The Red Room at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30
Laboratory for Experimental cultural Endeavors
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Doors open for all events at 8:30PM

Sunday, March 29th, 2015 -- $6

Sound & Text: OA (SF) / Nudie Suits (Balt) / Dora Malech (Balt)

upcoming event

A night of sound and text featuring Oa (Matt Davignon/Hugh Behm-Steinberg, Dora Malech, and Nudie Suits (Ruby Fulton and Ali Clendaniel)

Oa is a collaboration between writer Hugh Behm-Steinberg and experimental musician Matt Davignon. Using CDs, tapes and samples from a growing pool of speakers, Oa breaks spoken language down to abstract sound elements, which are then improvised into musical textures and passages.

With a reading by local poet and visual artist Dora Malech and a set by the Nudie Suits - Ruby Fulton and Ali Clendaniel on voice violin and electronics.



Matt Davignon’s music is “fragile and gorgeous and stubbornly weird,” according to the SF Bay Guardian. He’s best known for combining drum machine and/or pre-recorded voices with a variety of electronic processing devices to create shifting layers of organic and expressive sounds. His music is inspired by field recordings, natural sound phenomena, irregular and imperfect rhythms, and psychedelic, drone and space music.

Hugh Behm-Steinberg is the author of two books of poetry. His libretto, “The Clever Wife” was commissioned by the Houston Grand Opera for its Opera to Go program, where it was performed in Houston area elementary schools. He teaches at California College of the Arts, where he edits the journal Eleven Eleven.

Dora Malech is a poet, professor, and visual artist. She is the author of two books of poetry, Say So (Cleveland State University Poetry Center, 2011) and Shore Ordered Ocean (Waywiser Press, 2009). Her poems appear in numerous publications, including The New Yorker, Poetry, Poetry London, The Yale Review, Tin House, The New Census (Rescue Press, 2013), and The Best American Poetry 2015 (Simon & Schuster, 2015). She has been the recipient of a Ruth Lilly Poetry Fellowship from the Poetry Foundation and a Writers' Fellowship at the Civitella Ranieri Center, and she has served as Distinguished Poet-in-Residence at Saint Mary's College of California. She is a co-founder and former director of the arts outreach organization the Iowa Youth Writing Project. She lives in Baltimore, where she joined the faculty of The Writing Seminars at Johns Hopkins University as an Assistant Professor of Poetry in 2014.

Nudie Suits, gal power Baltimore duo, Ali Clendaniel (voice and electronics) and Ruby Fulton (violin and electronics), have been dream-looping together since Ruby interviewed Ali to work with Rhymes With Opera in 2013. The two are influenced by Twin Peaks, repetition, art rock, and nonchalance. To hear more, visit

Monday, April 6th, 2015 -- $6

The Body Extended: Works by Scott Stark

upcoming event


The Body Extended: Works by Scott Stark 
with Scott Stark in Attendance! 






NOEMA (16mm, 1998, 11m)
is philosopher Husserl's term for "the meaning of an object that is formed in the domain of consciousness." Pornographic videos are mined for the unerotic moments between moments, when the actors are engaging in an awkward change of position or when the camera pans meaningfully away from the urgent mechanisms of sex up to a cheap painting on the wall or the distant embers of a crackling fire. A piercing musical score loops endlessly throughout, and the repetitive and curious iterations of movement become furtive searches for meaning within their own blandness.

SHAPE SHIFT (DV, 2004, 2m)
A simple technique with two opposing cameras reveals a body transposed upon itself, confounding the limits of its own physical space.

SPLITTING YOU SPLITTING ME STILL (Regular-8mm film shot with 35mm still camera, 1988, silent, 8m)
Two people take turns photographing each other's bodies; a blending of intimacy and curiosity that unfolds into rich visual textures.

I'LL WALK WITH GOD (16mm, 1993, 8m)
Using emergency information cards surreptitiously lifted from the backs of airline seats, I'll Walk with God pictorially charts an airline flight attendant's stoic transcendence through and beyond worldly adversity. Through an elaborate system of posturing and nuance that evokes an almost ritualistic synergy, the female protagonist(s) are shuttled toward a higher spiritual plane, carried aloft on the shimmering wings of Mario Lanza's soaring tremolo.

THE REALIST (HD, 2013, 36m)
An experimental and highly abstracted melodrama, a “doomed love story” storyboarded with flickering still photographs, peopled with department store mannequins, and located in the visually heightened universe of clothing displays, fashion islands and storefront windows.

