#kevin blechdom

[dextervoid]

How do I deal with my tragic heart? When my mind can't stop infatuation and my soul is lost in limerence. This mix is a coping mechanism. It solves nothing. But it is a way of creatively expressing my foolish feelings. I hope it conveys anxiety, yearning, comedy, and heartfelt generosity.

[thehappywun]

NOT from the Gaobest archive. Before Oakland became the home of shardgaze, we had beautiful weirdos like Kristin Erickson, aka Kevin Blechdom. This was sitting on a DVD-R that I burned in the mid-00s...looks like it's the earliest documented show for them, at least going by setlist.fm which I went through and filled out all the trax I could identify on this.

[nnjzz]

BLEVIN BLECTUM + LA SPHYNGE + CITY DRAGON + MARION CROS

SAMEDI 18.11

BLEVIN BLECTUM / us CITY DRAGON / ca LA SPHYNGE / fr MARION CROS / fr

Café de Paris 158, rue Oberkampf 75011 M° Ménilmontant

P.A.F. 6€ 20:00 portes

20:45 action !

BLEVIN BLECTUM / us polyphasic avitron. electronic music.Nous découvrîmes BB à l'orée du siècle actuel : l'album The Messy Jesse Fiesta de son duo ( avec Kevin Blechdom ) BLECTUM FROM BLECHDOM - ( ainsi que d'autres qui suivirent ) nous procurèrent autant de stupéfaction admirative que de délectation immédiate et fut pendant longtemps une présence essentielle dans la bande-son nous accompagnant. Leurs disques furent comme une série de bouffées d'air pas tellement pur mais plutôt gonflées d'une bonne dose d'hélium - tant leur electronica pop, glitchy & scratchy, énergique et énergisante fut autant expérimentale qu'immédiatement accessible et grisante. Les chemins des deux musiciennes ne se séparèrent jamais définitivement - le duo continue à se retrouver régulièrement alors qu'elles développèrent aussi en parallèle des foisonnantes activités en solo.

Elle traverse l'Europe en ce moment pour promouvoir son nouvel album OMNII ( "  Sci-fi fantasy in its most decadent technicolor forms fuels the journey of Omnii, Blevin Blectum's latest solo adventure. The soundtrack to a lost space opera to fit perfectly in the gaps between Barbarella, The Beast in Space, and Planet of the Vampires.  " )  "  Blevin Blectum's OMNII is a sonic dream of an optimistic (if sometimes disquieting) sci fi future electronic-music fantasia, referencing and reflecting on influences ranging from Moebius's Edena, Vangelis's scoring for the Carl Sagan Cosmos series, alternate-universe switched-on-bach, children's choirs that sing for millennia, and planetfalls leading to planet hopping. Performed live (stereo or quad available) with live visuals. "

Fun fact : Blevin Blectum ( = de son vrai nom Bevin Kelley ) - qui produit aussi de la musique en tant que Synopterus ou DJ D84 - est passionné d'ornithologie 

et a travaillé pendant quelques années en tant qu'aide-vétérinaire dans un centre médical spécialisé ( Medical Center for Birds  ) en Californie du Nord.

http://www.blevinblectum.com/https://en.wikipedia.org/wiki/Blevin_Blectum

CITY DRAGON / ca vancouver paris Improvised tropical collages of looped electro-acoustics mixing sax, percussion, voice and other toys. Erotically charged trance and gutter trash aesthetics.  (... )  chance is relied upon to provide a garden of pitchshifted feeling. Sequences of accumulated sound are looped, melted, hemmed, and replaced, never to be repeated again. Live sets offer soma, displayed in a blind state.

Un des (non)musiciens vraiment very préférés du N_J , autant en solo que dans ses divers  projets parallèles ( cf. le supergroupe ALTERSGRUPPE, trio METAKINGDOM ou le feu duo frgttng... ) sans oublier qu'il est aussi le honcho des séries événementielles et essentielles connues sous les noms de : Cmptrmthmtcs & Sick Times ... ..  Ses performances live - "hypnotico-chamaniques" - brillent par leur grande intensité, entre possession et un certain relâchement... À l'aide d'instruments percussifs, jouets, flûtes, saxophone, objets divers ou de ses cordes vocales, il produit en direct des boucles troubles et turbulentes. Depuis quelques années il semble de plus en plus à l'aise dans sa peau de chanteur-chaman ( de charme ), vocalisant en transe, tel(le) une telle ou autre diva de la pop mainstream actuelle possédé(e) par une cohorte de démons enjoués.

https://citydragon.bandcamp.com/album/owl-drugshttps://soundcloud.com/city-dragon/dont-stare

LA SPHYNGE / fr pressentie dès le départ se voit obligée d'annuler pour cette fois-ci - suite à un problème de santé d' " une de ses membres " ( à qui l'on souhaite un prompt rétablissement ) - MAIS sera remplacée au pied levé par un AUTRE projet de Juliette Bineau - le tout nouveau duo Les Envoyés ( avec Sami Laribi )

Chenille du papillon aux ailes de harpie, diadème sur le chef, collier de cornaline. Embrasse avec la langue en sa gorge profonde. Projet polymorphique, pas voulu-pas fini, assemblage surnaturel, verticale escarpée. Head-banging d'aède extrait des mâchoires sauvages d'une vierge.

