The Thirteenth Annual Festival with no fancy name, Part Two (or B)

224 Centre Street at Grand, Third Floor, N Y 10013
212.431.5127 | 431.6430
fax 212.431.4486

all shows 9pm , (Dec. 21 @ 6pm)
 

He presents a handbag full of sound and colour: "Warm, buzzing cascades", "autopsied clusters of spooling digital sound" or simply "music" as he puts it

Lescalleet's sound world occupies a space between noise, contemporary composition, and minimal electronics; his tactics are decidedly primitive while retaining an exacting eye for detail; in live performance, he uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology -
Ankersmit is decidedly detailed while retaining an exacting eye for the primitive; he plays saxophone

Solo music for minimal percussion and analog synthesizer; Oneric cloudstructures that hiss and beckon from a background of radio frequency interference and power plant hum... -Kim Cascone (http://www.cut.fm)

A multi-channel performance/installation; a mix of recent field recordings, captured in the Brazilian Amazon with the Yanomami Indians; these recordings were commisioned by the Cartier Foundation for the forthcoming exhibition in Paris, Yanomami; he is an electronic musician and media artist

Performances by the duo (saxophone, electric bass and electronics) push towards extremes in dynamics and sonic material, from the barely audible to complete saturation; the electronics (bass synth, analog voltage controlled modules, reverb tank and homemade devices) are also used at their unstable states through electronic and acoustic feedback

His recent investigations into the chromatics of shortwave have taken a noticeable conceptual turn away from confrontationalism and towards an electronic transcendentalism, where Duncan has replaced fear of not knowing with the recognition of the potential for beauty to emerge from such sounds - Jim Haynes, The Wire (www.johnduncan.org)

A bizzare melange of psychedelia and post-rock metronomics...Roberts explores an organic wonderland of the transformed off-cut shreds of rock music.....as a guitarist his is such a flexible instrumental presence that the tools are rarely relevant. It's less of an attempt to blend genres- post-rock, prepared-guitar improv, glitchadelica - than a demonstration of how, for the truly imaginative, genres remain utterly meaningless. Even when he leaves the instruments to drone, their individual character and juxtaposition is as interesting as the appealing density of their combined harmonics......the overall essence is truly far more than the sum of its parts -Brian Duguid, The Wire