Saturday Apr 2nd 2011 @Pyramid Atlantic
Broadcloth, Lost Civilizations, Chikmountain Family Band, Pregnant Spore
Broadcloth, from New Haven, CT, performs improvised music with a nod to various compositional outlets. Using a unique instrumentation of voice, cello and accordion/recorders, the trio plays from notated, graphic, embroidered, and textual scores in addition to completely spontaneous pieces. Without shying away completely from virtuosity, Broadcloth creates music that reflects the order of composition and the risk of unpredictable musical interactions. Emphasis lies on establishing a holistic sound that favors cooperation over hierarchy.
Anne Rhodes (b. 1976) grew up in Portland, Maine, where she began studying voice at the age of 16. She holds a B.M. in Voice Performance from Boston University's School for the arts and an M.A. in Music Performance from Wesleyan University, where she focused on experimental music, improvisation and collaborating with composers. She has performed withConnecticut Opera, Yale Opera, Portland Opera Repertory Theatre, the FLUX Quartet, New Haven Improvisers Collective, and the hip-hop duo Mirror Boiyz, and has premiered works by composers including Anthony Braxton, Neil Leonard, Taylor Ho Bynum, Mikael Karlsson, and Alvin Lucier. She is a principle singer in the Trillium Project, an opera company lead by and dedicated to performing the works of Anthony Braxton. Anne currently studies voice with Elizabeth Saunders. As a day job, she serves as Research Archivist for Yale University’s Oral History of American Music.
Cellist Nathan Bontrager has a diverse background of performance and study which informs his activities as an experimental and improvisational musician. Bontrager's early musical formation included a mix of classical cello pedagogy and playing in rock/pop bands by ear as a guitarist and drummer. While completing degrees at Eastern Mennonite University (B.A.) and the University of Maryland (M.M.), Bontrager studied composition, jazz piano and bass, conducting, and Baroque performance practice. In addition, various experiences in South America as a performer, student, and teacher have broadened his musical language to include Andean and Venezuelan folk styles. Bontrager comes to the New York area from Baltimore/Washington where he played with various new music ensembles including co-founding The Experimental Music Performance Organization, an ensemble which premiered many new works as well as implemented improvisational elements into classically programmed concerts. In addition to cello, Bontrager is also proficient on the viola da gamba, having studied with Kenneth Slowik of the Smithsonian Institute and Martha Mcgaughey. Via Broadcloth and other ensembles, he seeks to find ways to merge the improvisational history of this instrument with contemporary musical ideas.
Accordionist Adam Matlock followed a path from a ground work of classical piano pedagogy and the African-American Spiritual tradition toward a wider range of folk, jazz and new music. After abandoning study of the piano in favor of playing keyboards in rock bands, Matlock formally returned to music while working on a B.A. at Hampshire College, which combined the study of music composition and fiction writing, teaching himself the accordion for the sake of performing Klezmer with the Valley Kapelye under the direction of Adrianne Greenbaum. He studied theory, improvisation and composition under Michael Dessen and Margo Simmons-Edwards, and for his thesis composed two long-form dramatic works combining an extended narrative and incidental music. Since then, Matlock has further explored the intersections of narrative and music in capacities ranging from film soundtracks, to formal compositions, to songwriting. Matlock composes electronic music under the moniker G. Zarapanecko, and neo-cabaret songs under the name An Historic; he also performs with the Elm City Guitar Quartet +3, the Erasmus Quintet, and other groupings of the New Haven Improvisers Collective, and continues to devour most new types of music set in front of him, most recently as the accordionist for the Yale Tango Orchestra.
The Lost Civilizations experimental music project arose out of a September 13, 2008 duo performance by Mike Sebastian (tenor saxophone, saxello and bass clarinet) and T. A. Zook (basscello) at Baltimore’s Hexagon performance space. Since then, the project has had a series of sessions and performances which have often featured their friends. As part of the Twenty-first Century Chamber Ensemble, Messrs. Sebastian and Zook have appeared on the Kennedy Center’s Millennium Stage — that performance is posted as the ninth and tenth clip at http://www.myspace.com/xxichamberensemblepartone. All of the Project’s performances are unscored, unrehearsed and improvised extemporaneously on the spot and all performances are recorded (absent technical “glitches”, which do occur from time to time). A free, full-length download is available at http://www.archive.org/details/oz033.
CHIKMOUNTAIN - Porn on the cob CD -----Absolutely anachronistisch this sound! Bratzende, quiekende, tormenting, mutilated and feedback-contaminated guitars and basses meet an indefinable, brodelnen sound carpet. A "Ursuppe", from which isolated sounds emerge, irritate easily and immediately disappear afterwards again in sinking, somehow is in order to be never again heard. Since that does not hand everything yet, this sound Moloch is turned again by the Verzerrer and overridden up to the indiscernibility. After how, who and why asks here nobody, one must it simply accept and enjoy. Copyright by OX-FANZINE and Casi
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