Duo composé de Saada Abe (They Lived, Baton Rouge, Ming Arabia, etc... ) & Juliette Bineau (Minitel, Varennes...).

Guitare arrangée/ drum machine.s/ (in-)human voice.s/ samples/ loops/ synth+

MARION CROS / fr Noise from order

" En cybernétique, le concept d’ « order from noise » reconnaît au bruit des capacités organisatrices : partant d’une situation ordonnée, le bruit (comprendre tout ce qui vient perturber le déroulement prévu) va agiter les éléments de manière anarchique ; ceux-ci pourront alors se réorganiser de manière autonome et dans une forme imprévue mais ordonnée.

Dans Noise from order, qui prend la forme de textes, pièces sonores et dispositifs, je décide de prendre la boucle à un autre endroit, en revendiquant un bruit qui prendrait sa source dans un excès d’ordre. Revenant au sens acoustique du bruit, je postule qu’il serait compris dans un spectre allant du pré-verbal à la saturation langagière et permettrait de contourner le caractère limitant des mots. "

Marion Cros construit elle-même ses " machines ", instruments électroniques, environnements sonores électro-acoustiques ... ..

https://soundcloud.com/marioncros/sets/noise-from-order

Fly - Jo L'Indien

[radiophd]

kevin blechdom -- always frank

[idealrecordings]

Nine years ago I posted this… More or less to the day seven years ago, in 2006. The iDEALFESTIVAL was burried through a beautiful KREV ceremony. Mike Harding of Touch were the master of ceremony. We made four editions of the festival and invited some of the greatest experimental music artists. Artists we loved. My warmest memories are the performances by sunnO))), Pan Sonic, Tujiko Noriko, Whitehouse, Radian, Alva Noto, Kevin Blechdom, Peter Brötzmann Trio, Kaffe Matthews, Rhythm & Sound, Mark Wastell, KILLL, Kim Hiorthøy and many others... So many beautiful memories. So much hard work by the iDEAL crew; Lisa Nordwall, Ch Nymark and others... Love! Creativity is beautiful. https://www.instagram.com/p/CbBcEvEMW_-/?utm_medium=tumblr

[hidoievent]

2016年 7月 22日

Lucas ‘Granpa’ Abela Japan Tour 2016 powered by ひどいイベント

会場：Shangri-La 仙台 出演者： ・Lucas ‘Granpa’ Abela from オーストラリア - ライブ ・佐藤実 - ライブ ・佐藤貴宏 - ライブ ・菊地良博 - ライブ 「ひどいイベント」の協賛というかたちをとり、菊地と佐藤貴宏の二人がオーストラリア人アーティストLucas Abela のライブをオーガナイズした。 菊地は、新旧2 台のコンピューターを使用した、アブストラクトなソロ演奏を行なった。佐藤貴宏は、自作の回転するデバイスと2 台のマイクを用いて、それらが発する音響の繊細な変化を提示した。

ゲスト・プロフィール Lucas ‘Granpa’ Abela はJustice Yeldhum というプロジェクト名で活���するノイズ・ミュージシャン。 彼のパフォーマンスは、多くのエフェクターを並べ、そのパラメーターを調整するような、ありきたりなノイズ・ミュージシャンのそれとは根本的に違い、ピックアップ・マイクを貼り付けた大きな板ガラスの破片に唇を当て、様々な発声法を使いこなしながらその振動を増幅させるという、彼以外に実践する者がいないユニークなもので、それは彼自身の言葉を借りれば、二次元にはま り込んだトランペット・プレーヤーによる演奏だ。 鋭利なガラス片にためらいなく直接唇を当てる演奏は当然彼の顔を血だらけにし、ガラスが割れ切るとパフォーマンスが終了する。 今まで４０の国々でパフォーマンスを行い、観客を驚愕させ呆然とさせてきた（Hella、Death Grips のZack HIll との競演を含む）Lucas は、カセットテープから取り出した膨大なテープに風船を取り付け、それを風船の浮き沈みを利用して自作のプレーヤーで再生するインスタレーションや、ピンボール・マシンを改造した作品など、ユーモラスな作品を制作するアーティストでもある。 彼はまた、Deerhoof や、Boredoms のEYE とYoshimi によるNoise Ramons、Sub Pop からリリースするヒップ・ホップ・グループClipping の前身Captain Ahab、Kid606 のtigerbeat6 からデビューしたエレクトロニカ・ミュージシャンKevin Blechdom などを幅広くリリースするdualpLOVER というレーベルを運営している。 仙台でのパフォーマンスは今回が初めてとなる。

