Tuesday, April 12, 2011

Sidrassi Gamelan and Second Nature at the Creative Alliance, Baltimore: April 15, 2011

8PM at Creative Alliance, Baltimore
Friday, April 15, 2011


$10 general/ $5 members


Creative Alliance at The Patterson3134 Eastern Avenue
Baltimore Maryland 21224



Sidrassi Gamelan (Post-National Alternate Reality Ensemble No. 1):
Birtton Powel - light metronomes
John Berndt - Sidrassi Organus, gong, mixing desk
Neil Feather - wiggler, vibro-wheel array
Paul Neidhardt - gong
Anonymous - Gong
Owen Gardner - Sidrassi Organus
Andrew Bernstein - Sidrassi Organus
Mike Muniak - Sidrassi Organus
Stewart Mostofsky - Sidrassi Organus
Steve Korn - Sidrassi Organus
John Eaton - choir
Elisa Urtiaga - choir

This group will be playing new compositions written especially for it.


Second, the amazing Baltimore improvising orchestra, Second Nature, with:
Andy Hayleck - synth
Kate Porter - cello
Liz Merideth - viola
Paul Neidhardt - percussion, friction
Dan Breen - various
Tom Boram - various, voice
Sam Burt - bass clarinet, electronics
Rose Burt - reeds
Owen Gardner - cello
Mike Muniak - electronics
Elisa Urtiaga - voice
Shelly Blake-Plock - strings, etc.
Jeff Carey - electronics
Tiffany Defoe - reeds

Tuesday, December 28, 2010

The Annual Red Room Holiday Show

Red Room
Thursday, December 30th, $5

John Dierker, Will Redman, Mark Miller, Stewart Mostofsky, Jeff Carey, Alex Weber, and Adam Hopkins 
A Red Room holiday tradition for nearly 15 years, John Dierker will lead a diverse group of musicians in improvised music sets ranging from duos to large ensemble

425 E. 31ST STREET BALTIMORE, MD. 21218, USA

Friday, December 24, 2010

Ehse is proud to announce the release of Ami Dang’s new album, "Hukam" (Ehse 017) February 20, 2010

Ami Dang
"Hukam" (Ehse 017)
Ehse Records
ehserecords.com


Ehse to Drop New LP by Ami Dang: the Baltimore Underground Id of a Bollywood Diva

Consider Ami Dang running for class president of this year’s crop of “New Weird World”. Creating melodies out of a mixed bazaar of sitar and hallucinogenic dance pop coupled with the right balance of underground menace and chill sweetness, Ami Dang has crafted an album that brings the world’s lesser traveled streets alive with Eastern nuance and a Western wink.
 
“Crafted from an intersecting background of classical sitar and composition, experimental electronics and visual performance, combined with a deep love for ’90s dance beats and a fuzzy memory of megaphones blaring Indian pop songs into the streets of New Delhi.” 
- Arthur Magazine
 
Dang hails from Baltimore by way of New Delhi and Punjab. Her music combines the sound of these geographies -- part Dan Deacon, part K Swift, part Ravi Shankar, part M.I.A., part Lata Mangeshkar. Her explorations lead to catchy Baltimore Club inspired pop tracks with an experimental sensibility coupled with electronic arrangements of Sikh hymns and musical raga.
 
“Her voice ranges from subtle and sublime to massive and nearly overwhelming in power... I’m convinced that given the right amping, Dang could obliterate buildings with them.”
Aural States
 
Thoroughly 21st century in every way, Ami Dang’s “Hukam” is contemporary global experimental pop at its twisted best. With sweet sitar melodies, Bollywood-diva style vocals, and both minimal and maximal electronic production, her music—pop, experimental, ambient, and house—is ripe for 2011 and beyond.
 
“Unabashedly into pop... instantly charismatic and catchy... dancing across the stage in a bright turquoise and pink dress, surrounded by bright rhythmic electro-pop... laying trained classical sitar over layers of drone and textured electronic feedback. This is a rare and promising combination, and absolutely one we should all be watching.”
- Impose Magazine
 
Ehse is proud to announce the release of Ami Dang’s new album, "Hukam" (Ehse 017) February 20, 2010.
 
“It's abrupt when you hear Indian classical music as meditative and spiritual--that is, as it is intended to be. And it's even more abrupt when it's heard woven into Western avant-garde music, each element working to develop/unshroud the other. This act is a large part of the sublime art of Ami Dang.”
- City Paper

Saturday, November 27, 2010

Keenan Lawler & Susan Alcorn // Marc Miller & Shelly Blake-Plock - Nov 27 at Red Room

Tonight at Red Room!
Saturday, November 27th, $6

Keenan Lawler & Susan Alcorn // Marc Miller & Shelly Blake-Plock
A Night of Improvised Strings

Prepare yourselves for a night of radical 'string theory' from some first-string free improvisers this evening at Red Room. Lawler and Alcorn bring steel guitar and pedal steel explorations, while Miller and Blake-Plock destroy it on acoustic steel string guitar and double bass.

at The Red Room
c/o Normals Books and Records
425 E. 31st Street
Baltimore

http://www.redroom.org/
Twitter: @highzero

Thursday, September 30, 2010

NPR reviews Tomoko Sauvage and M.C. Schmidt at the 2010 High Zero Festival

NPR on Tomoko Sauvage and M.C. Schmidt at the 2010 High Zero Festival:
I could have listened to this set all night.
The full piece published over on the A Blog Supreme blog includes audio of the performance as well as pics and a lengthy review.

