THIS WEEK'S ISSUES:
4th ANNUAL FLOATING POINTS FESTIVAL
July 1-31, 2009
co-curated by Suzanne Fiol and Stephan Moore
Join us for the 4th week of the Floating Points Festival, a celebration of
new work created for our
multi-channel hemispherical sound system.
07/21 @ 8:00pm - Marc Ribot
Buy Tickets | Admission: $15
Marc Ribot (pronounced REE-bow) was born in Newark, New
Jersey in 1954. As a teen, he played guitar in various garage bands
while studying with his mentor, Haitian classical guitarist and
composer Frantz Casseus. After moving to New York City in 1978, Ribot
was a member of the soul/punk Realtones, and from 1984 - 1989, of John
Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a
sidemusician with Brother Jack McDuff, Wilson Pickett, Carla Thomas,
Rufus Thomas, Chuck Berry, and many others.
Ribot's recording credits include Tom Waits, Soloman Burke, John
Lurie, Elvis Costello, Marianne Faithful, Arto Lindsay, Caetano Veloso,
Laurie Anderson, David Sylvian, Susana Baca, McCoy Tyner, T-Bone
Burnett, The Jazz Passengers, The Lounge Lizards, Evan Lurie, Chocolate
Genius, Jamaaladeen Tacuma, Cibo Mato, Medeski Martin & Wood, James
Carter, Vinicio Caposella (Italy), Auktyon (Russia), Vinicius
Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Joe Henry,
Alan Toussaint, Marisa Monte, Allen Ginsburg, Trey Anastasio, Madeline
Peyroux, Patti Scialfa, Sam Phillips, Akiko Yano, The Black Keys, and
many others. Ribot frequently collaborates with producer T Bone
Burnett, most recently on Alison Krauss and Robert Plant's grammy award
winning "Raising Sand" and regularly works with composer John Zorn.
Ribot's own recording projects have included the bands Rootless
Cosmopolitans (Island Antilles), Shrek (Tzadik), and Los Cubanos
Postizos (Atlantic). Marc's solo recordings include "Marc Ribot Plays
The Complete Works of Frantz Casseus" (Les Disques Du Crepuscule), "The
Book of Heads" (Tzadik), "Don't Blame Me" (DIW), described as "a record
filled with savory and unlikely amusements" by Village Voice, "Saints"
(Atlantic), and most recently "Exercises in Futility" (Tzadik).
Marc has performed on scores such as "Walk The Line (Mangold),"
"Everything is Illuminated," and "The Departed" (Scorcese)." Marc has
also recently composed original scores for the PBS documentary
"Revolucion: Cinco Miradas," and the film "Drunkboat," starring John
Malkovich and John Goodman. Past scoring project include Yoshiko
Chuma's "Altogether Different" dance piece, a documentary film by Greg
Feldman titled "Joe Schmoe," a feature film by director Joe Brewster
titled "The Killing Zone", and "In as Much as Life is Borrowed", a
dance piece by famed Belgian choreographer, Wim Vanderkeybus.
Marc's talents have also been showcased with a full symphony
orchestra. Composer Stewart Wallace wrote a guitar concerto with
orchestra specifically for Marc. The piece was premiered by the
National Symphony Orchestra in Washington DC in July of 2004 and also
appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.
Marc is currently touring with two bands, the Albert Ayler tribute
project "Spiritual Unity" (Pi Recordings), featuring original Ayler
bassist Henry Grimes, and Ceramic Dog featuring bassist Shahzad Ismaily
an drummer Ches Smith. Ceramic Dog will release their debut album
"Party Intellectuals" this May on Pi Recordings in the North America,
and Enja in Europe and Japan.
