Carème in Terri Hanlon’s recent video Meringue Diplomacy.
Ted Mook has performed at the Library of Congress, the American Academy in Rome, Lincoln Center, The Kennedy Center for the Performing Arts, The Brooklyn Academy of Music, The Kitchen, the Herbst Theater in San Francisco, and the Ijsbreker in Amsterdam. He is a veteran performer at the Bang on a Can Festival, and has participated in MusikProtokoll im Steirischen Herbst in Graz, Austria, the International Festival Musique Actuelle in Canada, Bern Biennale, the USArts Festival in Berlin, and the Bard Festival. His label credits include ECM, Arabesque, Opus One, CRI, Columbia Masterworks, Warner-Atlantic, New World, Mode, Avant, Cambridge, New World, Music and Arts, Experimental Intermedia, Ear Rational, and Northeastern Records. As a member of Newband he performed on the original instruments of Harry Partch in critically acclaimed concerts and theatrical productions in the US and in Europe. He co-produced and performed on Newband discs, and produced and performed on the world's first complete recording of Harry Partch’s 17 Lyrics of Li Po for intoning voice and tenor violin for the Tzadik label. He is based in New York City, where he free-lances with most of the city's major musical organizations and Broadway shows and has, at one time or another, appeared with most of its new music ensembles.
Ralph Samuelson is a performer and teacher of the Japanese bamboo flute, shakuhachi. He was trained in the classical tradition of the Kinko School under the tutelage of the late Living National Treasure Goro Yamaguchi, as well as by Shudo Yamato and Kodo Araki V. He began shakuhachi studies in 1969 as a graduate student in the World Music Program at Wesleyan University and studied traditional music in Tokyo in the 1970s under the guidance of musicologist Fumio Koizumi. Mr. Samuelson has performed in leading concert venues in New York, around the United States, and in Europe and Asia, most recently in Japan and Korea in September 2011. He has been presented in live radio and television broadcasts in the US and Japan and has recorded for Music of the World, Lyrichord Records, CBS Masterworks, Axiom, Tzadik, and other labels. In 1991 and in 2008 he was the featured shakuhachi soloist in the New York City Ballet's production of Jerome Robbins' Watermill, with music by Teiji Ito. In May 2011 he was artist in residence at the Lou Harrison House in Joshua Tree, California. Since 1976 Mr. Samuelson has also worked as a foundation professional facilitating and supporting international cultural exchange, and from 1991 to 2008 he served as director of the Asian Cultural Council, a foundation supporting exchanges in the arts and humanities between the United States and Asia.
An exponent of the American contemporary-classical tradition as well as more vernacular genres, trombonist Peter Zummo pursues the evolving boundary of music making and brass culture and in so doing creates compositions for interactive ensemble. His musical pieces and his solo and ensemble performances - in his own works and in those of theater, dance, poetry, film, television, and new-media artists - evoke the influences and methodologies of the minimalist, rock, jazz, and world music styles. His professional studies were with Carmine Caruso, Stuart Dempster, James Fulkerson, Dick Griffin, Makanda Ken McIntyre, Sam Rivers, and Roswell Rudd. His production credits include Indian Ocean’s Treehouse/School Bell, with Arthur Russell, on Sleeping Bag; H*E*R, by Yvette Perez, on Persian Cardinal; Zummo With an X, on Loris Records, New World and Optimo Music; Experimenting With Household Chemicals, on XI; Downtown Only, on Lovely; Arthur’s Landing, on Strut; and Slybersonic Tromosome, with Tom Hamilton, on Penumbra. Zummo's compositions have been performed by the Downtown Ensemble, NextWorks, the Flexible Orchestra, the Guy De Bievre Ensemble, the Love of Life Orchestra, Baby Birdbrain, Tilt Brass, and Gamelan Son of Lion.
DC Improvisers Collective (DCIC)
The DC Improvisers Collective (DCIC) is a group of musicians exploring the intersection of jazz, contemporary composition and rock music. Their revolving lineup features drummer Ben Azzara, guitarist Jonathan Matis, and saxophonist Mike Sebastian. These performers come together from diverse backgrounds bringing experience in rock bands and jazz as well as post classical composition.
Somewhere between a structured, well maintained existence and a chaotic life of insubordination lies a vast amount of negative space that has a welcome mat for the proper and a soiled mattress for the seedy. A crossroads if you will. The air at the center is filled with an eerie silence yet it emits a rumbling so intense that young children run to cover the ears of their dead pets.
Degollado is in close proximity, inching ever closer to the 4-way stop. Having maintained a steady diet of musical liveliness in various forms for over 10 years straight, Christopher Feltner (guitar & sound manipulation) and Nic McInturff (percussion) breathe in the foul ambience of this striking backdrop and stare at the intersection with a keen glare.
Leaning on the hands of patience, Degollado spent most of 2010 writing what would become their debut EP, Dark Of The Day (Founding Father Records). Combining sonic simplicity with a mere penchant for the exploration of sound, Degollado creates precise movement that is heavy in ways that aren’t solely loud. No words are needed. The sounds emitted speak for themselves and when the movement diminishes the gnarled tongue seems to speak even louder.