[audiomatiquecfou]

Audiomatique 26-04-23 feat. : Rob Mazurek / Exploding Star Orchestra - George - Kevin Blechdom - Irfan - Euroshima - Joy Division - The Church - Cryptomnesia - Le Diktat - San Ignacio & Bio Dread

L’émission de radio Audiomatique du 26 avril 2023 Transmission 443 présentée de 17 h à 18 h sur les ondes de CFOU 89,1 FM animée par Les Sonoristes

Radio show Audiomatique April 26, 2023 Transmission 443 aired from 5 PM to 6 PM on CFOU 89,1 FM hosted by Les Sonoristes

1) Rob Mazurek / Exploding Star Orchestra : « Future Shaman » (Lightning Dreamers)

2) George : « Cry (Krus-D & Carlos F Remix) » (You Can’t Take What’s Mine)

3) Kevin Blechdom : « Bucktoof Rebound » (Bitches Without Britches)

4) Irfan : « Salome » (Irfan)

5) Euroshima : « Sonrisas Fabricadas » (Gala)

6) Joy Division : « Passover » (Closer)

7) The Church : « Reptile » (Starfish)

8) Cryptomnesia : « Metagnomy » (Hypnerotomachia)

9) Le Diktat : « Room 101 » (Unabomber)

10) San Ignacio & Bio Dread : « Cajero Abandonado » (Various Artists - Industria Tropical)

Écoutez en différé / Listen : https://archive.org/details/audiomatique-26-04-23 https://www.tumblr.com/audiomatiquecfou Contact : audiomatiquecfou@gmail.com Facebook : www.facebook.com/audiomatiquecfou

[borderlinemusicc]

RECENZIJA: LARGE NUMBER Spray On Sound

Tužne i emotivne priče o rastavama, prekidima ili raspadima kad tad završe na pukoj podjeli imovine. Koji će bračni partner uzeti psa i kuću sa hipotekom, kome ide izvoženi auto iz garaže, te hoće li se potomstvo prikloniti majci ili ocu. Muški dio engleske skupine Add N To X još je uvijek relativno neodlučan, no zato je Ann Shenton, koju vizualno poznajemo s ovitka albuma «On The Wires Of Our Nerves» gdje je uspješno preživjela ne baš suptilni carski rez, u svoj imetak preuzela stari, poluraspadnuti Moog, nešto raštimanih oscilatora iz kućne radinosti, Theremin, ritam mašinu i mikrofon koji je kupljen za nemali iznos od jedne funte.

U dogovor o preuzimanju ušlo je i nekoliko pasa, pilića, te živi bubnjar Rob Allum kojega su Add N To X zlorabili za žive nastupe. Sav spomenuti inventar Ann je odvela na zabitu seosku farmu, pridružila im slijepog banjo svirača i ženu koja komunicira isključivo harmonikom, što je i službeni početak njezinog solo projekta nazvanog Large Number. Svaka sličnost sa istoimenom pjesmom Add N To X navodno je slučajna, jer je malom ruralnom kolektivu konceptualno zadan visoki broj za završetak radova: čak 1814400 sekundi! No, sekunde su ovdje samo kako bi opravdale formu: studijsko, ili bolje reći seosko vrijeme uloženo u nastanak prvijenca «Spray On Sound» klasičan je lo-fi koji ironizira vrijeme što ga pojedini glazbenci ulažu u dotjerivanje svojeg audio potomstva. A govoreći o topotu dječjih nožica, pitali smo se gdje su li u rastavi završili mališani – odgovor je, kao i u stvarnoj sudskoj praksi – kod majke!

Naime, gotovo trećina od 14 na albumu okupljenih naslova, prilično duguje prepoznatljivom Add N To X zvuku. Živi bubnjevi, analogni krikovi s konstantnom modulacijom i gotovo rockerske solaže koje vode u robotski orgazam, Ann je izvela na najbolji način svoje bivše grupe, samo što je ovdje dominantan ton veselo zaigran, a manje oštar i prijeteći. Instrumentali «The Creaky O.K.» i «The Earth Has Shrunk In The Wash» postavljeni su u svojevrstan referentni okvir albuma: jedan otvara, drugi pak zatvara «Spray On Sound», čineći epizodu jasno definiranom s obzirom na zvukovno nasljeđe involviranih glazbenika. No, ono što se događa između, jest upravo najosobitiji dio skupine Large Number – nestašna, bezbrižna tematika u tekstovima, čudni, ponekad elektronski izmijenjeni vokali oslonjeni su na nemoguće kombinacije folka, jazza i plesnih ritmova koji traju toliko kratko da se na njih plesati i ne može. «Pink Jazz» bit će tako prvi singl s albuma, dok bi možda bolji izbor bio «The Transgenic Banjo Player» koji u svega 3 i pol minute sadržava nevjerojatne izmjene post-rocka, ambijentalne i eksperimentalne glazbe, te naposljetku pomaknutog countryja.

