Summer Updates

Lots of upcoming stuff this summer and this fall. First off, I’ve gone through the archive and pulled out a bunch of archival material for release via bandcamp including thenumber46’s (Suzanne Thorpe and myself) debut Bleach and Ammonia as well as a couple of collections of early and live works; Drone Works: 2006-2010 and Control: Live Works for Mixer Feedback.

This summer is all about recording, producing and a little sound design. Keep an eye out for new releases by Colonic Youth, Ted Hearne and some solo stuff!

Performance wise I’m doing a solo performance for Evidence’s (Stephan Moore and Scott Smallwood) release party on Countour Edition on July 31 in Bushwick. Dan Blake and I will be doing a duo performance at Douglas Street Music Collective on August 28. On September 21 I’m collaborating with Yotam Haber and the Albany Symphony on A More Convenient Season and evening length piece for orchestra, children’s choir, electronics and film commemorating the fiftieth anniversary of the Birmingham church bombings.

In the meantime if you haven’t heard it, check out The Way the Rocks Hold the Current (III) on bandcamp.

R WE WHO R WE

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