Now that Dark Of The Day is ready to be passed to the hands of the living, Degollado has spent the first half of 2011 playing shows in Virginia, Washington, D.C., Pennsylvania, New York, & North Carolina. In between the live outbursts, the band continues to write new material in their hometown of Strasburg, VA. Many more songs will be written and many more shows will be played. Slowing down now would mean catching a good glimpse of the crossroads and is there really a need for that? Keep the mind wondering. Keep the music evolving.
Dì Tuī Piàn Duàn / 遞推片段
Dì Tuī Piàn Duàn / 遞推片段 ("Recursive Frame Fragmentation") is a collaboration between Mei Mei Chang (live video, light, objects) and Cory O'Brien (snare drum, electronics). Recursion is presented as infinite audio and video feedback. Fragmentation is the alteration and destruction of objects, sound and light. The subject of fragmentation is the internal perception, mental frame, memory, or idea. Performances are real-time and improvised, using snare drum and infrared CCTV camera as the main instruments. Sustaining textures and motifs allow close inspection of the viewer's own perception of the work. The result is simultaneously visceral, organic, frightening and encompassing.
DIKTAT is a Dutch/French electroacoustic alliance, that combines the idiomatics of EAI (Electro Acoustic Improvisation) with extreme contrapuntal thinking, the asymmetry of free declamation and the spontaneity of associative, surrealist collage. The playback and manipulation of a multitude of (often voice based) lo-fi analog recordings (either found or custom made) and the occasional use of odd home-built electronic contraptions, provide the threads, that, through the double bass's steer and stitch, are woven into a tense, coherent & multi-layered sonic fabric of varying narrational density. There's no sound without a story. There are no stories without sound ...
- Jean Bordé - double bass
- Emmanuel Rébus - dictaphones
- Rinus van Alebeek - dictaphones
- Harold Schellinx - dictaphones
Duo Heenan Kocher
Chris Heenan (Berlin) and Jonas Kocher (Biel/Bien) work with the unlikely pairing of contrabass clarinet and accordion using improvisation to create worlds of changing depth and mood that both expand upon and fixate on particular sonic zones while simultaneously belying the instrumentation of the duo. Sudden shifts in texture and tempo become to areas of quiet and stasis, a reprieve from constant movement that gives way to a burst of loud focused activity.
With the support of Pro Helvetia, the Swiss Arts Council
Duthoit – Sőrés – Hautzinger Trio
Isabelle Duthoit — voice, clarinet
Zsolt Sőrés Ahad — viola
Franz Hautzinger — trumpet
Duthoit – Sőrés – Hautzinger Trio is one of the seminal group at the intellectual, cultural and spiritual border of Eastern and Western Europe so-called metaimprovisational music, which has been working together since 2011. (But Franz Hautzinger from Vienna and Isabelle Duthoit, living in Paris has a lot of joint projects in recent years; Hautzinger and the Budapest based experimental musician, Zsolt Sőrés Ahad is playing together since the spring of 2000.)
The trio working in the fertile areas suggested by the best elements of contemporary improvisation: non-heirarchical group interaction, static structures to quick changes, silence to noise, and sound to music. They are keenly interested in all of the sonic potential of their instruments (voice, clarinet, viola and the trumpet) to build up and break down instantly composed structures built with intricate detail as well as broad gestures. The trio has a very strong stage presence and an intensive concentrative state linking together the work of the three musicians are both typical of the concerts of the group, consisting of an Austrian, a French and a Hungarian musician. On the concerts of the trio using the opportunities of the sounds in an economical way and their use of noises and non-conventional sounds – under the influence of the moment – are bound together in a new, intimate, very sensuous whole, in specific, longer, meditative processes – also from re-interpreting the landscape music of e.g. John Cage to the pure, loud, harsh and wild punk noise.
The members of the trio are one of the most colourful personalities of the current European improvised and experimental music scene with their vivid musical, performance and theatrical activity. During their concerts in their instrument-playing they utilizes the most intimate, on the one hand brilliantly simple, on the other unbelievably complex and at the same time extraordinarily immersed sounds. During several home and foreign concert and festival appearances they developed their improvisational metamusic based on the concept of the ”random error noises” of their instruments and various ”sound objects”, of which diverse soundsequence-associations, the détournement of the sounds and the ambientalism are all typical.
Their musical attitude and concept means (and based as well) the rule of one, or single origin, designating the aesthetic and musical path they intend to explore during their collaboration as members of the trio: ”composition as probability” and ”improvisation as subconscious”, viz. spontaneous and autonomous shamanistic composition. Thus, the group’s members all have a background of acoustic improvised music, a musical dialect whose limits have been shown by its very own characteristics developed during the past decades.
Ergo is a unique electro-acoustic ensemble, who mine areas of sound unheard in modern jazz. If Not Inertia, their 2012 release on Cuneiform Records, is a set of laconic motifs, guitar effects and minute prepared-piano cresting and colliding in collective improvisations and live-sampling of the entire ensemble.
