I first heard about the Long Now Foundation a couple years ago from friend and former bandmate Daniel Magazin. I remember visiting their web site and thinking that San Francisco was the perfect place for such an entity. “The Long Now Foundation hopes to provide counterpoint to today’s “faster/cheaper” mind set and promote “slower/better” thinking,” the web site declares. “We hope to creatively foster responsibility in the framework of the next 10,000 years.” Such a perspective seems custom-made to partner with the minimalist and conceptual streams of contemporary music. UK-based artist, musician, and composer Jem Finer thought so too. He
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Composers, Concert review, Conductors, Contemporary Classical, Experimental Music, File Under?, New York, Orchestras
My tweet right after the concert on Thursday: “Magnus Lindberg’s Kraft: some very beautiful passages + intriguing spatial effects amidst a joyously chaotic maelstrom of sound.” It’s a fascinating piece and a gutsy one for the New York Philharmonic to present. I do question the wisdom of programming it alongside Joshua Bell playing the Sibelius Violin Concerto. It threw some of the more conservative ticket-holders a curveball, as they had no idea (unless they’re checked out the promo videos on YouTube) what the Lindberg had in store for them. There were far more than the “handful” of walkouts Anthony Tommasini
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Contemporary Classical, Electro-Acoustic, Experimental Music, Flute, Houston, Improv, Percussion, Performers, Sound Art, Women composers
Pyramid and Michelle Yom at Labotanica (Houston, TX) This Friday, October 1st at 7pm, Michelle Yom will present her sound performance installation Back To Imagined Spaces at Houston’s alternative arts and music venue Labotanica located at 2316 Elgin Street. This is a part of Labotanica’s ongoing Hear/Her/Ear series spotlighting women in experimental music. I got a chance to hear Michelle last month in a solo vocal set at Avant-Garden where she recorded and looped her singing in real time to additively build a series of haunting chorales. Michelle is perhaps best known as a flautist with a strong classical technique
Read moreIt’s hard to believe that it has been five years since Hurricane Katrina. The CD release of Ted Hearne’s Katrina Ballads on New Amsterdam Records is a grim reminder that New Orleans still remains a devastated city, one that has yet to recover from the storm, doubtless at least in part due to all manner of official incompetence and governmental neglect. Source recordings that chronicle the previous administration’s bungled handling of the disaster serve as a jumping off point for Hearne’s scathingly satirical, yet often affecting, song cycle. The record’s out on 8/31, but there’s a release party at Le
Read moreOutside the Eldorado Ballroom, Houston, TX (Photo by Chris Becker) “ …(Houston is) one of the epicenters of noise bands and experimental music. Nobody even knows that, you know? ” Dan Workman of Houston’s Sugarhill Studios. Here’s an excerpt of a recording I made of a Houston thunderstorm using a Zoom H4 recorder positioned just behind the front screen door to our house. You might want to turn down the volume about half way through if you listen to this headphones: Houston rain and thunder Part One New York City – the city where I lived for twelve years before
Read moreThis coming Wednesday, Le Poisson Rouge is hosting a showcase for one of our favorite up and coming UK labels: Nonclassical. The concert features the music of label founder Gabriel Prokofiev. Grandson of the great Russian composer Sergei Prokofiev, Gabriel is not only a mean turntablist; he provides a fascinating viewpoint on concert music with his “non classical” compositions. The Russian pianist GéNIA (great-great-grandniece of legendary pianist Vladmir Horowitz) will present selections from his Piano Book No. 1, which she recently recorded for the imprint. The Piano Book reflects Prokofiev’s uneasy relationship with classical music. His usual penchant is for blurring
Read moreI’m still reveling in the memory of So Percussion’s appearance with the Orchestra of the League of Composers last week. And here’s a new recording of music of another sort altogether! So’s latest collaboration is with Baltimore electronica duo and frequent Björk collaborators Matmos. On Treasure State, a recording for the Cantaloupe imprint, they create a patchwork quilt of found object percussion, glitchtronica beats, synthetic signatures, and complex rhythmic structures. Despite the multifaceted nature of the proceedings, the underlying groove remains eminently danceable. Here’s a taste of their work: a YouTube clip from their recent show at Le Poisson Rouge.
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CDs, Chamber Music, Contemporary Classical, Exhibitions, Experimental Music, Houston, Improv, Mix Tape
[Ed. — After many years in NYC but fresh to my own stomping ground of Houston, Chris Becker has offered to write some semi-regular musings on the new-music scene down thisaway. His own introduction: In its March 2010 Global Ear column, The Wire magazine described Houston as “the weirdest and wildest of (Texas) cities” with a “rich tradition of unofficial and DIY art.” Speaking as a recent transplant from New York City (where I lived for twelve years), I can confirm that our British friends were on point with their analysis of H-Town. I am in my third month as a
Read moreWe covered some great shows coming up this month in the Bay Area and NYC, now it’s Seattle’s turn. For the next two weekends (June 4-6 & 11-13) On the Boards will be hosting the 2010 NW New Works Festival which features “emerging and established artists from a variety of performance disciplines” and “highlights artists who are pushing themselves to take on new challenges.” Looking over the list of showcases it seems that the festival is primarily focused on new theater and dance, but there are a few music related sets in there if you look hard. The Mint Collective,
Read moreKen Ueno appeared with Joan Jeanrenaud at BAM last month. I missed the gig, but was excited to see the YouTube footage. When I met Ken, in the graduate program at Boston University, he hadn’t yet started to sing; he was primarily a guitarist. Although he’s written a wide range of compositions, including Shiroi Ishi, a beautiful choral piece for the Hilliard Ensemble, in recent years he has carved out a distinctive identity as a throat-singer. Combining techniques from multiple traditions as well as some effects and ideas of his own, Ueno is now slugging it out toe to toe
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