Technicolor Hell CD release show

Does this soundings we are conveniently calling experimental music/noise, can it exist as a recording? That is these soundings which are often the product of the manipulation, transmutation, reformation, and bastardization of electronic methods of sound production; What happens when you freeze those waveforms, eternalize them, flash photo them out of the immediacy of the momentary electrons cataclysm that one experiences in it’s live performance? And that said, what of the peculiar and definite preformative aspect of the soundings?

Tonight we witnessed a definitive example of showmanship in the local experimental movement. Joe Lentini’s proclaimed final solo performance [x-that. joe will certainly be playing again, see comment below] and subsequent tearing out of the soul of his machine. The subdued to vast effect of Tim Albro’s striking delta blues filter through 23 layers of unused television frequencies. And how can we fail to mention the man vs. machine epochal battle that is the eternal struggle between Mark Price and his horrific beast Cars Will Burn, blazing, retina searing flashes and all (I noticed he’s taken to wearing aviators during his performance, a new accessory for the noise heads to accompany their earplugs, I however prefer to go unarmored into the face of 130+ decibels, my hearing loss, I suppose.)

While this show certainly presents a rising moment, as if just breaking the acceleration point in an exponential expansion, the seeking of the meaning and manifest of the motives will certainly be a requisite. This is the show review, later (at least once my eardrums have healed) the questions posed above will be sought answered as the comp CD recording is inspected.

The Archestra (postscript to Albro at Powell House)

The archestra (architecture/orchestra) is the joint accomplishment of music formed in the environment of play and participation. Does the archestra exist independently? Or does it require a Conductor, who twiddles the knobs and presses the buttons? The Conductor is also a player, and by weaving the strands of his sounds into weft of the world the total form of the fabric of the environment becomes present. With what magick is this done? Does the Conductors wand begin to compose the sound/architecture of the environment to its will. It cannot be so complete, rather it is for the conductor to wield his wand as a needle and attempt to thread his wires into the constantly shifting fabric of the sound/architecture. Tim Albro tuned his radio into the static radiation with the placement of feet and toes connecting him bodily to it. His legs the massive coaxial cables feeding his mind the verses of the sound/architecture transferred though heart and mind his fingers went to business, slowly, methodically transmitting his meaning out into the environment. An environment that includes the audiences ears and minds and through those transmission receptions the Conductor employs new instruments. A man in the back sways thus plays the ancient creak of floorboards soundings passing through the structure around us all. And he pauses letting this new player of his devising enter the flow of the archestra.

Bowerbird 1st anniversary at Powel House. (1st show review!)

We drank and sat in the historical recreation. Formed the waveform in the midst of ourselves and the baroque of the architecture.

Set #1

Tim Albro

He sat, motionless, toes pointed inward, transceiving and transmitting the frequency’s of this house filled with past. The soundscape environment flowed through the synth loops. Filling silence around the passing automobiles. We all heard the creaks and cracks of a hidden low range hi-fi speaker hidden under one of the chairs in the back. Later we realize it is but the imbalance of an audience member on the old floorboards, playing the building, yet for Mr. Albro it is simply part of his archestra. As well the translucent shining octopussy hanging from the ceiling emitting too much light. He plays the resonance of the building and its environs.

Postscript: he tuned his toes into the frequency of the building.

Set #2

Forbes Graham

(#1) long fingers over his breath laid into the disconnected metal topography of his dissembled (mini-trumpet?). Disconnected interface connection. He smokes the essence of the instrument, beat-boxing into its hollow form with whispers.

(#2) laying out a rainy broken echo percussion with micro notated trumpet work. Blowing out the spit valve becoming the coda for a Coltrane dream. L o o o ng fingers. “Choked jazz” she says. [It’s totally political. Don’t you hear it?! The tribal, the oppression? This becomes a joke. A true joke. The text of his music reads like generations of oppressed afrocentric, Afro-American, afro-has-to musicians not being heard—by each other, by white folk, not heard at all. In this space, surrounded by Listeners, those who paid penance for beer, listen to his sounds. Yet do they really hear?] He bombs himself with the synthetic sounds of video game destruction; it fills our dread with truth, but in missed direction, the 18^th Century girl in the painting facing screams in orgasmic fury. And the shells fall.

John Mueller & Jason Kahn

Begin with a clap. Wires, wires, wires, so many the count is lost. 3 drums, a pot lid, no a cymbal, 4 tape machines linked on top of one another? drum Theremins? Mysteries lead us into the waveform. The sound cascade builds with a pile of fabric draped on a snare drum. Gong break. Full carrier wave breaks the set mid-sentence. More wire fiddling. Faulted wire dropped on the array brings an unexpected wave-formation in the glasses of one. Big-time Waveform.

some scattered thoughts on the experimental

we allow experimentation in music and art only through our silence.

our reverence for the individual, which we undertake collectively for the sake of our own expansion and in honor of the experimental nature of our conscience.

appreciation of a mouthed fart noise is feasible, if sounded in sufficient concentration it has the potential to become the sublime.

the environment of life seizes our inner conscious and we begin the subconscious participation.

“experimental music” is the tapping into of the carrier waves of neuron receptors making them the principal chairs of the archestra.

you can tell when fellow artists are bored when they open their eyes, unmoving.

the personal and the collective become one without the other.