Sunday, September 19, 2010

12th High Zero Festival of Experimental Music

The 12th High Zero Festival of Experimental Music All Week!
see www.highzero.org for all details; numerous site specific performances around town

Tuesday 9/21 at Gallery 4, H&H Building, 7:30
Opening of "Electric Petting Zoo," High Zero sound installations by Tristan Perich, Karl Ekdahl, and Julie Benoit
With an opening performance by:
- Tristan Perich, in duo with Tom Goldstein, on crotales, perform a hypnotic minimalist composition by Perich
- Ich Auch: First live performance of synth/drums improv duo with Karl Ekdahl.
- Salamander Wool Quartet. Carson Garhardt's music, in first ever quartet format, with Dan Breen, Paul Neidhardt, and Walker Teret.
 - Tristan Perich, 1 bit improvisation.
Recommending donation for performance: $5

Wednesday 9/22 at 2640 Space; 8PM $5
Ghost Dancers: An special atmospheric concert by  Susan Alcorn (pedal steel guitar) and Claire Barratt (movement) at 2640 Space (2640 St. Paul St.).

Thursday 9/23, Opening Night at Theatre Project, 8;30, $12
Experimental performances with Shelly Blake-Plock, Ami Dang, Owen Gardner, Liz Meredith, Tuna Pase, Karen Borca, Tiffany Defoe, Shayna Dunkelman, Marc Miller, Michael Muniak, M.C. Schmidt, Dragos Tara, Keith Fullerton Whitman, Andrea Neumann, Juanjosè Rivas and Wobbly.

Friday 9/24 at Theatre Project, 8;30, $12
Experimental performance with Andrea Neumann, Tiffany Defoe, Hans Koch, Stewart Mostofsky, Karen Borca, Ami Dang, Ayako Kataoka, Tomoko Sauvage, Owen Gardner, Liz Meredith, Dr. Johannes Rosenberg, Drew Daniel, Dan Deacon, Tuna Pase, Juanjosè Rivas.

Saturday Matinee 9/25 at Theatre Project, 1PM, $12
Two special projects conceived and curated by Baltimore's Ayako Kataoka and Dan Deacon involving numerous High Zero performers.

Saturday Night 9/25 at Theatre Project, 8;30, $12
Experimental performance with Karen Borca, Hans Koch, Liz Meredith, Michael Muniak, Tuna Pase, Gary Smith, Shelly Blake-Plock, Dr. Johannes Rosenberg, Wobbly, Ju Suk Reet Meate, Marc Miller, Stewart Mostofsky, Tomoko Sauvage, Shayna Dunkelman, Juanjosè Rivas.

Sunday 9/26 at Theatre Project, 8;30, $12
Experimental performance with Keith Fullerton Whitman, Owen Gardner, Marc Miller, Gary Smith, Shelly Blake-Plock, Dan Deacon, Ju Suk Reet Meate, Ayako Kataoka, Hans Koch, Tomoko Sauvage, M.C. Schmidt, Drew Daniel, Shayna Dunkelman, Keith Fullerton Whitman, Wobbly.

Wednesday, September 1, 2010

Baltimore’s 12th Annual High Zero Festival of Experimental Improvised Music Again Set to Organize Chaos

FOR IMMEDIATE RELEASE
8.31.10




High Zero Festival of Experimental Improvised Music
September 23rd - 26th, 2010
@ The Theatre Project   45 W Preston St., Baltimore
twitter: @highzero

PR contact: diymummy@gmail.com



Baltimore’s 12th Annual High Zero Festival of Experimental Improvised Music Again Set to Organize Chaos


"High Zero Festival is the premier showcase for spontaneous sound." NPR

“An utterly confounding yet utopian vision of musical possibilities.” Wire

High Zero is the premier festival of Improvised, Experimental music on the East Coast, being fully devoted to new collaborations between the most inspired improvisors from around the world.

“A fertile laboratory of musical possibility without equal.” Signal to Noise

The festival brings together 28 core musicians each year, but also involves a much larger subculture of musicians in Baltimore and on the East Coast. Musicians play sets of improvised music alongside improvisers they are often meeting for the very first time on stage. Unlike many related festivals, High Zero is not narrow in terms of sensibility or subculture, but rather widely inclusive of all the different types of experimental music-making in the moment.

“The continent’s finest four days of all-in improv and otherwise musical exploration.” City Paper

"Baltimore is becoming a crucible for serious experimental music produced outside of academia and concert halls." ArtPapers
The fact that half of the festival's core participants are from Baltimore speaks to the depth of Baltimore's experimental music subculture, which in recent years has grown to be one of the richest cities in the country for experimental art.

“Best Music Festival” City Paper and Baltimore Magazine

"A striking glimpse into the avant-garde and a creative process limited only by the imagination." Baltimore Sun

The festival has a unique structure. HIGH ZERO is focused solely on new collaborations in freely improvised experimental music. Internationally famous musicians play side by side with younger "unknowns," united by their commitment to the musical imagination. Each year, Baltimore becomes a fertile meeting-ground for a large group of inspired players, drawn from a fascinating international subculture.

"Could there possibly be a better place for a festival of cutting edge, improvised music than Baltimore?" Washington Post

The festival exposes large audiences to this radical music in its pure form. Large-scale public concerts, recording sessions, workshops, and guerrilla street performances are all part of the heady mix. The players are carefully selected by the festival's organizers for their intense, unique music, whether it is based around dramatic intensity, humor, specially designed instruments, original approach, raw sound, or nearly superhuman instrumental technique. The resulting collaborations challenge the limits of music and delight by their audacity, expressiveness, immediacy, and innovation. It isn't about stars or established projects; it is about the most uncompromising and stimulating new improvised music we can bring together.

