Trailblazing synthesist and live sampling pioneer Thomas Dimuzio brings his music to your town in a rare east coast tour, his first in 10 years. Critically acclaimed and a veteran of sound and stage, Dimuzio has worked solo and collaboratively with artists including Dimmer, Negativland, Chris Cutler, Fred Frith, Nick Didkovsky, Matmos, Wobbly, Illusion of Safety, Due Process, Voice of Eye, 5uu’s and the list goes on. His extensive discography includes releases on RéR Megacorp, Seeland, RRRecords, Asphodel, No Fun Records, Drone Records, Record Label Records, Melon Expander, and Isounderscore.
“Attending a Thomas Dimuzio performance is like lying underneath a web of freeway bridges with your eyes closed; blocking out all visuals except the brief daggers of light that flicker with each passing car. There is a sense of probable dread — metal, wooden or cigarette debris from the vehicles could fly off and injure you — but also one of hypnotized calm, thanks to the amplified hum of Michelin and Goodyear against greased concrete. Dimuzio, a San Francisco electro-noise composer, seemingly replicates this experience with massive, body-vibrating drones punctuated by abrupt, skreeing hits of white noise. His improvised performances — usually performed with guitar feedback and short-wave radio files processed with a laptop and CDJ player-explore the gray area between tranquility and disarray, and they can draw your imagination into a wilderness it will refuse to leave, even when your nerves are shot by so many conflicting emotions.” — Pitchfork Media
Slew, Thomas Dimuzio, RéR Megacorp
“Brilliant and rarely less than entertaining.”
“Slew is filled with tracks that demand full attention.”
— Pitchfork Media
Mono::Poly, Thomas Dimuzio, Asphodel Records
“A luminous snapshot of an artist who deserves widespread exposure. Highly recommended.”
— All About Jazz
HEADLOCK - Thomas Dimuzio, RéR Megacorp
“If King Crimson had studied under Edgard Varese.”
— The Wire
Andrew Cosentino plays the laptop, guitar, sampler and assorted percussion. He released his first "record" last summer and an "ep" this spring. He'll be playing songs from both and neither. He has played in venues throughout the Boston/Cambridge area and even got paid once. Musicians that inform his work might include, but are not limited to: Four Tet, Ali Farka, Dave Longstreth, the RZA and Johann Sebastian Bach. He is a recent dropout from a "prestigious" music school in the Boston area.
A statement about this show from Dan Conrad:
I would like to share Drift, a new light painting with my friends, acquaintances, and anyone who enjoys a rich visual environment. Drift uses nothing more than changing fields of color, but it plays with subtle color illusions, and has a surprising effect of eliciting imagined landscapes. It is not a movie or a light show. Although it may be watched, like a river or a cloudy sky, it is made to be visited from time to time; it is made to be lived with. Drift flows, but it doesn’t really do anything, so if one looks away for a while, or if the music is distracting, it is there to return to. (http://www.chromaccord.net/Light_Paintings/Drift.htm)
For music I will perform new work on the vina bambina, the only single-stringed double-ended instrument in the world. I will be joined by Peter Blasser. And finally Jorge Martins and Eric Franklin will perform music from the lizard realm.
A statement about this show from Khristian Weeks:
I am an artist and improviser working in the fields of sound, kinetics, assemblage, and optics. My primary interest is in the process of discovery experienced through observation and experimentation. Playing a fundamental role in my creative processes as well as in their realization is the use of silence, non-intention, and natural forces to produce self-sustaining systems of movement, sound, and optical phenomena such as shadow, caustics, reflection, refraction, and projection. Works are presented as performance installations / interventions and as autonomous, kinetic assemblage-environments. My performance practice deals with the specifics of the particular space and the establishment of a situational field wherein a balance between a network of autonomous components and their intervention is presented and modified. In addition to solo activities, I create sound and light design in collaboration with dance, film/video and theatre artists.
An evening of contemplative, alchemical film and music asking the question "what is an environment?"
The night will start with a film program featuring work by Lorenzo Gattorna & Ryan Marino. Two artists who explore the visual-temporal qualities of place, memory, and document. Full program below.
The second set will feature Baltimore-based electronic musician Bonnie Jones and Parisian bassoonist Dafne Vicente-Sandoval. Jones and Vicente-Sandoval create improvised music exploring the minute and unpredictable sonic fluctuations of metal, wood, and circuit board. Vicente-Sandoval's deconstructed bassoon playing turns sound into raw materials - shaped and sculpted by breath and saliva. Jones plays the exposed circuit boards of digital delay pedals using her hands to physically alter and disrupt the electrical signals that produce sound. The resulting collaboration is a rich and exciting contradiction, a music of simultaneous making and unmaking.