Wed Jul 22
07/22 @ 8:00pm - Ha Yang Kim
Buy Tickets | Admission: $15
Artist In Residence: Ha-Yang Kim
Cellist, composer and improviser Ha-Yang Kim was born in Seoul,
Korea. Ha-Yang made her professional solo debut at age 16 with the
Atlanta Symphony Orchestra. Hailed as "phenomenal" and playing with
"brilliant technique full of energy, concentration, musicality and
_expression_" (Mainpost, Germany), she performs new music as a soloist
and with ensembles and artists in festivals and concert venues
throughout the world. She is the founder of Odd Appetite, a
cello-percussion duo which performs and commissions new contemporary
works alongside original works and improvisations. Ms. Kim has
developed a unique language of extended string techniques and has
created her own music based on this work, as well as collaborating on
new pieces from other composers. Her musical influences draw equally
from a range of western classical music, American experimentalism,
rock, jazz, and improvised music, to non-western musical sources from
Bali, Korea and South Indian classical music (Karnatic). Her music has
been performed in the US, Turkey, The Netherlands, Belgium, Korea, and
Germany. In seeking new musical experiences, Ha-Yang has performed
traditional and new Balinese music as a member of Gamelan Galak Tika,
and has collaborated/ performed with many diverse musicians such as
Evan Ziporyn, Cecil Taylor, John Zorn, Christian Wolff, Lee Hyla, Louis
Andriessen, Lukas Ligeti, Larry Polansky, and Stefan Poetzsch, with
whom she has presented original compositions incorporating electronics,
dance, theatre, and multi-media.
Past performances include as soloist at Carnegie Hall, touring and
playing at festivals in the US, Europe, Cuba and Bali, Indonesia,
performing at the Bang on a Can Marathon with both her duo and the
All-Stars, composing for and performing at the Kwacheon International
Theatre Festival in Seoul, Korea, a solo recital at the Hochschule für
Musik in Würzburg, Germany, and broadcast recordings for the Bavarian
Radio Network. Upcoming performances of her music include at festivals
in St. Petersburg and Moscow, Russia, Holland, Belgium and in the US.
Ama, a CD of her own compositions, is released on Tzadik. Ms. Kim has
also recorded for New World, Cold Blue, New Albion, Karnatic Lab and
She has received prizes and awards including a grant from Meet the
Composer, Trust for Mutual Understanding, the Argosy Foundation, the
Ruth Schwob Foundation, and The Atlanta Symphony Orchestra. Ms. Kim has
been an artist-in-residence at Princeton University, Brown University,
Harvard University, Dartmouth College, Bates College, Brandeis
University and at the Walden School for Young Composers. Ha-Yang
studied cello, improvisation, and microtonality at the New England
Conservatory of Music, Karnatic music concepts at the Conservatorium
van Amsterdam, and was on the faculty at Franklin Pierce College in New
Hampshire, USA. She currently lives in Brooklyn, New York.
ISSUE Project Room's Artist In Residence Program is made possible through generous support from the Jerome Foundation
07/23 @ 8:00pm - Thomas Ankersmit + Tony Conrad
Buy Tickets | Admission: $15
Thomas Ankersmit (born 1979, Leiden, The Netherlands) is a musician
and artist based in Berlin and Amsterdam. His main instruments are a
Serge analogue modular synthesizer, computer and alto saxophone.
His music and installation work have been presented at Hamburger
Bahnhof, KW Institute for Contemporary Art and Podewil, Berlin; ZKM,
Karlsruhe; Kunsthalle Basel; Serralves Museum of Contemporary Art,
Porto and P.S.1 Contemporary Art Center, New York as well as at
festivals across Europe, the Americas and Asia.
"Jump-starting his performance on the intimidating Serge modular
synthesizer, Ankersmit created a fractured, tension-filled stream of
electric sound. Flicking switches and pulling at patchcords at
breakneck speed, he shaped his swarm of synthesized blips and metallic
jabs into a very deliberate, beautifully coherent composition.
Constantly reconfiguring his electroacoustic pinpricks and distorted
crackle, microscopic but detail-rich and intensely vibrant, sonic
fragments skittered across the stereo spectrum like fireflies.
