Saturday Oct 10th 2015 @Pyramid Atlantic
BLK w/BEAR | Roger Beebe : film/sound (OH) | K. Craig : film (UK) | David Armes (UK) | CK Barlow | Marcus Webb | pater familias : Daniel Barbiero + JL Roth + STYLUS (petite) | One Chord Ponies : Guillermo Pizarro (PA) + Jeff Barsky
Sonic Circuits + Little Crackd Rabbit
BLK w/BEAR | Roger Beebe : film/sound (OH) | K. Craig : film (UK) | David Armes (UK) | Sarah O'Halloran | CK Barlow | pater familias : Daniel Barbiero + James L. Roth + STYLUS (petite) | One Chord Ponies : Guillermo Pizzaro (PA) + Jeff Barsky
* A.R.C. SOUNDTRACKS are based in the north of England. Two/thirds of the project are founding members of Manchester-based band Last Harbour, K. CRAIG + DAVID ARMES. A.R.C. Soundtracks began as nothing. Three people put all their equipment into one room and then sat down to look at it, to wonder where to begin, to consider where it all began. That's not strictly true. The three people behind A.R.C. Soundtracks had known one another and played music together for over fifteen years. Two of us had an idea to help bring the playing and ideas of the third to some kind of necessary fruition. Marc Rahr was our friend, collaborator, schemer and tormentor. He was a wild card from the first time we all met. It was he who decided we would play music with him, not the other way round. But his was never a path of easy solutions. He would have the kernel of an idea, and then move on to the next - and the next - before others had a moment to let the original notion gestate. Some people are all about the end result, some people are more concerned with the process. Marc's journey wasn't even about the process. A web of concepts was forever spinning beneath his feet, keeping him from staying steady enough to follow an obvious route. So, the three of us improvised for two weekends solid. Nothing was repeated. It was constant movement without a map or discussion. Then, over the months that followed we went back over the recordings, refined and edited. Slowly but surely, out of hours and hours of sound, 'pieces' began to take shape. No-one was sure who played what; each of us was dissolved. Several more sessions two years on made the work more concrete. We had a recording that worked coherently and demanded our attention. It felt almost complete. Then, in February 2012, Marc died. Neither of us listened to, or even contemplated, the A.R.C. project. But, it called us back. Marc's ideas called us back. What originally began as a necessity became necessary again. Scattering his ashes months later on a cold hilltop with his mother and a priest, a windfarm whirring away across the next hillside, brought us back from stasis. The situation was made real again. We were pushed towards the need to make A.R.C. concrete. A solid artifact. For what purpose is hard to say, but that artifact is what you now have in your possession.
* CK BARLOW is a recent transplant from the rich experimental scene spanning Albuquerque and Santa Fe, CK turns real-time and field recordings into performable pieces using a variety of hardware controllers. In addition to solo appearances, CK spent 14 years with the acclaimed avant-orchestral conduction-improv ensemble Out of Context using a custom live-sampling setup (OOC was led by live-sampling legend Dino JA Deane, who has also performed at Sonic Circuits). Other NM bands included Useless Eaters w/Deane and DJ Ultraviolet, and mJane with Molly Sturges
* ROGER BEEBE has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including Sundance and the Museum of Modern Art with solo shows at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum among many other venues. Beebe is also a film programmer; he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and Artistic Director of FLEX, the Florida Experimental Film Festival from 2004-2014. He is currently an Associate Professor in the Department of Art at the Ohio State University.
"[Beebe’s films] implicitly and explicitly evoke the work of Robert Frank, Garry Winogrand and Lee Friedlander, all photographers of the atomic age whose Western photographs captured the banalities, cruelties and beauties of imperial America." - David Fellerath, The Independent Weekly
“Beebe’s films are both erudite and punk, lo-fi yet high-brow shorts that wrestle with a disfigured, contemporary American landscape.” - Wyatt Williams, Creative Loafing (Atlanta)
"Beebe's work is goofy, startling, and important." - Daniel Kraus, Wilmington Encore
His performance at Sonic Circuits will feature several of his best-known films - including the six-projector show-stopping space jam, “Last Light of a Dying Star” - alongside recent award-winning work in single-channel HD video as well as his latest multi-projector mayhem, “SOUNDFILM.”