Ostatak materijala, poput još jednog mogućeg favorita «Crazy», prati taj princip miješanja žanrova, čineći sličnu identifikaciju albuma posve nemogućom, no ista mu doista i nije potrebna. Large Number jest upravo onaj novi, svježi vodviljski zvuk 2003. godine, koji se na apsurd oslanja u potpunosti, baš kao što to čini znana Kevin Blechdom, samo što Ann Shenton ipak ima značajnije sviračko umijeće. Taj novi duh, začudno, opsesije crpi iz sintetičkih zvukova 60-tih i 70-tih godina, na kućnom gramofonu još uvijek ima Wendy Carlos, Kraftwerk i Neu!, ali se ne srami pop pojednostavljivanja ili pak eksperimentalnog kompliciranja, gubljenja strukture ili opet, inzistiranja na njoj sve do komičnog maksimuma. «Spray On Sound» nije u svemu spomenutom epohalan album koji će razrušiti postojeće barijere, već vrlo slušljivih 38 minuta dobrog provoda na selu, gdje se, ukoliko ste uopće i sumnjali, u tonskom zapisu doista pojavljuju oni psi i pilići iz imovinske rasprave. 

Željko Luketić

(emitirano 01.12.2003., Radio 101, emisija Antena)  

[mujeresbacanas]

Tina Weymouth 1950

El cerebro detrás del sonido único de Talking Heads, la banda new wave liderada por el reconocido músico y escritor David Bryne, fue nada menos que la bajista Tina Weymouth. Como una historia que ya nos parece conocida, esta excepcional artista siempre ha estado subestimada en la historia de la música a pesar de su talento y contribución innegable.

Nació en Colorado, California en una gran familia de 8 hijos. Su primer acercamiento musical lo tuvo a los 12 años cuando se unió a The Potomac English Hand Bell Ringers. El grupo se centraba en el arte de tocar campanas y así componer música. Luego vino el amor por otro instrumento y así Tina comenzó a enseñarse a tocar guitarra a los 14. Autodidacta, encontró desarrollo un sonido propio cercano al funk y al punk, que se puede escuchar en todas las canciones en Talking Heads. El ejemplo clásico es el riff de una de sus canciones más conocidas, Psycho Killer.

Esta banda definió una era en Nueva York con su sonido post punk y new Wave, alcanzando la cima de los ranking de ventas en muchos países europeos y su natal Estados Unidos. Además de Tina, la banda estaba conformada por David Byrne y Chris Frantz con quienes se conoció estudiando diseño en Rhode Island.

Talking Heads le puso un sonido propio a finales de los setenta y gran parte de los ochenta.Tras varios años de éxitos y algunos fracasos, la banda editó su disco Remain in Light en 1980, para luego tomarse un receso. Tina y su futuro marido, Chris Frantz armaron Tom Tom Club un año después y sacaron inolvidables hits como “Genius of Love”, un eterna canción remixeada por varios artistas.

Sobre su lugar en la escena musical Tina dijo en una entrevista en la revista Face en 1981: “Una cosa de la que me enorgullezco en retrospectiva, es que nunca hablé de los problemas de ser una mujer. No quería desalentar a nadie que tuviera esa idea. No quería que se viera como un camino empinado, el que sí lo era”. 

Tina y Chris se reunieron una vez más con Byrne en 1983 con su disco Speaking in Tongues, donde su éxito Burning Down the house fue su único American Top 10 hit. Pasarían otros 7 años, donde Tina, incluso muy embarazada, tocaría en diversos escenarios, poniéndole el pulso a la gran variedad musical que creaba esta banda, que tenía influencias del soul, funk, punk y sonidos africanos. En 1991 Talking Heads se disolvió para siempre y Tina confesó que su relación con David Byrne siempre había sido complicada. Desde ahí Tina no ha dejado de hacer música, con su marido, ni de ayudar a que otras personas, especialmente mujeres como Miss Kittin, Kevin Blechdom, Le Tigre, and Adult.'s Nicola Kuperus, a que se acerquen a lo que ha convertido en una carrera de más de 30 años arriba del escenario, inspirando a otras artistas como Kim Gordon y Este Haim.