Continuing on acoustic alto saxophone, he slowed down the event
density but maintained the heat, pairing intensely focussed energy and
sonic determination with a delicate sensitivity to texture. Ankersmit's
saxophone voice is an entrancing, violent mass of multiphonic,
shapeshifting sound, oscillating endlessly through circular breathing,
penetrating every corner of the room. Far removed from the syntax of
jazz or improv, his was a spectacular recontextualisation of the
instrument's possibilities, forcing it into uncharted sonic territory."
This concert is supported by the Netherlands Fund for Performing Arts+ and DNK Amsterdam
Tony Conrad (b. 1940) teaches on the media study
faculty of SUNY at Buffalo. Over the last twenty years he has been
especially active in video. His work with music composition and
performance started while he was a mathematics student, after which he
was associated with the founding of "minimal" music and "underground"
film. His movie The Flicker is one of the key early works of the
"structural" film movement. His art videotapes are widely seen, and
he has produced more than 250 programs for public access cable in
Buffalo. Conrad performs his recent music regularly at festivals,
clubs and new music venues in the US and Europe.
"Tony Conrad is a pioneer, as seminal in his way to American music
as Johnny Cash or Captain Beefheart or Ornette Coleman, one of those
really savvy Old Guys whom all the kids want to emulate because their
ideas, their style are electric and new and somehow indivisible." -
07/24 @ 8:00pm - Lavalier
Buy Tickets | Admission: $15
Lavalier is in indie-experimental group that formed in NYC in
late 2008. With a penchant for vocal harmonies, fuzz/slide
guitar, harpsichord, and accordion, the group creates cinematic music
that is both psychedelic and fantastical. Lavalier was created by two
longtime friends and musical
collaborators, Steve Milton, and Dave Horowitz. Having met in high
school, Milton & Horowitz have played in various bands together,
and spent 2005-2007 on tour with NYC indie band, The Cloud Room.
Heavily inspired by Tom Waits' occasional DIY-low-fi sound, Beach Boys
harmonies, and various forms of cinematic music, Milton & Horowitz
began recording the first Lavalier tracks in the Spring of 2008.
In a live setting, the group is interested in a variety
of improvisational techniques, one such technique employs a process
known as "spatitalization." At various points during the show,
different instruments and vocals are sampled in real-time using a
custom-designed interface, and played over a ring of
loudspeakers installed around the audience area. The group attempts to
create a dimensional element that sometimes serves as the back drop or
the center piece of the music.
Steve Milton - Vox and Various stuff
Dave Horowitz - Guitars
Terence Caulkins - Glockenspiel, DSP
Yasmin Reshamwala - Keytar and Vox
Melati Melay - Guitar and Vox
Nathan Hasalby - Bass
Jason Pharr - Percussion
07/25 @ 6:00pm - Michael Gira + Wooden Wand
Buy Tickets | Admission: $15
Special Event with Rooftop Films (Stars Like Fleas @ 8:30 & Stay the Same Never Change @ 9:00)
Buy Tickets for both events $20
See information below
Show starts @ 6:00 Doors @ 5:30
Michael Gira (Angels Of Light /
Michael Gira founded the seminal NYC band Swans
in 1982. Quickly infamous for their punishing, brutal and repetitive
onslaughts of sound, extreme volume levels, and the self-abusing,
abject shouts and growls of Gira's sloganeering vocals, Swans gradually
transformed over 15 years, ultimately venturing into harsh mechanical
proto-industrial rock, to sprawling shifts of texture and perspective
(see the bucolic atmospheric folk idles and martial stomps of their
much heralded Children of God double LP from 1987), to gentle acoustic-based songs, and finally on to their ultimate statement,
Soundtracks For The Blind
(1997) which somehow incorporated all of these elements at once, across
well over 2 hours of music in one album. At this point, Gira called it
quits after 15 years of relentless touring and productivity, and
disbanded Swans. Since 1999 Gira has released his music under the name Angels Of Light.