High Zero Festival of Experimental Improvised Music
September 23rd - 26th, 2010
@ The Theatre Project   45 W Preston St., Baltimore


Musicians from Afar

Karen Borca (NYC): bassoon
Shayna Dunkelman (NYC): percussion
Ju Suk Reet Meate (Portland): trumpet
Hans Koch (Switzerland): bass clarinet
Andrea Neumann (Germany): inner piano
Tuna Pase (Istanbul): voice, flute, laptop
Juanjosè Rivas (Mexico City): circuit bending
Tomoko Sauvage (Paris): porcelain bowls, water
Gary Smith (United Kingdom): guitar
Li Tieqiao (China): saxophone
Keith Fullerton Whitman (Boston): electronics
Wobbly (California): electronics



Musicians from Baltimore


Shelly Blake-Plock: stringed instruments
Ami Dang: sitar, voice, electronics
Drew Daniel: electronics
Dan Deacon: electronics, tuba
Tiffany Defoe: saxophone
Owen Gardner: strings
Ayako Kataoka: electronics
Liz Meredith: viola
Marc Miller: guitar
Stewart Mostofsky: electronics
Michael Muniak: feedback
M.C. Schmidt: electronics



High Zero Special Projects


Dan Deacon (Baltimore)
Ayako Kataoka (Baltimore)
Dr. Johannes Rosenberg (Australia)
Dragos Tara (Switzerland)


High Zero Festival Sound Installations


September 21st - 26th, 2010
@ Gallery Four   4th Floor / 405 W Franklin St., Baltimore

Sound Installations
Tristan Perich (NYC)
Karl Ekdahl (Baltimore)
Julie Benoit (Baltimore)




For set lists and information about High Jinx street happenings, see: www.highzero.org


###

Saturday, August 21, 2010

New Reviews: Lizz King, Salamander Wool, Katt Hernandez

New Reviews:


"A mature and fully realised work that becomes better with every listen." -- Terrascope on Lizz King's All Songs Go to Heaven


"This is an album that will delight and surprise every time it is heard." -- Terrascope on Salamander Wool's Lunarsophic Sonambulist


"Unlovely is never boring, predictable, or safe; it accepts and exploits the possibilities and potentialities of the violin is a way that’s nothing short of astonishing." -- Splice Today on Katt Hernandez's Unlovely


All three LPs are available from Ehse Records.

Tuesday, August 10, 2010

2010 High Zero Festival: Artists Announced!

This year's High Zero line-up is:

From Baltimore:

Ayako Kataoka, electronics
Drew Daniel, electronics
Stewart Mostofsky, electronics
M.C. Schmidt, electronics
Dan Deacon, electronics, tuba
Michael Muniak, feedback
Marc Miller, guitar
Owen Gardner, guitar
Shelly Blake-Plock, stringed instruments
Tiffany Defoe, saxophone
Ami Dang, sitar, voice, electronics
Liz Meredith, viola



From afar:

Keith Fullerton Whitman, electronics, Boston
Wobbly, electronics, California
Shayna Dunkelman, percussion, California
Li Tieqiao, saxophone, China
Karen Borca, bassoon, NYC
Tomoko Sauvage, porcelin bowls, Paris
Ju Suk Reet Meate, trumpet, Portland
Gary Smith, guitar, United Kingdom
Andrea Neumann, inner piano, Germany
Hans Koch, bass clarinet, Switzerland
Juan Jose Rivas, circuit bending, Mexico City
Tuna Pase,
voice, flute, and laptop, Istanbul
Dr. Johannes Rosenberg, violin, technology, Australia
Dragos Tara, MAX/MSP, acoustic bass, Switzerland

SOUND INSTALLATIONS: Tristan Perich, Karl Ekdahl, Julie Benoit

And a special opening week show at 2640 Space featuring Susan Alcorn and Claire E. Barratt.

Tuesday, August 3, 2010

Terrascope Reviews Salamander Wool

Terrascope on the new Salamander Wool LP:
About four minutes in, things start to click more into place and you realise that what you might just be listening to is a rough demo of a lost Incredible String Band album or that hurriedly shelved third Syd Barrett album before they packed him off to who knows where.

Wednesday, July 28, 2010

J.Gräf + Salamander Wool duosolo tour

J.Gräf + Salamander Wool duosolo tour

AUGUST 7 - 20, 2010

7 Baltimore - Bentalou House ,348 S Bentalou, with Yoinsh and Caleb Johnston (Bankmaestro)
9 NYC - Zebulon with Skeletons + Seve (shinkoyo) v-j-ing
10 Somerville, MA - PA's Lounge, 345 Somerville Ave
11 Easthampton, MA - Flywheel (in the old town hall) 43 Main St. Easthampton, MA With Outerspace and Drainolith (members of Emeralds and Aids Wolf)
12 Belfast, Maine - barn in Belfast, Maine
13 Montreal – JAMM at E Cagibi, 5490 Boulevard Saint Laurent, 9 pm with the you me colour band and royal palms
14 Ottowa – JAMM in Blake’s basement
15 Toronto – JAMM @ Somewhere There227 Sterling Rd. Unit #112, the entrance is off Rattan St., with The Deep, Michelangelo Iaffaldano/D.Alex/Steven Sladkowski
18 Chicago – MOPERY

VOLUNTEERS' COLLECTIVE: NEW WORKSHOP SERIES AT RED ROOM: 6-8PM, 1ST SUNDAY OF THE MONTH

VOLUNTEERS' COLLECTIVE: NEW WORKSHOP SERIES AT RED ROOM: 6-8PM, 1ST SUNDAY OF THE MONTH

After much preparation, The Red Room and High Zero Foundation are excitedly relaunching their monthly workshop for freely improvised experimental music (previously "The Crap Shoot") at a new time, with a new name, and a new attitude. 