Scott Stark has produced more than 75 films and videos since 1980. Additionally, he has created a number of gallery and non-gallery installations using film and video, and elaborate photographic collages using large grids of images. Born and educated in the midwest, he has always been interested in aggressively pushing his work beyond the threshold of traditional viewing expectations, challenging the audience to question its relationship to the cinematic process; yet he also tries to build into the work elements of humor and incongruity that allow the viewer an entryway into the work while maintaining a critical distance. Both a passionate purist and a cynical skeptic, he likes to emphasize the physicality of film while cross-referencing it to the world outside the theater, attempting to lay bare the paradoxes of modern culture and the magical nature of the perceptual experience.

Scott's films and videos have shown locally, nationally and internationally, including recent one person shows at New York's Museum of Modern Art and the Pacific Film Archive. His films have won several awards including four Black Maria awards, and he recently received a San Francisco Bay Guardian Goldie Award. In 2007 Scott received a Guggenheim Fellowship and a MacDowell Colony Fellowship. He has taught art classes at the San Francisco Art Institute (where he also received his MFA), interweaving non-traditional uses of film and video with a variety of art disciplines. Stark served for seven years on the board of the San Francisco Cinematheque, during which time, among many other things, he co-founded the Cinematheque's journal of film and media art, Cinematograph.

Scott has worked in a variety of motion picture media, including 8mm, super-8mm, 16mm and video. Several of his films introduced a novel technique where he ran movie film through a still camera, which, when projected, produces collage-like barrages of images and odd optically-generated soundtracks. He calls this series of films the Chromesthetic Response Series.

Scott makes his living as a computer programmer and support specialist for a large multi-national corporation. He currently lives in Austin, Texas.

For more information on Stark's work visit:

Sight Unseen

Sunday, May 3rd, 2015 -- $6

Matt Ingalls (SF) + Meridian (Feeney, Hennies, Stuart)

upcoming event

Virtuosic clarinetist, composer, programmer and improviser Matt Ingalls from San Francisco is joined by Meridian, the peerless contemporary, experimental percussion trio of Tim Feeney, Nick Hennies and Greg Stuart


Matt Ingalls - Hailing for the San Francisco Bay Area, composer/improviser/programmer Matt Ingalls performs his decades-in-the-making, 30-minute-continuous-micro-timbre-circular-breath-tour-de-force clarinet solo that explores extended techniques that interact with the acoustic space. 

Meridian is Tim Feeney, Nick Hennies and Greg Stuart. The trio's debut CD, Hoquet, contains three tracks of tense, focused improvisation. All three percussionists are accomplished interpreters of contemporary music: Hennies and Stuart are perhaps best known for their associations with the Wandelweiser composers— the former having played on CD recordings of pieces by Radu Malfatti and Jürg Frey, and the latter having worked extensively with Michael Pisaro, collaborating with the composer on eight recorded works between 2008 and 2012— and Feeney's credits include performing with the new music ensemble Callithumpian Consort and as a founding member of So Percussion. But all three are equally adept in other genres of musical practice— Hennies drums in the experimental rock band, Weird Weeds, and Feeney's longstanding duo with cellist Vic Rawlings has produced a number of excellent releases. On Hoquet, the trio finds a kind of middle ground of shared musical language, exhibiting the constraint and care required by composed music, but unleashing an energy and vitality that is only possible in improvisation.

Tuesday, May 19th, 2015 -- $6

TOPOGRAPHIES: Jeph Jerman + Tim Barnes / m@rk0 T|m!|N / Philip White + Chris Pitsiokos

upcoming event

The Red Room presents TOPOGRAPHIES, an evening of music by exceptional artists whose work traverses and transgresses digital, acoustic, and environmental sonic landscapes. 


Tim Barnes + Jeph Jerman
Chris Pitsiokos + Philip White
m@rk0 T|m!|N

Barnes/Jerman's new album Matterings has just been released on Erstwhile. 

Saxophonist Chris Pitsiokos and electronic musician Philip White's music draws from equal parts David Tudor, Roscoe Mitchell, Eliane Radigue and Merzbow. Their album Paroxysm was released on Carrier Records in 2015

"It's very difficult to do justice, using words, to how enervating and annihilating [this duo] was" -- Village Voice review of Pitsiokos and White


Jeph Jerman, Agana Guam 1959 I grew up in a military family, so we moved around a lot, a different place every two years until my father retired in Colorado. I started playing music in a number of bar bands, whilst also experimenting with other forms- playing around with tape recorders and trying to find people to improvise with. Formed a few long lasting bands (Big Joey, City Of Worms, Blowhole) and began recording and playing solo as hands to. Ran a cassette label during the '80's cassette culture explosion.