Trombonist, computer musician Brett Sroka and drummer Shawn Baltazor are hold-overs for this third recording, with the addition of Sam Harris on piano, prepared piano and rhodes, and for the first time guest musicians, both of them guitarists. Acclaimed avant-garde guitarist Mary Halvorson appears on much of the record and Sebastian Krueger of the indie band Inlets plays acoustic guitar on the final track. If Not Inertia is a record that pushes Ergo’s music in new directions, at once organic, intangible and subtly stunning.
"...into completely new horizons similar to nothing you've heard before... captivating, hypnotic, and attractively exotic music" - All Music Guide
"...has a deft touch when it comes to molding silence and drones into rich celestial balladry... a nifty confluence of George Lewis's dreamscapes and Miles's Lonely Fire, and while it's a record that invites you to watch the embers glow, it does its fair share of shooting off sparks."
- The Village Voice
"...part of a generation for which Autechre and Sigur Ros are as pressing concerns as Armstrong and Sun Ra. That's certainly evident in the band's timbral sophistication, spacey contours and slinky grooves."
- Time Out, New York
Keith Sinzinger designs, builds and bends electronic and percussion instruments. A lifelong newsman, he aims to integrate contemporary issues and conflict into his music. Sinzinger, who traces his industrial tendencies to his childhood in Cleveland, has lived and worked in the District of Columbia since 1979. He experiments and records at District of Chaos Studios.
Fundstücke, the duo project of Gunnar Lettow (prepared bass, electronics) and Gary Rouzer (prepared bass, objects), began as an online collaboration in 2010. Their debut recording, Fundstücke, was released in November 2011. They first met and performed together at the Blurred Edges festival in Hamburg, Germany in May 2012.
Gunnar Lettow (Hamburg Germany) began his musical career as a rock musician in Kiel as member of the avant-garde rock band Nice Noise. He extends the sound of the electric bass by different preparations such as spears, clips, brushes and the use of effects units and creates a new universe of sound. The strongly noise orientated music moves between tiny microtonal sounds and eruptive moments. Current projects are phase~in, KLS Trio and a Duo with Korhan Erel (Istanbul).
Gary Rouzer (Washington DC) seeks to investigate the boundary between music/noise and sound/silence using electric bass, radio, cello, amplified objects, record player, and field recordings. Groups and projects include Nine Strings, Vector Trio, Bastard Squid Implant, and Berührung. His solo project, Amptext, combines scored actions with improvised composition.
Gino Robair has created music for dance, theater, radio, television, silent film, and gamelan orchestra. His opera, “I, Norton”, is based on the life of Norton I, Emperor of the United States and has been performed throughout North America, Europe, and Japan.
Robair has recorded with Tom Waits, Anthony Braxton, Terry Riley, Lou Harrison, John Butcher, Derek Bailey, Peter Kowald, Otomo Yoshihide, the ROVA Saxophone Quartet, and Fred Frith. He is also one of the "25 innovative percussionists" included in the book Percussion Profiles (SoundWorld, 2001). Robair is a founding member of the Splatter Trio, Pink Mountain, and Rastascan Records.
Glenn Branca Ensemble
"Sometimes it seems like every musician in New
York has played with the Glenn Branca Ensemble. That's not entirely
true, but it’s close." Glenn Branca's compositions center around
multiple guitars – four or more, heavily amplified – augmented by a
rock-based rhythm section of drums and bass. Later works added other
instruments, including mallet guitar, keyboards, and occasionally a
second drummer. Branca's minimalist compositions frequently require
unusual guitar tunings – more recent works have them strung with two
sets of three strings tuned an octave apart. He's received many
commissions from such groups as the Twyla Tharp Dance Company, the
Brooklyn Academy of Music, and Bang on a Can, to name just a few.
Branca's music has also been heard in films and performances by Peter
Greenaway, the Alvin Ailey Dance Company, the Joffrey Ballet, Eric
Bogosian, and many others.
GUM YUMMY is the latest sound/performance incarnation of Scott M. Phillips, formerly of Sarcastic Orgasm, Chikmountain, Chitty Chitty Gang-Bang, and Magic Diaper Hat. Concert video can be found way too much on Youtube if you'd like to check the Acid-Testesque/ "Porn On The Cob" style of live Yummy. Never the same twice, mmmmm,.. so nice. Experience the TAHCHIZMA!
Janel and Anthony
"Janel & Anthony - guitars and 'cello respectively - play a haunting and humbly virtuosic form of music wherein the elements of electronics, looping, and lo-fi timbres live both in intimacy and in majesty in the same house as acoustic instruments and folk/blues-inspired melodies. As such, it is both timely and timeless, drenched as it is in intoxicating atmosphere; wan, quiet voices submitting to waves of sonic drama. Who could possibly resist it?" – Nels Cline
Both musicians, together and separately, have long been an important and active part of Washington D.C.’s new-music scene. Anthony Pirog, an omnivorous, multi-faceted guitarist who studied jazz at Berklee and has performed country, fingerstyle, rock and surf music and Janel Leppin, a conservatory trained cellist steeped in North Indian and Persian classical music, jazz and experimental music who also plays electric bass in rock bands, have created a lavishly detailed musical journey, by turns ravishing and harrowing. Janel and Anthony alternately charm and challenge, with music that draws from classical, experimental, jazz, rock and electronic traditions but that ultimately is simply theirs.