Now called VOLUNTEERS' COLLECTIVE, it will be running the first Sunday of each month, at 6PM at The Red Room (Normals Books and Records). Although the Crap Shoot workshop (which had approximately 140 sessions since it began in 1996) had been an integral part of the growth of the experimental improvised music scene in Baltimore, for some time we have been feeling it needed revitalization on a deep level.

Essentially, we want this event to be a more powerful tool for the community of improvisers in Baltimore to hone their art, network and form collaborations, and stretch themselves musically in unfamiliar and inspiring situations.

This means a new approach, and frankly, a more critical attitude.

First, the new VOLUNTEERS' COLLECTIVE workshop will be structured featuring well-known local improvisers who will attend sessions to provide a backbone of seasoned players to "seed" each workshop. This will create a more attractive and stimulating workshop situation for newcomers and seasoned players alike. 

Second, the workshop will also involve more critical cross-discussion about the music actually played. Conversation, debate, and reflection are vital components on the way to honing skills in improvisation and the VOLUNTEERS' COLLECTIVE will provide that forum. 

Third, the workshop will be open to anyone of any level of skill with a strong interest in getting into improvisation and experimentation in an open-ended but thoughtful and disciplined way. This is about reaching beyond and using improvisation collaboratively to guide us into new areas of music and thinking. We are particularly interested in players who want to develop new, unique, but flexible approaches to playing.

There is a catch.

In this new approach, we are asking that only those players who have a strong intention to develop their music and their free improvisation skills attend the workshop.  We would like to focus on active musicians who are interested in pushing their playing to a higher level in a specifically experimental, non-idiomatic direction.

Although the workshop will be open to all, we will request that ongoing participation be paralleled by a serious interest in one's own artistic development.

We hope that folks will respect this, and that, as a result of these changes, the overall experience will be substantially more stimulating and thought-provoking than ever. 

And, of course, if these changes don't suit some players, we encourage them to create their own collective contexts for improvised music that are more aligned with their interests.

The first VOLUNTEERS' COLLECTIVE will be Sunday, August 1st 6-8PM and will include "seed" improvisers John Berndt, John Dierker, Liz Meredith, and Will Redman. We hope to see you there!

Friday, July 16, 2010

From the High Zero Foundation: Exotic Hypnotic

from the source:

Exotic Hypnotic: High Zero Foundation's 24-hours of extremely varied music sponsored by Baltimore Office of Promotion and The Arts.

University of Baltimore Performing Arts Center Student Theatre - 21 West Mount Royal Avenue, 5th Floor - Air Conditioned!!

-----------------------
Friday, July 16th, Free

2pm- Robby Rackleff: Eccentric multimedia monologist. 
3pm- Aaron Henkin: Producer of the Signal presents original radio documentaries. 
4pm- Square Pi: Experimental vocalist and sound-collage artist.

5pm- Baltimore Sacred Harp: Oldest American a cappella singing tradition comes alive. 
6pm- The Hammered: Grandiose theatrical heavy metal ensemble. 
7pm- Weyes Bluhd: Dark lo-fi ballads. 
8pm- Janitor: Homoerotic industrial  performance electronics. 
9pm- Annex Theater: Psychadelic dream-like theater work with puppets, live music, actors, and projection. 
-----------------------
Saturday, July 17th, Free

12pm- Avocado Happy Hour: Tuneful percussive oddities. 
1pm- Turquiose Cats: Electro feline minimal electronics. 
2pm- The Creepers: Wacky tortured songs with great lyrics. 
3pm- Jason Urick: Baltimore ping pong icon and legendary laptop jammer. 
4pm- Singers Madrigale: Wandering Traditional Renaissance voices. 
5pm- Stuart Saunders Smith: Avant-garde classical music. 
6pm- Summer Games (Schwartz/Fell/Boeldt): Money hungry boy band. 
7pm- Death Race 2000 (Broydelic Sidecar I + Stewart Mostofsky): Conceptual experimental supergroup meets 70's Carsploitation film. 
-----------------------
Sunday, July 18th, Free

12pm- Jah Hannibal/Aaron Martin/Britton Powell: Down-to-earth cosmic free jazz.

1pm- Nothingberry Plasma: One-man electronics and drum psychosis.

2pm- Stewart Mosotofsky, John Berndt, Kate Porter and friends.

3pm- Jeff Carey: Globe-trotting experimental electronic musician.

4pm- Andrew Bernstein: Electronic free-wheeling post-song rock.

5pm- Yoshiko Ohara w/ Gerry Mak: Doom and gloom from members of Bloody Ailuropoda melanoleuca.

6pm- Embarrassment Poems: A cavalcade of experimental language.

7pm- Baltimore Experimental Dance Group: Unusual movement and inspired oddity.

See the full schedule of events here: http://www.exotichypnotic.org/

Wednesday, July 14, 2010

"See what Baltimore REALLY has to offer."

This year's Exotic Hypnotic is a Critic's Pick in City Paper.



The full schedule is available at exotichypnotic.org. The marathon fest runs July 16th - 18th at University of Baltimore's Performing Arts Stage and is part of Baltimore's annual ArtScape.

Monday, July 5, 2010

Ehse on Ice, Part Deux

Ehse On Ice, Part Deux

Come get your ice on.