He writes the songs for Angels Of Light on acoustic guitar and
orchestrates them using a shifting cadre of musicians, employing a wide
variety of instrumentation such as strings, wind, brass, electric
guitars, electronics and choral vocals. The songs are often eccentric
and extreme, in keeping with Gira's love of soundtrack music. Though
nominally more traditional than Swans, Angels Of Light is often just as
hard hitting through different means. The most recent album by Angels
Of Light is We Are Him. Though Angels Of Light recordings are
often elaborately orchestrated, Gira has recently chosen to tour
exclusively solo, using acoustic guitar and voice. The performances are
raw, to the point, and emotionally powerful. When not recording,
writing music, or touring, Gira spends his time producing and releasing
music through his label Young God Records. He's been
responsible of late for such notable talents as Devendra Banhart, Lisa
Germano, Akron/Family, Fire On Fire, and most recently, Larkin Grimm.
In early 2009 Young God will release the YGR debut by the acclaimed
composer/guitarist James Blackshaw.
TIME OUT NY/ CONCERT
PREVIEW (excerpt) 2008, by Jordan Mamone:
" Armed with only an acoustic guitar and a commanding baritone, Michael Gira
could make mincemeat out of the most "extreme" metal and punk bands. His
strumming and clear, virile voice--not to mention his impeccable, neatly
pressed appearance--lend ample gravitas to even his prettiest folk
ballads. (Lyrics like "When you open your mouth you're too stupid to
scream" will seduce misanthropes who dig Thomas Bernhard novels rather
than pixies who worship Joanna Newsom CDs.)...' It's heartening to see
that Gira, the erstwhile East Village confrontationist, now in his
early fifties and living upstate, has reached one more peak in his
long, unpredictable career. "
TIME OUT LONDON / CONCERT
PREVIEW 2007, by Sophie Harris
- but no-one - does menace like Michael Gira. Not Liars, not Black
Dice, not Selfish Cunt or indeed any of today's confrontational young
bucks. None of the bands that Gira has influenced, in his thirty-odd
(and they are odd) years making music comes close to the
darkness that bubbles so deliciously through his music. But then, Gira's life story so far
is nothing short of extraordinary.
'difficult' child (born to difficult parents), he ran away from home at
14, ended up at a kibbutz in Israel, selling drugs and his own blood on
the streets, in jail, and then working in a copper mine. His father
eventually tracked him down through Interpol, and Gira was shipped back
to California to go to high school. He dropped out, and by the time he
arrived in New York in '81, Gira describes himself as 'boiling over
with non-specific rage'.
then, Swans, legendarily the Loudest Band Ever. To this day, rock
nerds' faces light up as they remember the inter-crowd
injury/vomiting/deafness that characterised the art rockers' live
shows; Gira would be physically pummelled by the drone, hurling himself
at the ground repeatedly, knocking out teeth in the process (it rather
puts Richie Manic's '4 Real' to shame).
musically, there's so much more to Gira than these shock-horror
stories. Perhaps what is most surprising is that in his years as Angels
Of Light, Gira has produced a series of mesmerically beautiful records,
often boasting a shimmering delicacy. As a child, before all
craziness happened, Gira used to listen to Disney and Burle Ives
records, and this world of fantasy and fairytale saturates his latest
album 'We Are Him' (it's notable too, that Gira and his wife Siobhan
Duffy 'discovered' Devendra Banhart and produced his first, gnarly
folk records on Gira's Young God label, now also home to Akron/Family).