* BLK w/ BEAR first 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 four-track 'Version 3' extended play is available for download at the Long Division with Remainders ‘14 versions of the same EP’ project site and also available in a box-set collection with all fourteen versions plus an additional digital-download outtakes EP including a 21-minute remix of BLK w/ BEAR’s Version 001. 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. In 2013, the group contributed remixes to Total Fears: Bronze Eye Reinterpreted (Ōnyūdō) and Fuzzy Lights’ Rule of Twelfths (Little Red Rabbit). The Final Mapping of New Constellations (Little Crackd Rabbit; 2013) – the group’s album-length reconstruction of Lost Harbour’s ‘The Stars Looked Down – is "an album of deeply eerie and beautiful woodland instrumentals. Electronica for long cold nights…This is music to be foraged through and sifted, sense-impressions escaping your fingers like sand. A disquieting triumph, the album unsettles with a mysterious broken grace; a forbidding and confrontational beauty; subtle in execution but quite profound in affect..." Best of 2013; EARS FOR EYES [UK]. BLK w/BEAR contributed remixes to BLK TAG - MY GOD IT’S FULL OF STAIRS (Trace Recordings, 2014), THE SLY & UNSEEN (Hibernate, 2015), and BUILDING CASTLES OUT OF MATCHSTICKS (2015). The group also contributed to Brain Music, a radio play by Simon Grab (MRI), based on the hypothesis that, in the close future, people will be able to make their imagined music audible by neuro-technology.
* Noir, pastoral, gothic, and modern. MARCUS WEBB creates textural sound
environments influenced by instrumental 50's and 60's guitar twang
Americana plus global psychedelic music, 80's tape culture, and 90's
shoegazing. Marcus Webb studied music with guitar great Thomas Newman and
Ted Dunbar and attended Oberlin Conservatory. Returning to New York he
pursued a musical career working alternately as a recording studio
assistant, session musician and club DJ. In 2009 he took his World Jazz
band The Marcus Webb Trio (Subliminal Six Music) on a tour to Canada.
Simultaneously pastoral and modern, spaghetti western and noir, electronic
and organic, Webb’s compositions live in the landscape of an all
encompassing American music skyline and conjures up images of everything
from b-movie classics and big sky country to burlesque style seedy back
door guitar punch.
ONE CHORD PONIES developed out of the STYLUS BLK ARKESTRA piece, TO SATISFY THEIR CRUEL HUNGER, presented at last year's Sonic Circuits festival and previewed at QUEERING SOUND 2014: “First they ate their horses, then dogs, cats, rats, mice and snakes. Some, to satisfy their cruel hunger, ate the leather of their shoes. As the weeks turned to months, nothing was spared to maintain life. How many of the growing numbers of dead were cannibalized is unknown. But it is almost certain the girl was not the only victim. There is scientific evidence that the settlers at Jamestown had turned to cannibalism during the starving time.” Tonight they premier a new mono-chord, mini-composition, 'all the young girls are going up in smoke.'
GUILLERMO PIZARRO : guillermopizarro.bandcamp.com/
PATER FAMILIAS non est musica. Est conceptus. Creare burdio musicorum vel forte medieval tormentis. Utrumne operis effecti est ad intellectum tuum. Sed consilium refert. Procedimus cujuscumque. Hoc perficientur signat secun affectatio. Magister in primo audiendam vocem sermonum eius. 'sumus duo mensa tripes' coagmentavit páriter et inique, 'Toccata + Fuge in D Minor' (Bach).
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