Performances by:
Snacks
Beastmaster
Weyes Bluhd
Plus DJ “Hot Dog” (Elijah)
And refreshments by Taco Style

Start Time:
Friday, July 9, 2010 at 9:30pm
End Time:
Saturday, July 10, 2010 at 12:30am
Location:
Mount Pleasant Ice Arena
Street:
6101 Hillen Road
City/Town:
Baltimore, MD
































































Wednesday, June 16, 2010

Thursday, May 27, 2010

Get a Taste

Get a Taste at Taster:

Thursday, June 3th, Free
At 2640 Space: a collectively run events venue in Baltimore, located at 2640 St. Paul St. 
 TASTER! A free introductory concert to experimental / improvised music with a bevy of stellar Baltimore musicians.
Are you interested in experimental music but not sure where to start? Or do you have friends or family members that you think might be interested in this stuff if it was introduced to them in the right way? In order to make this sort of thing happen more frequently, High Zero has put together this special free event at 2640 space called TASTER. Its a buffet of virtuoso experimental music styles.
In addition to good food and drink and casual conversation, this event will feature short, highly varied sets by these hand-picked ensembles of great Baltimore area musicians:
Neil Feather: inventions
Eric Franklin: inventions
Dan Breen: inventions

John Dierker: bass clarinet
Samuel Burt: bass clarinet
Britton Powell: bass
Will Redman: drums

Susan Alcorn: pedal steel guitar
Paul Neidhardt: drums
Chris Pumphrey: alto saxophone

Andy Hayleck: inventions
Ayako Katoaka: inventions
Peter Blasser: inventions

Audrey Chen: cello, voice
Shodekeh: human beat-boxing
Brian Sacawa: saxophones

Please come and bring interested friends and family. Its a chance to get them to peek into the amazing, exotic world of Baltimore experimental music and see what you like. We think they will find it interesting, and it may open some interesting doors for people. The whole event will last about an hour and a half, starting at the Church at 8PM sharp.

Thursday, May 20, 2010

Ehse Records is Proud to Announce the Exclusive ReRelease of a Rare Katt Hernandez LP

Katt Hernandez

"Seriously Boss" - Byron Coley and Thurston Moore in Arthur



Ehse Records is Proud to Announce the Exclusive ReRelease of a Rare Katt Hernandez LP

"It's a solo record I did a bit back in boston. My landlord had 1950s Cole ribbon mics from the BBC sound studio (incidentaly of a series number which apparently indicates their probable use on Doctor Who). I made this very sort of purist recording there with him."


Ehse will be rereleasing the very rare Boston solo violin recording of Katt Hernandez. The release will be available in June, with Katt touring in Europe from her new homebase in Stockholm.


INFO

Katt Hernandez is about to move to Stockholm, Sweden. She went there to play at Hagenfesten with pianist Eve Risser in summer of 2008, met her current partner, and so will go to join him there. She has done a bit of work in the Electronic Music Studio there already, and played with Joel Grip. Currently Katt is in Boston, where she has most recently played at X-Fest, in Zack Fuller's "Into the Shiny Battle" at Mobius and performed and recorded with Joe Morris, Luther Gray, Matt Samolis, Steve Norton, Mitch Ahern, Andrew Neuman and Junko Simons.
Katt lived in Philadelphia for three years, after living in the Boston area for nine years, playing the violin, running spaces, and producing shows. She immediately became involved in performances with Bowerbird, Soundfield, Ars Nova, and Nicole Bindler's Dance Ensemble upon her arrival.  During her time there she played regularly with the Balkan Dance band West Philadelphia Orchestra, toured the U.S. with Vashti Bunyan and Vetiver, sat on the Board of World Music presenting organization Crossroads Music, and worked with musicians from Gregg Weeks' "Language of Stone" Label. She created a quasi-composed piece for shadow-puppet and screen print artist Erik Ruin which toured throughout the East Coast. She worked regularly with Psychotic Quartet and permutations thereof- Dan Blacksberg, Evan Lipson and Michael Evans. And she regularly went to Baltimore to collaborate as well. She has worked a great deal with John Berndt, the Second Nature ensemble, the duo Isabel with Audrey Chen, and collaborated most recently with Andy Hayleck and Catherine Pancake.

Focused primarily on freely improvised music, 
Katt draws a firey array of electronic-like sounds and keening melodies from her unaltered, accoustic violin. She also works extensively with microtonality, drawn from a study of a mixture of sources, including traditional folk and sacred musics of the Middle East, Turkey, and Eastern Europe, various odd-ball whisps of old Americana, and the Maneri/Sims 72 note system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits. She has also played music of the late Ottman empire and Whirling Dervish ceremonies with the Eurasia Ensemble. She spent some time playing old-time, vaudeville, and early jazz tunes with Matt Samolis(a.k.a. Shoe) whilst channelling the spirit of Amelia Earhart in the duo Lindy's Radio. And she also has played the mysterious incarnation of a disturbing cartoon character in the frightening music and performance art duo Dr. Selenium and Madame Margo.Before leaving for Philadelphia she participated in the Voltaic Vaudeville festival, wherein she played Solo, with butoh dancer Jennifer Hicks, and as part of the Beat Circus Vaudeville Orchestra. In fact, she plays somewhere for somebody at least weekly, come hell or high water.
Katt has collaborated with a magnificently variated sea of musicians, dancers, and others including- but certainly not limited to- Joe Maneri,David Maxwell, Nicole Bindler, John Voigt, Allisa Cardone, Gordon Beeferman, Jonathan Vincent, Walter Wright, Joe Burgio, Eric Rosenthal, Jeff Arnal, Jaimie McGlaughlin,Dave Gross and Hans Rickheit. She has twice been invited to perfrom on the Autumn Uprising, High Zero, Mobius ArtRages, and Improvised and Otherwise festivals, and has also appeared at the Montreaux-Detroit, Brandeis New Music, Boston CyberArts, Michiania, Phenome, IAJE, IASJ, and Ear Whacks festivals. She has been a guest artist at MIT, Harvard, University of Indiana and the New England Conservatory, performed in a vast slew of localized venues and life-making places throughout the east coast metropolii.