[shimmydisc]

I have a totally empirical method to know my attachment to a record: I lock it in a box, I take it down to the cellar and I wait. If, within 12 months, I haven't made the effort to get the key off the switchboard, go down two floors, go past the garbage room and walk along the garage exit ramp, it's dead. I don't know how long Adult Rodeo's record has been waiting for me to pick it up. But in the wake of JC Satan's concert at Mains d'Oeuvres, I went to save it from oblivion.

When I opened this blog, my goal was to pay tribute to missing recordings. I deviated a little on the way, I recognize that. I even deviated so much that I ended up in the ditch. But when I saw that all that was left of Adult Rodeo today were two audio rips posted on Youtube by Skoptzygrrl (259 views) and Bonzoboydog (220 views), I thought it was time to get off my ass. The fact that the group is now completely forgotten is largely due to the fact that the label which published its first two albums, Shimmy Disc, no longer exists and that its catalog is no longer exploited. But I don't remember that Adult Rodeo, at the time, had any success. Yet it is certainly the missing link between Danielson Family and the Moldy Peaches

What was Adult Rodeo missing? Not much. The production, undertaken by Kramer, perfumes all the songs with a sweet psychedelic scent. But "Texxxas", their second album, is too long: relieved of 8 tracks, it would certainly have won by biting without cutting any of its sweet strangeness. Without ever having the means to play in the first division, Adult Rodeo could have reached the same cult rank as Olivia Tremor Control, Of Montreal or The Fiery Furnaces. What is left of it today? Kristin Erickson left the group to pursue a new career under the name Kevin Blechdom. And even though their last album dates back to 2004, Adult Rodeo would continue to perform in their native "Texxxas".

Je suis une méthode totalement empirique pour connaître l'attachement que je porte à un disque : je l'enferme dans un carton, je le descends à la cave et j'attends. Si, dans un délai de 12 mois, je n'ai pas fait l'effort de décrocher la clé sur le tableau, descendre deux étages, dépasser le local poubelles et longer la rampe de sortie du garage, c'est mort. Je ne sais pas depuis combien de temps le disque de Adult Rodeo attendait que je vienne le chercher. Mais dans la foulée du concert de JC Satan à Mains d'Oeuvres, je suis parti le sauver de l'oubli.

Quand j'ai ouvert ce blog, je m'étais donné comme but de rendre hommage à des enregistrements disparus. J'ai un peu dévié en route, je le reconnais. J'ai même tellement dévié que j'ai échoué dans le fossé. Mais quand j'ai constaté que tout ce qu'il restait aujourd'hui de Adult Rodeo, ce sont deux rips audio postés sur Youtube par Skoptzygrrl (259 vues) et Bonzoboydog (220 vues), je me suis dit qu'il était temps de reprendre ma crosse. Le fait que le groupe soit aujourd'hui totalement tombé dans l'oubli tient en grande partie au fait que le label qui a édité ses deux premiers albums, Shimmy Disc, n'existe plus et que son catalogue n'est plus exploité. Mais je n'ai pas le souvenir que Adult Rodeo, à l'époque, ait eu le moindre succès. Pourtant, c'est certainement le chainon manquant entre Danielson Family et les Moldy Peaches.

Que manquait-il à Adult Rodeo ? Pas grand-chose. La production, réalisée par Kramer, embaume l'ensemble des chansons d'un doux parfum psychédélique. Mais « Texxxas », leur deuxième album, est trop long : délesté de 8 titres, il aurait certainement gagné en mordant sans rien rogner de sa douce étrangeté. Sans jamais avoir les moyens de jouer en première division, Adult Rodeo aurait pu accéder au même rang culte que Olivia Tremor Control, Of Montreal ou The Fiery Furnaces. Qu'en reste t-il aujourd'hui ? Kristin Erickson a quitté le groupe pour mener une nouvelle carrière sous le nom de Kevin Blechdom. Et même si leur dernier album remonte à 2004, Adult Rodeo continuerait à se produire dans son “Texxxas” natal.