Eventually ended up in Seattle, where I fell in with the local musical community. Two years of near-constant playing with people like Paul Hoskin, Doug Theriault, Dave Knott, Angelina Baldoz, Lori Goldston, Mike Shannon and Wally Shoup. One memorable concert with John Butcher. Continued to develop my solo work, and began improvising with natural sound makers (stones, shells, pine cones) around 1996. Formed the first animist orchestra in 1999, to perform works for same.

Moved to Arizona and have since done tours with Tim Barnes, Sean Meehan and David Daniell, Paul Hoskin, and toured Australia and New Zealand with Greg Davis. In 2001 I made recordings of the desert and it's interaction with man made structures and released a new cassette every month for a year. I continue to investigate the desert, build crude sound making devices and play and record whenever the opportunity arises.

In 2014 I received an Artist Grant from the Foundation for Contemporary Art.

Tim Barnes, Los Angeles 1967, Since 2001, Tim Barnes has been a globally recognized percussionist, composer, sound designer, and audio archivist. He has performed at the Guggenheim, Whitney, and Pompidou museums, as well as in galleries and performance halls in Tokyo, Berlin, Rome, Belgium, Stockholm, Mexico City, and Melbourne. He has been recruited to perform with some of experimental music’s most accomplished players - John Zorn, Kim Gordon, Ikue Mori, Jim O’Rourke, Lee Ranaldo, and Jeph Jerman. American corporations such as Starbucks, Nike, Cadillac, and Merrill Lynch have hired Tim to create sound collages for their television advertisements. He has also worked closely with Fluxus artists La Monte Young and Henry Flynt with archival restoration of recorded works, and in 2005, Tim performed and recorded Alison Knowles’ composition “Onion Skin Song”. Currently, he is working with Vito Acconci and the publisher Primary Information on presenting Mr. Acconci’s complete recorded works. Tim lives in Louisville, Kentucky, where he is the Artistic Director of the performing and visual art space Dreamland.

Chris Pitsiokos + Philip White: Saxophone and Electronics violently collide and seamlessly meld, explode and cauterize with vehement immediacy into a set of six real time compositions. With a common ear towards clear, powerful, and assertive statements Chris Pitsiokos and Philip White draw from equal parts David Tudor, Roscoe Mitchell, Eliane Radigue and Merzbow. The duo press themselves into the listener with unerring decisiveness and complete aural honesty.

Composer, performer and improviser Philip White works with electronics at the intersection of noise, jazz and contemporary concert music. Current projects include R WE WHO R WE (with Ted Hearne), Colonic Youth (with James Ilgenfritz, Kevin Shea and Dan Blake) and duos with Chris Pitsiokos, Bob Bellerue and Taylor Levine. His music has been released on New Focus Recordings, Infrequent Seams and Tape Drift Records. It has been described as “utterly gripping” (Time Out Chicago), “bona fide evocative music” (Brooklyn Rail), and a “vibrant textural tapestry” (Wall Street Journal).

Chris Pitsiokos is a saxophonist, composer, and improviser. His music combines the intensity and immediacy of no wave and noise with the lyricism and forward propulsion of jazz and the abstract detail of contemporary classical composers Iannis Xenakis, Briany Ferneyhough, and Helmut Lachenmann. Recent/current collaborators include Lydia Lunch, Tyshawn Sorey, Peter Evans, Kevin Shea, Brian Chase, Elliott Sharp, Mick Barr, Marc Edwards, Philip White, and Weasel Walter. Chris has performed throughout Europe, Japan, Australia, and the US. In addition to performing and composing music, Chris runs his own record label, Eleatic records, curates the Gadfly Series at New York venue Spectrum, and programs a radio show at WKCR-FM.

m@rk0 T|m!|N's works are characterized by the imaginative, and often entirely alienated and distorted use of technology. In this way he reveals beautiful and lyrical aspects of technology that people usually don't associated with it. Many of his sound installations and musical instruments consist of components not originally conceived for musical use or are made out of discarded elements, which he fished out of trash cans resurrecting them to a new artistic life. Timlin is convinced that the artistic application of technology is socially highly significant, as it may be exemplary for a peaceful and enriching coexistence between man and machine, rather than a dystopian, oppressive and dehumanizing relationship.