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.
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
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.
On Thursday I’ll be performing my work Comes and Goes with Andrew Dewar, Wendy Richman and Geni Skendo during the opening concert of the third Birmingham New Music Festival. Andrew and I will perform with electronics (modular synth and Max, respectively) while Wendy plays viola and Geni performs on various flutes. We worked up a wonderful blend of sounds during rehearsal last weekend; I think this is going to be a special performance.
Comes and Goes was written for Gates Ensemble and first performed in Austin, TX in 2007. My memory of the performance is a bit hazy. On the day of the show I was packing for a move from Austin to Albany, NY and gashed open the bottom of my foot. After stitches and pain meds, I somehow joined the other musicians on stage to perform with my foot elevated on a nearby chair. The piece is for four or more musicians performing on electronic and/or acoustic instruments. Each movement explores a specific set of sounds derived from the technique of amplitude modulation. Download the score for Comes and Goes.
I’ll also be performing on banjo and electronics with Geni Skendo for two of his compositions.
Thursday 9/22 7:30pm
Birmingham New Music Festival
UAB Hulsey Recital Hall
950 13th Street South
Birmingham, AL 35294
And, a new and wonderful discovery for this reviewer, Holland Hopson set his haunting vocals about a desolate landscape with “no road lead[ing] straight home” against layers of clawhammer banjo woven together via computer processing and a foot pedal.