huge, handsome man, Gira now sports immaculate suits, braces, and a
Stetson onstage, booming out songs with the assuredness of an
old-fashioned preacher. The darkness Gira deals in today is far subtler
than those early days - just don't doubt for a second that you'll be
In addition to running the Polyamory label with Tovah O'Rourke,
James Toth was the leader of New York-based avant-garde/freak folk
ensemble Wooden Wand & the Vanishing Voice. Taking the first part
of that name as his own -- and occasionally billing himself as "Wooden
Wand Jehovah" -- Toth gathered at one point or another O'Rourke (who
also comprised Dead Machines with her husband, Wolf Eyes' John Olson),
Satya Sai, Glucas Crane, Steven the Harvester, and Heidi Diehl. There
were others, too -- the Vanishing Voice lineup shifted as much as its
members' various aliases. The sounds the group made were fluid, too,
incorporating everything from the '60s mysticism of Donovan and Van
Morrison to free jazz, /p>
oise rock, folk raditionals, and the entire Silt Breeze catalog.
Wooden Wand & the Vanishing Voice released numerous CD-R and vinyl
recordings into the indie folk/experimental underground during the
early 2000s; they were also responsible for relatively more
conventional releases like 2003's Xiao (Destijl, later reissued by
Troubleman Unlimited), 2004's Sunset Sleeves (Weird Forest), and Buck
Dharma, issued in September 2005 through 5 Rue Christine. That same
year Toth released Harem of the Sundrum & the Witness Figg simply
as Wooden Wand. The recording's skeletal folk structures and evocative
lyrics garnered quite a bit of positive press, especially in the wake
of Devendra Banhart's success. The band released two albums in 2006,
Gipsy Freedom and Second Attention. 2007 saw the release of James and
the Quiet, followed in 2009 by Hard Knox, a collection of demo and home
recordings under the moniker Wand.
07/26 @ 8:00pm - Jacob Ciocci (Paperrad) presents 2 Blessed 2 B stressed + Fortress of Amplitude
"Pittsburgh artist Jacob Ciocci will present a new 20-minute mix of
original videos and animations. He will also be presenting his new
performance I Let My Nightmares Go which uses a video projector and
live dance moves to grapple with mental demons, web 2.0, G.O.D.,
21st-century breakdown, real lies and fake truths, cartoon violence,
and awareness bracelets.
David Wightman will perform as Fortress of Amplitude, a guitar
wielding minstrel from another time and place. Accompanied by a blast
beat playing drum machine, He will execute a musical composition
focusing on fantasy, repetition and ecstacy."
Wed Jul 29
Thorpe + Zeena Parkins
Thurs Jul 30
Dan Senn + Stephen Vitiello with Molly Berg
Fri Jul 31
Reception 7:30 pm
Performance 8:30 pm
Available at Door
Purchase in advance online
All concerts take place at ISSUE PROJECT ROOM
At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
Subway F Line, Subway G Line
to CARROLL ST-SMITH ST stop
Walk East down Third St over Gowanus Canal to Third Av = 5 min walk
Subway F Line, Subway M Line, Subway R Line
to NINTH ST-FOURTH AVE stop
Walk North on Fourth Av. West on Third St to Third Av = 5 min walk
Bus B37, Bus B71
to THIRD AVE-THIRD ST (Westbound) or THIRD AVE-UNION ST (Eastbound)
>From Union St, walk South on Third Ave to Third St = 3 min walk
From Manhattan Bridge = 5-10 min drive
Proceed straight on to Flatbush Ave. Right on Third Ave (just after Fulton-Nevins Sts) to Third St.
From Brooklyn Bridge = 5-10 min drive
Proceed straight on to Adams St. Left on Atlantic Ave. Right on Third Ave to Third St.
From Battery Tunnel (Right lane toll booth) = 3-5 min drive
Take first exit (just after toll) on to Hamilton Ave. Left on Smith St. Right on Third St to Third Ave.
From BQE (278) West = 5-10 min drive
Exit on Tillary St. Left on Flatbush Ave. Right on Third Ave to Third St.
From Gowanus Expwy (278) East = 5-10 min drive
Exit at 39 St. First left on Fourth Ave. Left on Third St to Third Ave.
From Prospect Expwy (27) North = 3-5 min drive
Exit at Fourth Ave. Right on Fourth Ave. Left on Third St to Third Ave.