Self-recording and releasing their 1st album in 2006 and selling thousands of copies at their hundreds of shows, they spent over 3 years conceiving and recording Where Is Home in a professional, analog studio, giving the album a thoughtful, comfortable and lived in feel. Alternating compositions with brief improvisations and soundscapes, Where Is Home captures the dynamic ebb and flow of their live shows where they artfully employ live looping, an array of effects and prepared backing. Simple musical lines grow into complex blocks of echoing sound which eventually are spun and turned into elegiac melodies. The music is both experimental and elegant and smokily psychedelic in a completely modern way.
Jeff Carey's music is hardcore digital instrumental music. It is computer based synthesis, noise, and improvisation combined with a no-safety-net aspect of gestural control makes his music totally physical and vicseral.
"He's acting on raw instinct here - he refuses the clinical approach to programming software or composing music, and strives to throw himself bodily at his machines, replacing all mechanical moving parts with human flesh, blood, and bone. In pursuit of this all-organic goal, virtually everything else is jettisoned, starting with recognisable notes or melody." -- Ed Pinsent, Sound Projector on "Impulse"
In 2002, Carey co-founded the Amsterdam based N-Collective with fellow musicians to explore the intersections of contemporary, electronic, and improvised music at their outer limits. His ensembles SKIF++, USA/USB, and Office-R(6) garnered critical acclaim for their approach to structured improvisation and integration of acoustic and digital elements. Nearly a decade later, Carey's first solo CD "Impulse" was released dubbed "fragmentary noise", "speaker damaging", and "breathtaking." His new ten track CD "interrupt, decay" continues to explore the dynamism in physically controlled sound production while expanding his palette of expression.
Carey holds a Bachelors of Science in Audio Technology from American University (1994) and studied computer music at the Instituut voor Sonologie at the Koninklijk Conservatorium of Den Haag, The Netherlands (2002) and has been recognized twice by the Maryland State Arts Council with an Individual Artist Award in Non-Classical Music Composition.
KEROAÄN is a musical artificial intelligence developed by FRASER/ROSENBERG that performs by implementing XENAKIS’S Dynamic Stochastic Synthesis. This non-standard synthesis is played in real time by the KEROAÄN program. Pushing and pulling between sections of hard noise, singing glissandos, jagged melodic scribble and other sonic curiosities, the program liberates the computer from its position as a mere tool of hyper-productivity and transports the machine into a state of creative and performative being. Operatic in scope, a live diffusion of KEROAÄN features lasers, strobe lighting, and fog synched to both audible and structural qualities of the music as an infinitely morphing chorus of digital voices croon, cry, scream and everything in between. http://ianmfraser.wordpress.com/keroaan/
Kruingtjsen & other Super hits
Solo performance by singer, performance artist, violist and composer Anne Pajunen.
A musical dream play with vocal sounds, fragments of familiar pictures, melancholic feedback melodies from a coffeemaker, the world’s most analog sound processor, and much more…
This semi-improvised show presents Pajunen’s work mixed with vocal pieces by Aperghis, Cage, and Feldman (to mention a few). The title suggests a humoristic but serious presumption that some of our contemporary works are super hits (or will be, eventually).
Every performance is slightly different, more or less modified and adapted to each venue and occasion. Pieces are added or changed. Sometimes a guest artist joins in, sometimes over a phone line. The following three pieces are always included:
- Kruingtsjen – dilemma I (2010), for voice and Kaoss Pad. Part One in a series of “micro operas” for voice and various electronics, it is vaguely about the dilemma of individual responsibility vs. the collective conscience.
- Ask me – dilemma II (2010), for voice and video controlled electronics. Part Two of the “micro opera” is about man’s need to leave footprints in history.
- Quarter past (2010), a viola solo with interactive, individual, vintage audio processing. These “no-tech” effects are distributed to the audience for individual control according to personal preferences.
Live video is used along with live electronics and vintage sound equipment. The final pieces in the concert are site-specific in order to add a local element to the show.
Kruingtsjen & other super hits is a fantastic hybrid of (non-)opera, artist talk, theatre, performance art, and a surreal concert with vocal surprises.
The show includes travel gramophones, animation, audience-controlled sound effects, a head in a box, possible phone-in vocals, and perhaps even a bit of dance.
Anne Pajunen, (b. 1968)
As a composer, singer, performance artist, viola player she has created her own world of staged performances with vocal and instrumental music. She has produced and performed numerous stage concepts, solo as well as in various constellations, in Sweden and abroad. The works are often based on a certain amount of improvisation in detailed set-ups on stage, with a curiosity for live situations and close interaction with the audience. Mixing acoustic instruments with live electronics and video in a theatrical space gives her works a unique profile. Vocally she uses a wide range of techniques, especially in improvisation.