In addition, 
Katt booked well over a hundred shows, festivals, and concerts during her time in Boston. She was a crazed avatar for the Zeitgeist Gallery, where she worked on everything from publicity and shows to mischeif and whimsey. She also lived in the short-lived Andrew Square art space next to an elevator shaft, and performed multiple times at the Pan 9 space. She continues to seek out underground spaces for those things too strange and magnificant for commercial clubs and foundation concert halls.
Katt grew up in Ann Arbor, MI, where she met all kinds of the most remarkable humans you might imagine, and played her violin throughout the Detroit metro-area on a regular basis starting at the age of 14. Her first free improvisation show was at teh age of 15, where she was delighted to find herself sharing the stage with Eugene Chadbourne, Frank Pahl and LaDonna Smith. She attended Community High School as a kid- a public school based on the utopic visions of the late sixties. She also spent two weeks every summer at the National Music Camp, wearing silly uniforms and learning about symphonic and chamber music. After attending classes as a teenager at the University of Michigan's Music School, she went there and studied composition, violin, electronic music, jazz, and improvisation, graduating in the end with the very first BFA in "Jazz Studies and Contemporary Improvisation" awarded by the school. Her teachers were George Balch Wilson, Ed Sarath, Even Chambers, Donald Walden, Elaine Sargous, Karin Swanson, Mike Grace, and Andrew Jennings. She played with a great many musicians and others there, including Only a Mother, Doctor Arwulf-Arwulf,the Creative Arts Orchestra, and the Blue Sun Quintet.

QUOTES FROM REVIEWS AND SUCH

"Another Beantown expat is improvising violinist Katt Hernandez, whose debut solo LP Unlovely (no label) is seriously boss. A student of Joe Manieri, Katt plays in a style that flies through the valley separating new music and free jazz, like a hive of cunning bees. Great inventions." Byron Coley and Thurston Moore, Arthur No. 32 (Dec 2008)

". . . musicians everywhere are aware of her exceptional artistry, and even international writers and producers are telling us of their fortunate discovery. . .it may be overdue, but it is good to see that someone as good as 
Katt is finally being recognized." Stu Vandermark, Cadence Magazine, Dec. 2004, pg. 133

". . .The Long Awaited Etcetera puts 
Hernandez squarely on the radar. . . as one of the few violinists of consequence in improvised music" Stanley Zappa, Bannanafish, Issue Seventeen, pg. 88

"
Hernandez is a young violinist who shows the potential to develop into a major voice in experimental violin improvisation and join the ranks of Mat Maneri, Mari Kimura, Malcolm Goldstein, and Takehisa Kosugi". Michael A. Parker, All About Jazz, http://www.allaboutjazz.com/reviews/r0502_135.htm

"It was Hernandez that stood out in this piece, bringing an ear clearly comfortable with classical and rock approaches, but despite this grounding, at times flirting with complete choas" Eric Allen Hatch, Signal-to-Noise Winter 2002/issue 24, page 55

Wednesday, May 12, 2010

Ehse Radio Brings the Fresh Top Hits!

Ehse Records' owner Stewart Mostofsky was recently interviewed on Baltimore's best local radio program: The Signal.

Check out the program and hear how host Aaron Henkin responds to the likes of Leprechaun Catering and Sejayno. The Ehse talk takes place towards the last ten minutes of the program.

Thursday, April 29, 2010

April 30: Salamander Wool LP Release

Reminder from Ehse Records:
Salamander Wool LP Release
Friday, April 30th, 9pm
at Tarantula Hill, 2118 W. Pratt Street, Baltimore, MD 21223
With performances by:
Salamander Wool
Needle Gun
Weyes Bluhd
Ami Dang & Jenny Graf & Nathan Bell

Monday, April 19, 2010

Triple Point - Pauline Oliveros, Jonas Braasch, and Doug Van Nort: Live at Red Room 4/24

Saturday, April 24th, $6


The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30 
 


Triple Point ++ Michael Bullock ++ Joe Reinsel 
Triple Point - Pauline Oliveros (digital accordion), Jonas Braasch (soprano sax) and Doug Van Nort (laptop) - are an improvising trio in which a variety of synthesized acoustic sounds emanate from an accordion, acoustic saxophone is bent beyond recognition and all of these timbres are captured and transformed into a third set of sonic material via greis/laptop. The result is an ever-shifting tapestry guided by Deep Listening. Triple Point is the performance outlet for the trio's research/creation project that explores and experiments with intelligent interactive systems. Triple Point is also the location on a phase diagram wherein all phases of matter exist in thermodynamic equilibrium - a metaphor for the group's performance practice. This is where the trio operates exploring musical spaces and boundary conditions where contrasting ideas and streams can co-exist, while expanding the vocabulary of musical instruments acoustically (Braasch on soprano saxophone) and electronically (Oliveros, digital accordion and Expanded Instrument System, EIS, Doug van Nort on laptop and GREIS).

For many decades Pauline Oliveros has been actively expanding the voice of her main instrument, the accordion. Given the limited natural possibilities of this instrument with respect to sound (fixed tuning, no pitch bends, narrow variety in overtone spectrum), Oliveros has begun half a century ago to alter the sound of her instrument using tape delays and other electronic devices. Van Nort's work is based in digital signal processing, transforming Oliveros', Braasch's and his own sounds using Granular Synthesis, psychoacoustically-motivated sound analysis tools and Genetic Algorithms to explore new musical textures and timbres.