[blowupxeslana]

WE LOVE PLANNING TO ROCK The alter ego of multi-instrumentalist/programmer/videographer Janine Rostron, Planningtorock fuses all of Rostron's talents into a dazzling audio-visual presentation that borrows from classical music, glam rock, spacy imagery, and hip-hop. A classically trained violinist who began playing at age eight, Rostron moved from Bolton, Lancashire, to Berlin in the early '90s; the Planningtorock persona first surfaced in 2002, when she began performing at the city's clubs. Planningtorock's live shows blurred the boundaries between concerts and performance art, with Rostron wearing outlandish helmets and costumes and interacting with video characters. Planningtorock's debut single Modern Love and the Weimar Tour EP arrived early the following year and showcased Rostron's unique mix of pizzicato strings, beats, and husky vocals that could change from bluesy to quirky (or vice versa) at a moment's notice. In 2004, Rostron issued the MP3 EP Topics on a Foreign Mind via Twisted Nerve Records, as well as EP Eins -- which featured the underground hit "Local Foreigner" -- on her own Rostron imprint (which also released work by the Knife, the Soft Pink Truth, and Kevin Blechdom). After signing to Chicks on Speed Records, Planningtorock released the limited-edition 7" Changes/I Wanna Bite Ya early in 2006 and her first full-length, Have It All, that summer. In 2010, she collaborated with the Knife and Mt. Sims on the Charles Darwin-inspired opera Tomorrow, in a Year. For her second Planningtorock album, 2011's W, Rostron moved to DFA and adopted a fuller, more ambitious sound. By 2014's All Love's Legal, Rostron changed her first name to the more androgynous Jam, reflecting the future at hand @planningtorock #music #spotify #gender #alterego #musica #germany #inspirations ALSO WE NEED NEW MUSIC ASAP (at Washington Heights, Manhattan)

[intelligentdancemusic]

Blectum from Blechdom | Haus de Snaus

Label: Tigerbeat6 ‎ Country: US Released: 2001

Blectum from Blechdom’s impulsive, glitchy electronic music is simultaneously challenging and unpretentious—fun, even. Kristin Erickson and Bevin Kelley, aka Kevin Blechdom and Bevin Blectum, met at Mills College in the late 1990s, and Haus de Snaus collects two of the women’s first releases, 1999’s Snauses and Mallards and 2000’s De Snaunted Haus.

[nofomoartworld]

Hyperallergic: A Floating Noise and Drag Club Celebrates San Francisco’s Lost Underground

La Sucias performing aboard the Noise Club (all images courtesy of Robert Divers Herrick)

SAN FRANCISCO  — As a huddle of adventurous art-seekers stood at the edge of the San Francisco Bay under the first full moon of 2017, a glimpse of purple neon appeared in the darkness ahead. A small white yacht twinkling with lights — the Noise Club — came into focus, and a booming voice called out from the water: “Come aboard!” We shuffled across a bridge of floating platforms, adjusting to the soft swells of the sea as we unmoored ourselves from the comforts and constraints of the city. We were about to embark on Attention! We’ve moved., a night of noise music and drag performance on the ocean concocted by Oakland artist Constance Hockaday and San Francisco experimental art space The Lab, in conjunction with — and conceived as a subtle resistance to — the first Untitled art fair in San Francisco.

Once aboard The Empress of Sausalito, attendees sipped complimentary cocktails and sat on leather couches circling a carpeted dance floor lit up by a rainbow disco ball. A MacBook glowed atop a short Corinthian pillar playing dancehall. The atmosphere was a bit campy, not unlike that of a high school dance or a wedding reception, which seemed to increase our distance from the shore.

A view of the Bay Bridge from aboard the Noise Club

The night would prove delightfully surreal throughout, featuring the explosive feminist noise reggaeton of La Sucias, the eerie percussive summonings of Voicehandler, the kitschy electro-drag of Kevin Blechdom, and a sculptural synth ritual from MSHR. But first, host Dynasty Handbag (the drag persona of artist Jibz Cameron) took the stage in an awkwardly draped leotard, blazer, and wide-brimmed hat. “We’re gonna have some noise bands, which just means garbage music by failed artists probably from Portland,” she began, grotesquely rubbing her belly. “I know you’re wondering: Am I gonna make some gentrification jokes? No, because it’s all over. Nothing matters.”

Dynasty Handbag (Jibz Cameron) hosting a night aboard the Noise Club

With that, the boat set sail.

Meanwhile, at Pier 70 in San Francisco’s long-industrial Dogpatch neighborhood, art collectors milled through a maze of white walls erected inside an ancient warehouse to celebrate the VIP opening night of UNTITLED. The fair is the latest development that contributed to the New York Times deeming the Dogpatch “America’s Next Great Art Neighborhood” earlier this month. The piece mentions many galleries housed inside the newish art complex Minnesota Street Projects but pays no tribute to the rowdy history of underground performance and artmaking that took place in the Dogpatch long before the area became desirable. Warehouses there were the testing grounds where storied mechanical performance-art pioneers Survival Research Labs reverse-engineered robots to blow each other up; unsanctioned venues such as Tire Beach hosted punk bands, costumed noisemakers, and the like; while vagrants formed floating shantytowns on the water.