As the artistic leader and founder of ensemble House of S.M.O.K (Swedish Modern Opera ensemble) she has produced and performed over 20 stage productions. As a stage director and composer she collaborates with several musicians and ensembles in Sweden. Performed at festivals such as Stockholm New Music, Europe-Asia in Kazan, Synthèses in Bourges, Nordic Music Days and Performance Art festivals as well as art venues and at opera houses etc.
During 2012 she continues her work as Artist/Composer in Residence at Media Artes in Växjö 2011/2012 under the project title Process in Progress.
The new art project KarlOskar&Kristina, a collaboration with composer S Patric Simmerud, resulted in the chamber opera ABSENCE, for solo voice and electronics (world premiered 2012). The duo strives to find alternative ways in the artistic process.
As a viola player she is heard on many studio recordings, and in various chamber music projects.
She is also frequently giving seminars and workshops on improvisation, modern voice technique, performance etc. for singers, actors and musicians.
Studied at Gothenburg University of Music and the Sibelius Academy, Helsinki 1988-1995
She received the Bob Kelly Music Award in 2009 for her innovative and creative work.
Layne Garrett works with guitars, found objects, and self-built instruments. He plays in the improvising duo Weed Tree with drummer Amanda Huron. Other activities have included organizing a large-scale tape-loop intervention in Rock Creek Park, constructing a found-metal gong garden in his back yard, and building a strange rolling sound sculpture for last year's Sonic Circuits festival that was a real hit with the kids. “Layne Garrett is one of Washington, DC's most creative artists. He is consistently pushing the boundaries of instrumentation and approaches sound in ways that are always fresh." -Socket Records
Lost Civilizations experimental music project
In the drifting, wordless space between wakefulness and sleep: music of lost civilizations.
Echoes lingering long past their creation;
reverberations seemingly without end.
Unusual polyrhythms juxtaposed with polyphonies neither western nor eastern;
music of civilizations long lost and forgotten
-- and until now unheard.
Propitiations to an ancient muse?
Celebrations of forgotten feasts?
No one knows: no physical traces remain; the only surviving legacy is sound -- and the imagery it inspires.
Lost Civilizations began as a project of Mike Sebastian (tenor sax, saxello and bass clarinet) and T. A. Zook (basscello, lap steel guitar, KORG Monotron and Misc. Instruments). Although a duo, their performances have featured Larry Gomez (Tabla, Cymbals, Misc. percussion), Louie Rozier (Flute; Percussion), Jerry Busher (percussion), Doug Kallmeyer (bass), Aaron Martin (Alto Sax, Soprano Sax), Emre Kartari (Percussion), Angela Morrish (vocals), Sam Lohman (percussion), Ben Azzara (percussion), Emily Chimiak (vocals), Anthony Pirog (guitar) and other friends as guests. The Lost Civilizations experimental music project has also performed with Susan Alcorn (pedal steel guitar).
Lost Civilizations' performances are totally unscored, unrehearsed and extemporaneously improvised on the spot.
Mercury Fools the Alchemist
Mercury Fools the Alchemist: "Chamber psychedelia" fellowship anchored by Jeff Bagato (Tone Ghosting) on homemade stone age "springamajig" synthesizer and Richard Sheehe (Field Shaman, Hypocrites) on ambient guitar for chimerical musical journeys.
Mia Zabelka + Elise Passavant
Austrian Avant Sound Artist Mia Zabelka and No Wave Nostradamus Lydia Lunch have combined forces to create the multimedia spectacle TranceScription.
A unique performance piece, which utilizes Lydia Lunch’s sound, voice and video image remixed in live improvised performance by Mia Zabelka.
Lunch’s disembodied voice, her exaggerated visuals created in conjunction with video manipulator Elise Passavant, and the other worldly music of Zabelka create a hypnotic atmosphere which twist the idea of the Orwellian nightmare of a super surveillance state peopled with techno addicts, whose peripheral vision has been reduced to the size of a cell phone screen. Projected images of Lunch, the antithesis of Big Brother, issue a wake up call to rebellion against America’s encroaching police state, where everyone is guilty until proven innocent.
Lydia Lunch has been in self-imposed exile from The United States of America since the second term of George Bush Jr’s presidency. As a staunch supporter of individual personal liberty and freedom for all she at this time refuses to enter the country.
Mia Zabelka resides in the mountains of Austria, safe at least for now, from the prying eyes of all but the occasional drone missile, which flies overhead. She will represent, perform and mix the debut performance of TranceScription, for Washington DC’s Sonic Circuit Festival Sept 28, 2012.
Elise Passavant is a filmmaker, editor, photographer, VJ and a self-proclaimed "multimedia Swiss-army knife” who straddles the underground music video/alternative art scene. A globe trotting gypsy pirate who collects and remixes stunning images, often working in collaboration with sound and voice artists to further illustrate their creative visions.
Musique Noire - Chris Cutler & David Thomas
Long-time collaborators Chris Cutler and David Thomas team up for a new program, Musique Noire.
'Drums n Singer' is the style. Both play electronics and samplers.
Chris Cutler and David Thomas met in Washington DC in 1978, brought together by a shared interest in early Etruscan pottery.