Michael Bullock does terrible, wonderful things with his contrabass. He rattles its thick, braid-like strings until they come to resemble a cyclone fence doing battle with a ferocious wind. He bows it with a quiet intensity that brings out every fiber of its physical being. He attacks it with alternative materials, leaving the bow aside like so much antiquated performance history. He takes the proud beast of an instrument and uses it to make expressly quiet noises. He takes an instrument capable of deeply sonorous experience, and turns it — mischievously, perhaps, but also concertedly — into a tool for sonic abrasion.

Joe Reinsel’s works have been performed at national and international events including: SIGGRAPH 2006, Zero One San Jose, Art Interactive, Contemporary Museum (Baltimore), University of Glasgow, Pixelache, Roulette, Deep Listening Space, Galapogos Arts Space, Tonic/subtonic, Engine27, and Mobius.

Also his projects have been supported by the Baltimore Museum of Art. New York State Council for the Arts, New York Foundation for the Arts,Maryland State Arts Council, William G. Baker Jr. Memorial Fund, Baltimore City Office of Promotion and the Arts, Freefall Baltimore,and Baltimore Community Foundation


Reinsel presently directs the Digital Media Arts Program at College of Notre Dame of Maryland. He has a Master of Fine Arts in Electronic Arts from Rensselaer Polytechnic Institute(iEAR Studios), and a Master of Arts in Composition from Radford University.

Double Quadraphonic Endurance Event at the True Vine

Friday, April 23rd, Free Show at the True Vine Record Shop

Double Quadraphonic Endurance Event at the True Vine 
Can you endure all the quadraphony? Test your senses!

Strotter (turntable-machines) from Switzerland
Ear, Nose and Throat
Electric Junk Band
Zomes
FunkHouse



Strotter Inst. is Christoph Hess from Switzerland. He creates music through the use of old, modified, Lenco turntables which he modifies and manipulates in countless ways. Rubber bands are affixed to the rotating turntable and plucked by the stylus, records have tape affixed in patterns to create textural rhythms, electrical current is sent via live wires to the needle to create pulsing feedback. These sounds are then manipulated by Hess through effects pedals to create warm and dense sound structures, looping, rumbling rhythms and multilayered broken beats.
The music of Strotter Inst. has more in common with the anti-electronica of Pan Sonic or the early minimalism of Steve Reich, than to other experimental turntablists like eRikm, Philip Jeck or Christian Marclay. Hess’ roots are not in improvised music, but in industrial culture, the electronic avantgarde and electro-acoustic composition.

Christoph Hess is also a member of post-industrial band, Herpes Ö DeLuxe (since 1995) and the experimental doom-trio Sum Of R (since 2007). He has collaborated live with Sudden Infant, Maja Ratkje, and others. Strotter Inst. has performed throughout Europe, China, Russia, and Bolivia.

PLEASE NOTE
This event will be held at

True Vine Record Shop

3544 Hickory St (just off the Avenue in Hampden)
Event begins at 4 PM

Jack Wright, Pascal Batus, Michael Johnsen, Tyler Wilcox, Andy Hayleck, and Paul Neidhardt: Live at Red Room 4/21

Wednesday, April 21st, $6 

The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30 


Improvised music with Jack Wright (saxophones), Pascal Batus (objects, pickup), Michael Johnsen (saw, electronics), Tyler Wilcox (saxophones), Andy Hayleck (electronics, amplified Gong) and Paul Neidhardt (percussion). 

The Red Room is overjoyed to present these improvisers of super-human sensitivity and creativity on its humble stage. Jack Wright is a legend of North American improvisation. Pascal Batus is an amazing sound-oriented guitarist from France who utilizes an unusual method of "stringless guitar". This is his first visit to Baltimore. Michael Johnsen is a singular mind, a contemporary improvement on both David Tudor's electronics and Paul Loven's saw playing. His visits to Bmore from Pittsburg are rare.


Opening the night is the (semi) local trio of Paul Niedhardt, Andy Hayleck and Tyler Wilcox. Paul and Andy are amongst the finest members of the local inprovised music scene. Both members of Trockeneis, they share some like-minded goals of psychically transporting, disorienting electronacoutic timbres. They are both masters of subtle, shifting sound fields full of odd colors and dark, metallic friction. Tyler Wilcox is a one-time resident of Baltimore and returns throughout the year to play with Paul, Andy and others. He is a multiple reeds player. Together, the music they make is likely to be really transcendent. You'd be a fool to miss this one.

Cellist Charles Curtis, plus "Deacon at Bernie's" (Dan Deacon and Andrew Bernstein) Live at the Red Room 4/20

Tuesday, April 20th, $6 

The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30 


Cellist Charles Curtis, plus "Deacon at Bernie's" 

Charles Curtis is one of the most important 'cellists in new music. He has had works written for him by La Monte Young (Curtis being his foremost interpreter), Eliane Radigue and Alvin Lucier and is likewise experienced in more traditional classical music, having served as first solo 'cellist of the Symphony Orchestra of the North German Radio for over 10 years. That's not all! He's performed at all the cool weirdo clubs in New York (Tonic, Knitting Factory, CBGB's etc.) and collaborated with people like Elliott Sharp, David First, Bongwater and Borbetomagus.

Deacon at Bernie's is a collaboration between Baltimore musicians Dan Deacon (electronics) and Andrew Bernstein (saxophone, Teeth Mountain). Deacon is best-known for his more pop-oriented solo work, the subtle experimentalism of which comes full flower in this collaborative context with Bernie's nurturing saxophone. The two will be accompanying, modulating or overtaking three short films by Lillian Schwartz and Stan Van Der Beek, lovingly chosen by local experimental film maven Mary Helena Clark.

Sunday, April 18, 2010

Salamander Wool LP now available online via Ehserecords.com

Salamander Wool's first release on Ehse Records is now available online.














