Saturday Jul 11th 2015 @Pyramid Atlantic
Festival Fundraiser with Lucas Brode, Lab Mice, James Wolf, TL0741, Bigbee, international Electromatics
Lucas Brode, a native of New York’s Hudson Valley, is a guitarist & composer who draws from jazz harmony, experimental rock textures, and African rhythms. He currently performs solo and with various groups, including Post-Rock / Math-Rock hybrid Hannibal Montana, throughout the United States.
“Brode’s rapid finger-work brings to mind themes of time, growth and decay.” – Fecking Bahamas
“…find him prowling the back alleys of electric guitar playing.” – Here Comes the Flood
“This record is a form of hypnosis. The repetition is seductive…these are the sounds of a gentle tailspin.” – The Super Coda
"international electromatics" continues their exploration of the intersection of intuitive music and synthesizers, an on-going introspective process since 2011. They have performed for audiences at Sonic circuits, National Electronics Museum, an die music, the hexagon (Washington DC / Baltimore) and kranzburg arts center (st. Louis, mo.).
Frank Vanaman, born in Washington DC. And now a resident of the baltimore area, relies on an appreciation of the popular music and jazz from the 1920`s and 1930`s to inform his abstract sonic efforts. Besides his synthesizer work, he is also a theatre organist of some reknown.
Dave Vosh, born in Washington DC. And a resident of southern maryland, has been investigating and experimenting with experimental and electronic music since the late 1970`s. He has evolved an aesthetic oriented towards live performance, interacting with self-generating sound structures with a small modular synth since 2005. His influences derive from the new music and art movements of the 50/60/70`s including things like process automation, aleatorics and indeterminacy.
An electro-acoustic collage of wood, cardboard, motors, and circuits.https://labmice.bandcamp.com/releases
James Wolf is a DC-area based multi-instrumentalist . Over the last twenty years he has played and recorded with many groups, including Laconic Chamber, La Reproduction Interdite, From Quagmire, The Picture is Dead, Fern Knight, The Orchid, Sourdeline and most recently in a trio with Chris Videl (Tag Cloud) and Jeff Barsky (Insect Factory). Wolf's processed-solo-violin project, originally called 'waterglass,' began in 2013. Wolf also collected and compiled the complete published poetry of Sun Ra, published in "The Immeasurable Equation" (Waitawhile, 2005).
DC-Based sound writer James Bigbee Garver has been creating sonic inventions since 2000. He often mixes the timbres of acoustic instruments with synthetic audio to sculpt imagined textures and environments, sometimes danceable, sometimes hummable, often neither. His tools typically consist of original compositions, sampled music, spoken words, sound effects, and live signal processing. His music and sound designs have been heard at most major Washington, DC theaters including Woolly Mammoth, Signature, Studio, the Folger, and Round House theaters. In New York his work has been heard at Lincoln Center, Performance Space 122, The World Financial Center, Japan Society, Joyce SoHo, and on Long Island at Robert Wilson's Watermill Center. His designs for interactive media have been installed in exhibts at the Smithsonian Institution’s National Museum of Natural History and American History, American Museum of Natural History, the Megapolis Audio Festival, and the Conflux Festival. In 2006 he created the Tiny Dance Film Series with choreographer Peter Kyle: a series of very short and very small dance films screened in a darkened kiosk for an audience of one. The collection of ten films have been screened throughout the U.S., Europe, and in the Jumping Frames festival in the Pearl River Delta of South China.
Beyond his collaborations with Northern Machine, The Angus Brainpan and Extremities, Pat Gillis has been performing solo since 2005. TL0741 began as structured improvisations combining analogue modular synthesizer and effects with pre-recorded material specifically intended for public performance. Avoiding an "analogue
purist" approach, digital sound sources and treated acoustic elements have since been incorporated. By design, no two performances of the same piece are alike and the resultant recordings have been either the basis of each new release, or are prospective fodder for further manipulation in performances of entirely new material.
“Regardless of the noise content -- which is quite high at times -- it's the droning space-rock quality that sets this album apart from most excursions into rhythmic noise. Weird and hallucinatory, but highly compelling and recommended.” RKF, One True Dead Angel, www.theonetruedeadangel.blogspot.com/2010_02_01_archive.html
8230 Georgia Avenue, Silver Spring, MD