A little while later Chris, planning to see his ex-Henry Cow bandmate Lindsay Cooper playing with David in London, found himself inducted into a trio which, as the Pedestrians, toured in Europe and America for the next 3 years. Thomas and Cutler continued to work together in the Wooden Birds, the Accordion Club, The Pale Orchestra and Pere Ubu, as well as making live soundtracks to 'It Came From Outer Space' and 'The Man with the X-Ray Eyes.' On the side they also collaborated on a number of one-off vanity projects, before founding the hit-machine that was the Archimedes Quartet with failed folksinger Peter Blegvad and badass bassman John(ny) Edwards.
So, as you can imagine they're pretty fed up with the sight of one another. Quite often this leads to fights, one of the main attractions of their otherwise lacklustre performances. For Sonic Circuits the duo's hurriedly assembled programme will stake out rain-streaked streets, brood on the treachery of avaricious frails, drink too much of the wrong brands in the wrong bars and get frequently and pointlessly beaten up. All this and worse just for your voyeuristic pleasure. It takes a lot to drag these old hacks away from their poolside idylls these days, so do make the most of it.
And bring fruit.
Northern Machine is Pat Gillis (electronics) and Bill Warford (guitars and instruments). Their long-standing collaboration has encompassed recordings and performances of uniquely repellant drone, ethno-ambient, noise, industrial and fake techno musics. Current focus: "dronebeat".
Otomo Yoshihide boasts a groundbreaking résumé. The Japanese native has spent the past 30 years stretching the limits of free jazz, improvisation and noise music with an array of approaches and styles. Otomo has released dozens of experimental recordings, and worked with Keith Rowe, Toshimaru Nakamura, Bill Laswell, David Sylvian, Derek Bailey, Sachiko M, Hoppy Kamiyama, Mats Gustafsson, John Zorn, Martin Tétreault and many others. Most recently, Otomo collaborated with the Japanese poet Ryoichi Wago and musician/activist Michiro Endo to create Project Fukushima!, an ongoing performance festival staged to support those affected by the Fukushima Daiichi nuclear disaster of 2011.
Pinkcourtesyphone is dark but not arch, with a slight hint of humor.
Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness.
Pinkcourtesyphone desires to capture the sonic essence of some nicely dressed 1960′s housewife wistfully peering out her window while reclining on some lovely couch or divan, with, of course, a slowly sipped cocktail and perhaps half of a Valium. Perhaps she is waiting for the phone to ring.
Pinkcourtesyphone operates like a syrup-y dream.
Pinkcourtesyphone strives to be both elegant and detached.
Pinkcourtesyphone remained dormant for a long time.
Pinkcourtesyphone is actually Richard Chartier (b.1971), some sound and installation artist, considered one of the key figures in the current of reductionist electronic sound art which has been termed both “microsound” and Neo-Modernist. Chartier’s minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier’s sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. He is considered by some to be quite fancy. www.pinkcourtesyphone.com
Red Spells Red
Red Spells Red is an experimental music project from Washington, D.C. consisting of Dennis Kane and Dave Svrjcek. Currently, the music is developed and performed using analogue synthesizers and effects and is largely improvised. The music is a dynamic mixture of slowly evolving drones and melodies pared with textural rhythms not based on traditional beats, but rather pulses and noises. The duo self-released "Learning To Live With The Plague" in July 2012.
Dave Vosh, also born in washinton.d.c., has been experimenting with electronic music since the 1970s and live performance since 2005 in various solo, duo and trio projects involving modular synthesizers and other devices. he performs regularly in d.c. and baltimore. he has performed at events such as "sonic circuits", "electronica-fest" and "electro-music" festivals. He was recently a featured performer in St. Louis at a show sponsored by the HEARding Cats Collective at Floating Labs, where he also displayed his visual electronic manipulations. Recent efforts have focused on the idea of the "invisible accompanist",random self-generating sounds against which i improvise on modular synthesizer. simple real-time video can also be part of performances.
David Nicholas (guitar) and Matthew McGarraghy (guitar, percussion, piano), since joined by Davis White (percussion, synthesizer) create music that, “eschews the standard soft/loud post rock bombast in favor of a more reflective and tranquil musical path-one that recognizes the quiet power of slowly descending (and ascending) melodies, as well as the gravitational weight of silence itself.” — The Vinyl District.
With reference points to Dif Juz, the Durutti Column, and the collaborations of Harold Budd/Robin Guthrie, the Sansyou CD “When We Become Ghosts has been warmly received by DCist, The Vinyl District.
Matthew Boettke (of Sex Complex, Widow's Bath). Dark oscillator drones and junk metal loops, electronics and tape abuse. Harsh sound immersion, walls of meditative chaos. Disciplined noise.
STYLUS performs with multiple vintage classroom turntables as their instruments, using locked-groove and prepared vinyl to create a sound that is minimalist, pulse-like and hypnotic yet also dynamic and punctuated. STYLUS warmly embraces the modern compositional elements of turntablism and the contemporary sound-art of Christian Marclay, Leyland Kirby (The Caretaker) and Philip Jeck, while championing historic constructs such as the Futurist manifesto L'arte dei Rumori, Dadaism, Automatism, Milan Knížák's Broken Music, the graphic scores of Cornelius Cardew, Fluxus performance, and the prepared instrumentation and happenstance of John Cage.