Neon purple lights setting the mood aboard the Noise Club

All that character has gradually disappeared, along with much of San Francisco’s legendary underground, as the city continues its metamorphosis into a playground for the wealthy. And many in the local art scene who align with a DIY ethos see the new outpost of the Miami Art Basel art fair staple as yet another symptom of that change.

That’s why, when asked to contribute a booth to the fair, The Lab director Dena Beard said she would do so only if she could invoke echoes of San Francisco’s underground while paying artists who wouldn’t otherwise be invited. “I said, ‘Instead of a booth, can we have a boat?’” Beard told me. “‘And on that boat, can we have everything that’s cool and wonderful that has been exiled from San Francisco because of gentrification and the transformation of the city because of the market?’”

Hockaday was a clear choice for the project, being the local captain of everything “nautically naughty,” as Beard put it. The artist’s past work includes All These Darlings and Now Us (2014), a peepshow aboard sailboats in the bay featuring performers from shuttered San Francisco worker-owned strip club Lusty Lady and famous Latino gay bar Esta Noche. The idea: If there’s no space left for queers and sex workers on land, let’s take to the water.

Kevin Blechdom (Kristin Erickson) performing aboard the Noise Club

For Attention! We’ve moved., Hockaday curated a lineup meant to ensure that the spirit of Pier 70’s past endures — with a queer and feminist spin. Most of the performers were people who once lived in the Bay Area but have since relocated, and nearly all of them recently lost friends in the tragic Ghost Ship fire in Oakland. On the VIP night I attended — for which tickets were $160 — there was also an unspoken promise that two disparate ends of the art world would converge in uncharted waters at a time when the question of whose art is valued by patrons feels especially relevant.

To some degree, that ploy worked.

MSHR was first to play, masterfully manipulating analog synthesizers to produce light audio feedback by wielding colored bulbs and laser-cut Plexiglas sculptures that resembled circuit boards. It sounded — and felt — like a spaceship exploding amid a relentless barrage of laser attacks.

MSHR performing aboard the Noise Club

Afterward, I met a group of blazer-clad men standing by the bar. One, a venture-capitalist, told me that his friend had misinformed him about the event. “All he told me was that it was part of the art fair and that it was on a yacht,” he said, swiping a message on his Apple Watch. “This was not what I expected, but that was actually really cool.”

Ultimately, Hockaday’s intentions are not to trick her audience, but to instill a new sense of possibility. Framed as a form of resistance to gentrification and the UNTITLED art fair, the project is imperfect. But Hockaday’s inventions can be more accurately thought of as experiential forms of philosophical inquiry. For her, escaping the limits of land helps us imagine how we might also transcend the social structures that confine us.

Voicehandler

In a conversation with Interview Magazine about the project, Hockaday said, “I’m finding that in urban areas, urban infrastructure informs what we can and can’t do with our bodies. In the same ways noise clubs or industrial wilderness existed in the city as spaces [where] we took risks, the water can be that place now.”

Through Attention! We’ve moved., Hockaday imagined a future for the Bay Area’s underground that wasn’t bogged down by the limits of infrastructure. And during the non-VIP cruises ($35) that took place throughout the weekend, the boat was filled with art-scene devotees joyously dancing at a time when many are still reeling from loss. The momentary island seemed to draw out hope for survival by carving a sense of place for those left behind by the “progress” in San Francisco.

Aboard the Noise Club, at least, the denizens of DIY and the underground were the unlikely stars of the art fair.

A neon embellishment installed by Constance Hockaday on the yacht she chose for her Noise Club

Attention! We’ve moved. took place January 12–14 as part of the first edition of Untitled art fair in San Francisco (Pier 70, 420 22nd Street).

The post A Floating Noise and Drag Club Celebrates San Francisco’s Lost Underground appeared first on Hyperallergic.

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[todayclassical]

