Thursday May 30th 2013 @Pyramid Atlantic
Bonnie Jones & Dafne Vicente-Sandoval, Keir Neuringer, TL0741, surak/hawkins
Bonnie Jones (BALTIMORE, MD) | Electronics, microphones (b. 1977, Seoul, South Korea)
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised on a dairy farm in New Jersey, and currently resides in Baltimore, MD. Jones creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment.
As a musician and improviser she re-purposes digital delay pedals as circuit-bent electronic instruments, directly playing the exposed circuit boards with instrument cables to produce raw and often chaotic electronic sound. Her sound palette challenges the accepted languages of contemporary music as well as the conventional modes of playing associated with electronic musicians. Jones’ multimedia performance works use projected text and live writing to improvise with musicians, video artists, dancers, and other writers. The work draws on her background as a poet and explores a form of writing "off-the-page" that directly interacts with the audience and other collaborators.
Dafne Vicente-Sandoval (Paris, France) | Amplified bassoon (b. 1979, Paris, France)
Dafne is a bassoon player, working in both fields of contemporary music and non-idiomatic improvisation. Her recent work includes a series of integrated sound installations.
Her personal approach is centered on the fragility of sound and its emergence within a given space. Silence and barely perceptible sounds are central to her work; she considers music more as the punctuating of a preexisting sonorous environment, rather than an out of context, autonomous discourse.
The deconstructed usage of her instrument is a central aspect of her practice. She amplifies fragments through miniature microphones distributed within the instrument. This exploded version of her sound sometimes meets traditional bassoon playing to generate aural discontinuities between the exterior and the interior, the whole and the parts- a reverseengineered emergence.
Keir Neuringer composes and performs music, writes socio-political performance texts and essays, and creates interdisciplinary artworks, all with the aim of bringing audiences into a state of emotional and intellectual curiosity that meets the conditions for meaningful dialogue with the culture at large. Equally at home in DIY spaces, art galleries, clubs and concert halls, over the last 25 years he has cultivated a personal and intensely physical approach to solo saxophone improvisation that honors and builds upon diverse music-making traditions. In his AFGHANISTAN solo act, he sings and recites text, and plays farfisa organ, analogue electronics, drums and saxophone, weaving together Brechtian agitprop, psych-drone electronics and acrobatic free improvisation. He's been called "a drum-pounding prophet of doom, keyboard-playing last poet and sax marathonist" (Mechanical Forest Sound blog, Toronto) whose "percussive riffs and musical spitfire sermons disrupt neurons and reorient thinking - and hit the gut." (Brightspark Electronic Punk Folk Festival, Ithaca) When not performing solo, Neuringer works with virtuoso bassist Rafal Mazur, experimental turntablist DJ Sniff, Dutch contemporary music group Ensemble Klang, and has performed with free improvisation legends Evan Parker and Mischa Mengelberg and electronic music pioneers Michel Waisvisz, Joel Ryan and Marek Choloniewski. He's been an active participant in experimental music communities in Kraków, The Hague, and Amsterdam, and currently lives in Central New York.
Listen to «Conquistadors» here: keirneuringer.bandcamp.com/album/conquistadors-ep
Pat Gillis (b. 1965, USA), “uses synths and tape manipulations like he was kneading bread dough mixed with solid concrete, trying to tame the slimy white filth much as the scuba diver wrestles with the vicious octopus. No root notes, no repetitions, no pulsations, no recognisable shape to these livid slabs of murk – just slices of menacing viscera torn straight from the flanks of a gigantic ox-like creature.” So states Ed Pinsent of The Sound Projector. In that structured improvisation is the meat and rum of TL0741, this performance may assume a different flavor altogether. Following three releases via HC3 Music, the most receaolnt TL0741 offering arrives from the Zeromoon imprint.
surak & hawkins
Zeromoon label honcho and Sonic Circuits festival braintrust teams up with The Artist Formerly Known as Blue Sausage Infant for a rumble in the electrons. Be there or never know.
8230 Georgia Avenue, Silver Spring, MD