BLACK!FACTORY! additionally features cellist Doug Poplin (Bach Sinfonia; BLK w/BEAR) and guitarist Jeff Barsky (Insect Factory) along with live video mixing from Renée Shaw (BLK w/BEAR) and filmmaker H. Paul Moon. The piece utilizes vinyl releases from Insect Factory and BLK w/BEAR subjected to physical manipulations and machinations, starting out as deep-drones and builds into a GY!BE-like prepared-vinyl squall. http://stylus.adams-dress.com/
STYLUS!BLACK!FACTORY! A special collaborative live performance from STYLUS turntable ensemble, BLK w/Bear and Insect Factory manifesting an audio-visual maelstrom, building from humble and harmonious ambient drones to a caustic acoustical squall.
STYLUS performs with multiple vintage classroom turntables as their instruments, using locked-groove and prepared vinyl to create a sound that is minimalist, pulse-like and hypnotic yet also dynamic and punctuated. STYLUS performers to date include mainstays of the Washington, DC avant-guard, free improvisation, modern composition, noise and electronic music scene. STYLUS warmly embraces the modern compositional elements of turntablism and the contemporary sound-art of Christian Marclay, Leyland Kirby (The Caretaker) and Philip Jeck, while championing historic constructs such as the Futurist manifesto L'arte dei Rumori, Dadaism, Automatism, Milan Knížák's Broken Music, the graphic scores of Cornelius Cardew, Fluxus performance, and appropriately, the prepared instrumentation and happenstance of John Cage.
BLK w/ BEAR -- JS Adams (loops; turntables; prepared vinyl; electronics); Doug Poplin (cello + effects); Renée Shaw (live video mix) and PD Sexton (bass; guitar; effects; electronics) -- have garnered glowing reviews and international airplay for the thought-provoking and moving 'Wish for a World Without Hurt' collaboration with London's ROTHKO and the limited edition 'fahrenheit_drafts' 12-inch single (Trace Recordings). Their audio has accompanied film/video projects in NYC and London and selections from 'Wish for a World' were used in the Discovery Channel's poignant 'The Flight that Fought Back' program. The mini-album ‘Sorry about your (remixes)’ was released on Front & Follow (UK) in 2011. Additional material has been released through Ultra-red’s free download site Public Record, Little Red Squirrel Collective (UK), Cohort Recordings and Sonic Circuits’ District of Noise imprint. '...like Basic Channel at their most abstract, and after a severe nervous breakdown' - Wire Magazine
Insect Factory is music from Silver Spring, MD musician Jeff Barsky. Insect Factory focuses on texture and mood, building layers of dense sounds that slowly evolve into hypnotic and atmospheric drones. Since the 90's, Barsky has continuously played in bands and improvisational collectives, and has performed frequently on the east coast of the U.S., and also in Canada, throughout Europe, and Japan. His first proper release, “Air Traffic Control Sleep”, was released on Insectfields in the late summer of 2007, to acclaim from the likes of Washington Post, the Wire, and Terrascope. Insect Factory recently released a split 7" with RST (New Zealand), and recently released a full length LP on Fabrica/Insectfields in early 2012. “Music that evokes the feel of a plane ride through the clouds and the surreal world of dreams...” - Wire Magazine
Tag Cloud started in 2009 as a series of experiments with field recordings and has come to include analog electronics, fx, cheap keyboards, metal percussion, shruti box, etc. Best described as "electroacoustic sound sculpture and carpets of drone". Releases to date include Vol. 13 of the remix project "14 Versions of the Same EP" on the Front & Follow label (look for a follow up for the "Collision/Detection" series in collaboration with BLK w/Bear) and the album "Named Entities" on Zeromoon.
Tatsuya Nakatani & Vanessa Skantze
Percussionist Tatsuya Nakatani and Butoh dancer Vanessa Skantze complete a synergistic immersion of pure improvisation in sound and movement. For Nakatani, this collaboration touches the essence of “MA,” a Japanese way of expressing the profound awareness of “space” completing the whole. For Skantze, the performance space becomes a vessel for a multitude of alchemies passing through the body on waves of Nakatani’s sound- one only needs to listen to the transformations that want to happen. Together there’s a sense of the imperative, as improvisation becomes the ritual of recognizing that it is this sound, this rhythm, this energy, this movement that only exists in this moment.
Tatsuya Nakatani (percussion) is originally from Osaka, Japan. In 2006 he performed in 80 cities in 7 countries and collaborated with 163 artists worldwide. In the past 10 years he has released nearly 50 recordings on CD. He has created his own instrumentation, effectively inventing many instruments and extended
techniques. He utilizes drumset, bowed gongs, cymbals, singing bowls, metal objects, bells, and various sticks and bows to create an intense, organic music that defies category or genre. His music is based in improvised/ experimental music, jazz, free jazz, rock, and noise, yet retains the
sense of space and beauty found in traditional Japanese folk music. In addition to live solo and ensemble performances he works as a sound designer for film and
television. He also teaches Masterclasses and Workshops at the University level. He also heads H&H Production, an independent record label and recording studio based in Easton, Pennsylvania. He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster as well as a Bronx Arts Council Individual Artist grant.
