Live recordings from the summer of 2015 as it comes to a close.
2014 has been great. Recently finished up a run of Ralph Lemon’s Scaffold Room up at Bard with this nice NYTimes review
Chris Pitsiokos and I are releasing our debut album Paroxysm on Carrier in 2015, so keep an eye out. We’re shooting for March 1.
I also just got commissioned to compose the music and do the sound design for Urban Bush Women‘s new Coltrane based project. NYC premiere at the BAM Harvey in Dec 2015.
Here’re the gigs in December of this year (links to the right):
Don’t Be Shy Man, a hybrid show inspired by Stuart Sherman’s poetry at Emily Harvey
Paula Matthussen and preview her new work for this year’s Avant Music Festival at Wild Project
Rejoining Red Cross at Goodbye Blue Monday
Colonic Youth CD release at Trans Pecos
Oh yeah, Colonic’s album just dropped.
CD release is Tuesday the 28th at the Silent Barn. Featuring performances by
Amirtha Kidambi + Max Jaffe + Brandon Lopez
Quartet (Brian Chase + Richard Hoffman +
Angus Tarnawsky + Jaie Gonzalez)
Continuing on my quest to get out a bunch of older recordings this summer, I’ve posted a collection of mixer feedback performances from 2009-2013, taken from live shows.
thenumber46’s (my duo with Suzanne Thorpe) debut from 2010, Bleach and Ammonia, is now available via bandcamp!
The Way the Rocks Hold the Current (III) is a piece for solo electronics in three movements. A feedback system tries to analyze itself in real time and fails. Maybe falls somewhere between Roscoe Mitchell, Steve Reich and Merzbow?
Out on New Focus Records
“Listening to Ted Hearne and Philip White’s R We Who R We is a bit like attempting to force the beaters of an electric hand mixer through one’s nostrils and into the brain, then flipping the power on…and this is an unequivocally good thing. Using Top 40 hits like Ke$ha’s “We R Who We R” and Madonna’s “Material Girl” as a point of departure, vocal hellion Hearne and electronic conjurer White hook listeners with the familiar while hurtling through often confrontational and exceptionally potent sonic deconstructions. Other than the lyric content, almost nothing remains of the source material, offering not pop-tune covers but compositional reinventions.
Hearne, who honed his classical chops at the Manhattan and Yale Schools of Music, drags his vocal cords through their paces. “Hi Is My Name” revs up Eminem’s ubiquitous flow to breakneck speed, tearing through syllables and forcing the listener to play catch-up. On “Original Self,” an original track, it’s as if the Chicago native is attempting to argue with Auto-Tune, railing against its magnetism as he wails atop a chorus of dental drills. Hearne’s inventive reimaginings of the lyrics draw you in, while White’s self-described “non-linear feedback system” similarly cloaks the deliberately provocative sound world of noise music in the shiny bluster of pop production. The result is something eminently, if weirdly, danceable and utterly gripping.”
-Time Out Chicago, Feb 7, 2013