May 27 in Music History

1690 Death of Italian composer Giovanni Legrenzi in Venice. 

1730 Death of Italian composer Leonardo Vinci. 

1738 Birth of composer Bonaventura Furlanetto.

1801 Birth of Italian baritone Domenico Cosselli in Parma. 

1806 Birth of composer Charles-Joseph Tolbecque.

1819 Birth of American composer and writer Julia Ward How.

1822 Birth of Swiss-German composer Joseph Joachim Raff in Lachen. 

1837 FP of Balfe's "Catherine Grey" in English in London.

1840 Death of Italian composer and violinist Nicolo Paganini. 

1854 Birth of German composer, pianist Paul Pabst in Konigsburg. 

1866 Birth of American baritone Arthur van Eweyk in Milwaukee. 

1868 Birth of German soprano Marie Wittich. 

1876 Birth of tenor Angelo Bada in Novara. 

1878 Birth of soprano Mary Hagen in Diez an der Lahn. 

1884 Birth of composer Bax Brod.

1888 Birth of French composer, a member of Les Six, Louis Durey in Paris. 

1891 Birth of French-Canadian composer Claude Champagne. 

1896 Birth of American composer Robert Braine.

1902 Birth of American composer and pianist Celius Dougherty.

1904 FP of Maurice Ravel's Schéhérazade. Jane Hatto and Alfred Cortot, conducting in Paris.

1906 Birth of German tenor Herbert Ernst Groh. 

1906 FP of Mahler's Sixth Symphony at Essen, Germany, composer conducting. 

1907 Birth of Dutch pianist and choral conductor Felix de Nobel, in Haarlem. 

1907 Birth of Italian soprano Lina Pagliughi in NYC. 

1908 Birth of American composer Harold Rome. 

1909 Birth of composer Isador Goodman.

1911 Birth of German mezzo-soprano Lore Fischer in Stuttgart.

1914 Birth of composer Hugh Le Caine.

1920 Birth of German-born American violist Ernst Wallfisch.

1922 Birth of German-American composer Margaret Buechner, in Hannover.

1928 Birth of Scottish composer Thea Musgrave in Edinburgh. 

1929 Birth of American composer Donald Keats.

1929 Death of Italian tenor Giuseppe Anselmi. 

1930 Birth of Brazilian mezzo-soprano Gloria Queiroz in Rio de Janiero. 

1930 Birth of composer Eino Tamberg.

1931 Birth of composer Veroslav Neumann.

1935 Birth of Flemish composer Elias Gistelinck.

1938 Birth of English soprano Elizabeth Harwood in Kettering. 

1940 Birth of composer Rene Koering.

1942 Birth of American electronic music composer Priscilla McLean.

1943 Birth of Polish soprano Izabella Nawe in Czenstochau.

1945 Birth of American tenor Thomas Moser in Richmond. 

1946 FP of Frank Martin's Petite Symphonie Concertante. Paul Sacher conducting in Zurich.

1947 Birth of composer Liana Alexandra.

1948 Birth of American composer Leroy Osmon in Washington, IN.

1953 Birth of English conductor James Wood.

1953 Death of German baritone Werner Faulhaber. 

1955 Birth of English mezzo-soprano Susan Bickley in Liverpool. 

1970 Birth of Swiss-French composer Laurent Mettraux.

1971 Birth of Polish composer and conductor Maciej Zoltowski.

1973 Birth of English composer Fred Jonny Berg.

1974 Death of German conductor Wilhelm Schuchter at age 73. 

1976 FP of Norman Dello Joio's Colonial Variants for orchestra, in Philadelphia.

1976 Repening of opera house in Wilmington DE following five years planning and two of intense reconstruction, Wilmington's Grand Opera House reopened its doors, with a concert by the Philadelphia Orchestra. 

1948 Birth of composer Kevin Blechdom.

1981 FP of Leonard Berstein's Halil for Flute and Orchestra. Israel Philharmonic conducted by the composer, with Jean-Pierre Rampal in Tel Aviv.

1995 FP of Libby Larsen's Ring of Fire for orchestra. Charlotte Symphony, Peter McCoppin conducting in Charlotte, NC. 

2003 Death of Italian composer Luciano Berio in Rome at age 77.

[radioolio]

(via Kevin Blechdom sings Song To The Siren Multi-track A Cappella on Vimeo)

[bshwkplaylists]

bitter: a study in blur

at the risk of appearing obsessive, here is my third conceptual playlist.

it's titled “bitter: a study in blur” (the title is a nod to my fellow nyu student andrea chu's essay “study in blue” and fred moten's book “black and blur”). the emotive centre is bitterness/afterwards/afterglow/aftertaste. or, in andrea's words, “what it feels like to be caught in the gravitational curvature of an imploding event.” and the list, unlike the others, is still in a draft-stage, where i think it's going to stay.

(disclaimer: a lot of my taste is stolen from my friends wanda and christopher.) 😂 (and i wouldn't keep making these if william wasn't enthusiastic to the point of collapse.)

https://tinyurl.com/bitterblur

- toro y moi, you and i - dan bodan, dp - joji, window - buscabulla, mètele - nguzunguzu, the boy is mine - recloose & joe dukie, deeper waters - stereo total, relax baby be cool - la femme, tatiana - sharon prabhakar, tum meri nazar se dekho - shit robot, take 'em up - higher brothers, steph curry - awkwafina x margaret cho, green tea - grimes, be a body - eLbee BaD, don't wanna lose your love - eli fola, taco vibe - nicholas desamory, all the world - kevin blechdom & hamid makhlouf, into waves - luke abbott, trans forest alignment - carl craig, red lights - ondo fudd, the fludd - joji, bitter fuck