Vanessa Skantze invokes Ankoku Butoh -- the Dance of Darkness -- as a way to investigate the life force shimmering in the inner dark beneath our skin-- the energy we share with all life-- and to break the crippling isolation that severs us from our true nature. In 2002 she co-founded the
sound/movement ensemble Death Posture, creating improvised performances through a method of deep listening between bodies and sound. This practice informed her approach to working with imagery in an intensely focused, visceral and endlessly curious way. Throughout Death
Posture's New Orleans time and subsequently in Seattle-- where she arrived in 2004 with her dance partner Alex Ruhe-- Vanessa has constantly worked with experimental musicians in performance. Now called Danse Perdue (lost dance), Vanessa and Alex create works as intimate collaborations between bodies and sound, whether structured group performances or solo/duo improvisations. She recently premiered a new full-length solo piece, the impossibility
of crows, in collaboration with musician Joy Von Spain. 2012 will see her performing in the1festival: SOLO, Not Alone, in Portland; the Asheville Butoh Festival in North Carolina; touring with master percussionist Tatsuya Nakatani; and co-teaching along with Lydia Lunch and diverse female artists at the Post-Catastrophe Collaboration Workshop in France. Vanessa has been leading butoh workshops and classes for nearly ten years. She has developed a keen
sense of energetic anatomy from fifteen years of teaching Hatha/Ashtanga yoga. As a teacher she facilitates deeper awareness of the energy streams inside the body, which can be awakened and sculpted with in order to develop an subtle instrument with which one can transform and become the other, the unknown, or the forgotten. Vanessa has trained and performed with Jinen Butoh master Atsushi Takenouchi since 2003. She aspires to his utter commitment-body and
Trepaneringsritualen explores themes of religion, magick and the occult realms of consciousness, taking its musical cues from the CMI/Tesco school of ritual ambient & death industrial. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times.
Active since 2008, T × R × P have racked up a fair amount of cassette releases on renowned labels such as Hanson, Small Doses and Harsh Head Rituals, with 2012 seeing the first vinyl appearance in the form of »Deathward, To The Womb« 10" on Release The Bats.
Violet & Sylvia Schedelbauer
VIOLET - Jeff Surak is a Washington DC based performer of improvised electro-acoustic musique concrete, proprietor of the Zeromoon record label, and Director of Sonic Circuits Festival. Using unconventional sound sources (dry ice, old record players, autoharp, microcassettes, etc) to layer successive walls of noise into gargantuan citadels of shimmering light.
Born in Tokyo Sylvia Schedelbauer first moved to Berlin in 1993, where she has been based since. Her films negotiate the space between broader historical narratives and personal, psychological realms mainly through poetic manipulations of found and archival footage.
Selected screenings include: the International Short Film Festival Oberhausen, the EXiS Experimental Film Festival Seoul, the London Film Festival, the New York Film Festival, the San Francisco International Film Festival, the Robert Flaherty International Film Seminar and the Stan Brakhage Symposium.
Awards include the VG Bildkunst Award, the
German Film Critics’ Award, and the Gus Van Sant Award for Best
Experimental Film at the Ann Arbor Film Festival, the longest running
showcase for avant-garde film. Film Comment Magazine named Sylvia one
of the top 25 emerging filmmakers for the 21st century in their
The Union Station Metro Stop is the closest MetroRail station. It’s about a 20-25 minute walk from the Metro. Head east on Massachusetts Avenue, go around around Stanton Park, then continue east on Maryland Avenue NE. Turn left on 13th Street NE. Turn right on H Street NE and the Atlas will be on your right.
Visit WMATA for Metro & Metrobus information.
Runs along H Street from Lafayette Square (16th Street) to Minnesota Avenue and connects with Metrorail at Gallery Place/Chinatown Station.
Runs along Maryland Avenue from Union Station. Exit at 13th Street; Walk two blocks to H Street.
Monday through Friday Express Bus serving H Street. Connects at metro Center and Gallery Place following the same route as the X2, but service ends at 6:30 pm.
The Atlas now has convenient access to the new Capital Bikeshare program. The closest station is at 13th and H Streets NE across the street from the theatre.
The Atlas has secured limited amount of parking at the United Church for All Peoples which is located across H Street on the north side at 1314 H Street NE.
- The lot can be accessed via 13th Street.
- If you are going north, the parking lot/alley entrance is the first right once you have crossed H Street NE.
- If you are going south, the parking lot/alley entrance is the last left before crossing H Street NE.
- Patrons are invited to purchase a parking spot ahead of time. Each spot is $12.
- Buy online here
- PLEASE print out the receipt and place it on your dashboard when you arrive in the lot.
- If you arrive 2 hours early, please feel free to park your vehicle and display this receipt on your dashboard.
- The parking lot is under surveillance. Please remove all valuables from view. The Atlas is not responsible for items taken from vehicles.
We cannot guarantee there will be parking available the night of your performance so we encourage you to purchase your space ahead of time.