Mountain Lying Down, 2012, 16mm-to-QuickTime, b/w & color, sound, 3m
The title signifies the Native American name for the Grand Canyon, a massive gorge in the state of Arizona and one of the seven natural wonders of the world. Turbulence and tranquility gain exposure at enthralling elevations. Strata are uplifted through edges of contrast caused by severe slants of the sun. The scope of the sacred site reaches translation in static brevity, unearthing billions of years of sedimentary rock sequences.
Sunrise Fires, 2013, 16mm-to-QuickTime, b/w and color, sound, 6m
By early September 1995, the Sunrise Wildfire was extinguished. 7,000 acres had burned during the peak of the tourist season yet nobody was killed in the event. The aggravated assault even swept from one side of Sunrise Highway to the other without the slightest hesitance. Another series of severe brush fires ignited 17 years later and became known as the Brookhaven Blaze. The outbreak left less than 2,000 acres torched. The wild ruin and regrowth were revisited within The Central Pine Barrens, the largest natural area on Long Island and its last remaining wilderness.
All That Remains, 2008, 16mm-to-QuickTime, color, sound, 8.5m
A study in the light, textures and ghosts that make up the abandoned.
A Distant Horizon, 2013, 16mm-to-QuickTime, color, sound, 6.5m
A portrait of monuments from the past, remote landscapes elicit fragments of strata and sediment suggesting an existence marked not by man but by time. A vibrant sun illuminates the contours of the land providing a natural show of light and shadow play. "We are lost between the abyss within us and the boundless horizons outside us." - Robert Smithson
ARTIST BIOS & DETAILS:
Bonnie Jones is a Korean-American writer, improvising musician, and performer working primarily with electronic music and text. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. Bonnie creates improvised and composed text-sound performances that explore the fluidity and function of electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual). She is interested in how people perceive, “read” and interact with these sounds and texts given our current technological moment. Bonnie has received commissions from the London ICA and has presented her work in the US, Europe, and Asia and collaborates frequently with writers and musicians including Ric Royer, Carla Harryman, Andy Hayleck, Joe Foster, Andrea Neumann, Liz Tonne, and Chris Cogburn. She received her MFA at the Milton Avery School of the Arts at Bard College. http://www.bonniejones.wordpress.com
Dafne Vicente-Sandoval is a bassoon player, working in both fields of contemporary music and non-idiomatic improvisation. Her recent work includes a series of integrated sound installations. Her personal approach is centered on the fragility of sound and its emergence within a given space. Silence and barely perceptible sounds are central to her work; she considers music more as the punctuating of a preexisting sonorous environment, rather than an out of context, autonomous discourse. She currently plays in duo with Klaus Filip, Angélica Castelló and Xavier Lopez; as well as in trio with Sébastien Cirotteau and Lawrence Williams. Vicente-Sandoval has performed in the US, Europe and Mexico at Konfrontationen (Nickelsdorf/Austria), Salzburger Festspiele (Austria), Sounding-D (Germany), Huddersfield Contemporary Music Festival (England), No Idea Festival (Texas/US) and Visiones Sonoras (Morelia/Mexico).
Lorenzo Gattorna is a filmmaker and programmer residing in Baltimore and raised in New York. He received a BFA from Tisch School of the Arts at NYU in 2007. His short films have screened in exhibitions associated with Baltimore City Paper, CCNY, Chicago Underground Film Festival, LMAKprojects, Maryland Film Festival, Maysles Cinema, Microscope Gallery, Spectacle Theater, UnionDocs and Views from the Avant-Garde at the New York Film Festival. He has programmed screenings for NYC microcinemas Maysles Cinema, Spectacle Theater and UnionDocs as well. Past program credits include Allen Ross, New York(er) Shorts, The Playing Field, Near and Dear, The Improbable Made Possible and The Experiment. Recently he participated in the E.P.I.C. Program at the 2010 Migrating Forms, received the 2012 Creative Alliance Media Makers' Fellowship and was selected as a Semi-Finalist for the 2013 Janet & Walter Sondheim Artscape Prize. Currently he is running a roaming monthly screening series in Baltimore called Sight Unseen supported by the 2012 MICA Launch Artists in Baltimore Award. http://sightunseenbaltimore.com/
Ryan Marino is a filmmaker and sound artist based in Brooklyn, New York. His films have screened at numerous film festivals and art spaces around the United States. His work in sound has consisted of both solo and collaborative performance. He currently runs the experimental imprint Imminent Frequencies. http://ryanmarino.com/