SL Morse performs feel-bad modernist literature through Morse Code translations from text to musical notation. Combining composition and improvisation, SL Morse is the project of Sarah Lockhart (drums) collaborating with other musicians. Past collaborators include Weasel Walter (guitar), Dominique Leone (keyboards), and Damon Smith (bass). For this night “The Yellow Wallpaper” with Sarah Lockhart (drums) and Aurora Josephson (voice/small percussion), both featured on the sample listed on the website above. Based on the short story by Charlotte Perkins Gilman, the music is a descent into insanity and explores restraint and confinement, politeness and imagination.
Glou Glou is a collaboration between Gretchen Jude (koto, voice, electronics) and Arjun Mendiratta (violin, electronics). Working within the confines of a consonant, primarily “ambient” aesthetic, glou glou focuses on timbre, tonality, and the happy accidents inherent in improvisation. They are guided equally by the works of Eliane Radigue and the Cocteau Twins.
Jordan Glenn’s BEAK is a percussion heavy ensemble the blurs the line between dynamic/energetic grooves and chaos. The power of this electric ensemble is wheeled by Jordan Glenn’s curious baton, moving in and out of composed and spontaneous material. With Will Redmond, guitar & kalimba; Mark Clifford, vibraphone; Karl Evangelista, guitar; Bob LaDue, percussion; Jason Hoopes, bass; Robert Lopez, drums; Jordan Glenn, conductor/composer.
Ornettology is the brainchild of guitarist Myles Boisen, presenting unique arrangements of compositions by Ornette Coleman utilizing free ranging jazz landscapes, funky grooves, and harmolodic improvisation. With Steve Adams, Phillip Greenlief, John Finkbeiner, John Hanes, Chris Grady, Lisa Mezzacappa.
Ze Bib! is cellist/electronic musician Shanna Sordahl and percussionist Robert Lopez. Their music grapples with the spastic intensity arising from their explorations into sound worlds including noise, free improvisation, avant garde rock, and heavy drone.
Alex Christie’s work is the hybridization of hyper-intellectualized contemporary music theory and a childish obsession with explosive sound and bright, flashing lights. He performs as a laptopist and saxophonist in several veins of music, ranging from experimental improvisatory noise to electronic dance and freely improvised music.
Active Music Series – Second Tuesdays at the Uptown
Music at 9. Donations accepted.
Thomas Carnacki is an East-Bay-based organism engaged in the dubious endeavour of concocting soundscapes that tread the path between the foreboding and the absurd. Others with perhaps a little bit more critical detachment have on occasion described the music as “the spontaneous madness of illogical sounds and colliding electro-acoustics” and “hauntological semi-musicality, always slanted toward the odd and the surreal.” Let that serve as a warning to you all.
Bryan Day (b. 1979) is a sound artist, musical instrument designer and conceptual artist based in Richmond, California. Day’s sound work focuses on the subtle textural interplay of natural and electronic sounds generated by his invented instrumentation. Day has toured extensively throughout the US, Europe and Asia and has been featured as part of the Megapolis (Baltimore), Heliotrope (Minneapolis) and Sonic Circuits (Washington, D.C.) festivals. In addition to his own audio work, he has run the Public Eyesore / Eh? labels since 1997.
The Robert Lopez and Mateo Lugo duo aims to shock, is built on impulse synergy, and creates catharsis through composition and improvisation. Hailing from Oakland, CA, their sound is born from a sonic blur of sharp cutting drums and relentless electric guitar; growing into liminal resonances and zero bullshit. The duo is constantly moving towards the ineffable, intangible, impossible. It is equally a sound of freedom and a sound attempting to be free: struggle and seamlessness collide and let go.