Tape Drift Records has recently re-released Location Ensemble’s self-titled live recording as a digital download on Bandcamp. The recording is from a concert at the Saratoga Arts Center in 2012. Tracks include Eric Hardiman’s hocketing, krautrock burner Diversion #3, My Six Chords Every Rock Guitarist Should Know and Thomas Lail’s Sonic Youth-inspired Untitled (All the Times She Loves Me).
I contributed a track to the upcoming Elements Series :: Water compilation put together by Jasper Lee benefiting the Cahaba River. Seasick Records is hosting a release party on Thursday featuring Iron Giant Percussion Ensemble, Brad Davis, Liquid Gems & Jim Jim Bath Myst. Jim Fahy and I will also be playing as a duo.
The compilation includes music from:
Worldlines, my brand-new piece for three or more sustaining instruments, gets its premiere tonight at the Abroms-Engel Institute for Visual Arts in a concert of chamber music inspired by Jessica Angel’s site-specific installation Facing the Hyperstructure.The program features three other world premiere compositions by Monroe Golden, Kyle McGucken, and Tom Reiner.
The pieces will be performed by Hillary Tidman, flute; Diana Dunn, oboe; Kathleen Costello, clarinet; Tariq Masri, bassoon; and Kevin Kozak, french horn. The event begins at 5pm with a reception and time to take in the artwork, followed by the concert at 5:30pm.
Friday April 7 5:00pm
Chamber Music at AEIVA: Air in a Loop
University of Alabama at Birmingham Abroms-Engel Institute for Visual Arts
1221 10th Avenue South
Birmingham AL 35205
5:00pm Reception and art viewing
Like many of my recent scores, the musicians performing worldlines determine the moment-to-moment shape of the music. In this case, all of the musicians share the same written material and use hand-signals to determine how they navigate through it. One hand signal may cue players to repeat their current phrase, while another may cause them to read backwards through the score.
Here I am trying out a pair of ChromaDepth glasses surrounded by Jessica’s artwork. The glasses add a sense of depth to Angel’s vividly-colored environment.
Here’s a performance of Comes and Goes from the 2016 Birmingham New Music Festival featuring (L to R) Andrew Raffo Dewar, modular synth; Geni Skendo, flutes; Wendy Richman, viola; Holland Hopson, laptop.
The piece is for open instrumentation: four or more performers using electronic and/or acoustic instruments. We chose to perform the sections in the following order: Foothills, Unmatched set of revolving doors, Cirrus – lock of hair, I Send the Rockets Up, Constant Interference. Download the score
Last Friday I pledged to donate 200% of my Bandcamp sales to the ACLU as part of the #NoBanNoWall benefit. I’m pleased to report I contributed $50, thanks to everyone who purchased my music through Bandcamp on Friday. Bandcamp as a whole contributed significantly more. They posted this update late Friday
With several hours remaining, we estimate that fans will have bought just over $1,000,000 worth of music today, which is 550% more than a normal Friday (already our biggest sales day of the week). All of our share of that (~12%) goes directly to the ACLU.
Friday February 3, I’ll join Bandcamp’s #NoBanNoWall initiative. Bandcamp will donate 100% of their profits to the ACLU. I’ll donate 200% of mine. Over 200 other artists and labels will also participate.
Now’s a great time to pick up some
or sax skronk
All for a good cause, of course.
I’m so happy to have an opportunity to play with Tim Perkis tonight. Tim will perform a solo set, then Andrew Raffo Dewar and I will join him for a set of improvisations. Tim will be playing his Touch Typing instrument featured in the video below. I first heard Touch Typing sometime in the 1990’s on the excellent Artificial Horizon recording with John Bischoff, so I’m looking forward to hearing Tim in person tonight.
Friday January 27 7:30pm
Sonic Frontiers presents
with Andrew Raffo Dewar and Holland Hopson
Moody Music Hall, UA School of Music
810 Second Ave, Tuscaloosa AL
Edward Forstman at ArtsBHAM reviewed my recent concert with Matt Bryant at the Hoover Library Theater.
Part of the magic of Holland Hopson’s performances lies in the mystery of just how much he has planned out beforehand and what’s being extemporized. He is a rapt listener to his own performances, nuancing each refrain’s iteration with distinctive stresses, pitch bends, additions, and deletions. He began with a piece he used on the BAMA DIY concert reviewed in August, and yet it came off as freshly conceived and decidedly different, as if he’d made it up on the spot.
His set consisted of eight songs. Highlights included Hopson’s intense lament of forbidden queer love, the ballad “Laurel Cove,” and his hazy and weary “Over Yonder’s Ocean,” which yearned for a beautiful heaven “where the sun swings lowest over yonder’s ocean.” Hopson’s vocals were resonant and full of character. He offered his audience a warm, joking presence in between songs and was a consummate storyteller throughout.
Read the entire review here.