Track List

Side A:
Moon of Arq
Blaq n White Coursed
Vesica Pisces
Lantern Bearer
Flame Afloat Pulpit


Side B:
A Language Before
Mothern Poem
Opaqe
Alien Beloved
Daylight of Midnight

Sunday, April 11, 2010

Ehse Records to Release LP by Baltimore's Salamander Wool

Ehse Records to Release LP by Baltimore's Salamander Wool


Ehse Records will release a new LP by Baltimore's Salamander Wool on May 18th, 2010. There will be a special local-release show in Baltimore on April 30th, 2010 at Tarantula Hill (2118 W. Pratt St., Baltimore, MD 21223) with guests Needle Gun, Weyes Bluhd, Ami Dang & Jenny Graf & Nathan Bell, and Ian Nagoski spinning 78s.

"Salamander Wool is the fiber mineral asbestos, which shows a particular resilience to fire. This force field spins its own protective web."

And so on this, the first Ehse LP by Salamander Wool -- the solo project of Baltimore artist and musician Carson Garhart -- resilience and force fields abide in plucked and chimed tre-melodies and fleeting glances of recorded sound.

Garhart resides in the Carollton Ridge neighborhood of Baltimore where, "while living in a constant nomadic flux sailing down concrete rivers across known and unknown provinces, he paints musical landscapes". Using electronics, stringed instruments (homemade and other), voice, and poetry, Carson creates songs and movements meant for metaphysical keys and ecstatic dances.

Having released a solo album in 2004 with the Shinkoyo collective, Garhart plays in the time-travel band Sejayno and occasionally paints birds on his wall. His music is at once a revolt against modernity and an embracing of possible futures, especially ones that restore an age of light and life. 

See: ehserecords.com for more album info.
For contact and updates on tour dates, see diymummy.com.
###

Wednesday, April 7, 2010

Salamander Wool “Lunarsophic Somnambulist” Record Release Party

Friday, April 30th, 9pm
at Tarantula Hill, 2118 W. Pratt Street, Baltimore, MD 21223
With performances by:
Salamander Wool
Needle Gun
Weyes Bluhd
Ami Dang & Jenny Graf & Nate Bell
+ Tom Boram and Dan Breen spinning records

Thursday, April 1, 2010

John Berndt: Upcoming Performances

John Berndt: Upcoming Performances

Friday, May 8th
John Berndt performing as part of Matana Roberts "Coin Coin" composition
www.redroom.org, Baltimore

Sunday, May 16th
John Berndt: "Three Algorithms: Strange connections between formal logic, disoriented experience, and experimental music." Lecture with concert.
Megapolis Festival, Baltimore

Saturday, May 22nd
John Berndt with Janel Leppin Group
at The Hexagon, Baltimore

Tuesday, May 25th
John Berndt (sax), Zach Branch (cello), Jon Rogerson (guitar), Will Redman (drums )
Out of Your Head Series
The Wind Up Space, Baltimore

Saturday, May 29th
DEADMIX DANCEBEAT
Baltimore old-school Relabi dance partyw/DJ Berndt & others
at The Hexagon, Baltimore

Tuesday, March 30, 2010

PHILOSOPHERS UNION EDITION #1

Friday, April 9th, 8:30 PM, Free
The Red Room
425 E. 31st Street, Baltimore

*PHILOSOPHERS UNION EDITION #1: Alphonso Lingis!*

The Red Room has a new series: PHILOSOPHER'S UNION ("Keep thinking live!").* For the first installment, we are extraordinarily happy to have Alphonso Lingis, one of the most interesting philosophers of the present age. Lingis has created a unique synthesis of the concerns of academic philosophy, with a highly creative and risk-taking existential endeavor. A description of his talk is included below.

*The Outsiders--A Talk by Alphonso Lingis.*
In 1922 Dr. Hans Prinzhorn published Artistry of the Mentally Ill--in which he reproduced and analyzed 187 from the more than 5000 paintings, drawings, and carvings he had collected from insane asylums in and around Heidelberg, mostly from patients diagnosed as schizophrenic. Professional artists were astouned by what they saw in this book; Paul Elouard called it "the most beautiful book of images there is." Jean Dubuffet argued that the mentally ill had access to the fundamental sources of human creativity, and launched a far-reaching criticism of the professional "art world" and the taste of the cultivated elite. The paper examines the new conceptions of art, of creativity, and of authenticity that were advanced by the champions of this art. It also examines the subsequent production of the art of the self-taught, and the ideas about all this work that have been elaborated since.

*About Alphonso Lingis*
Alphonso Lingis (born November 23, 1933 in Crete, Illinois) is an American philosopher, writer and translator, and was Professor Emeritus of Philosophy at Pennsylvania State University. His areas of specialization include phenomenology, existentialism, modern philosophy, and ethics.

Lingis has had wide success as a public lecturer due both to his captivating style of writing and also the performance art atmosphere of his lectures. During public talks he generally appears in costume or speaks amidst strange background music or recorded screams, often in total darkness. Throughout his years at Penn State, he was also well known as a classic college town cult celebrity, welcoming students to a strange home filled with rare birds, dangerous fish and insects, and numerous third world artifacts. In this period his travels shifted increasingly from Europe to the developing world, with especial bases in Bangkok and Rio de Janeiro, and most recently Africa. In recent years he has also renewed contact with his ancestral heritage, reaching a certain degree of prominence in Lithuania. Now retired from Penn State, Lingis lives near Baltimore, where he continues to write books similar to his earlier works. His books have been translated into French and Turkish, among other languages. In the spring of 2004 the first college course on Lingis was offered at Towson University in Towson, Maryland, taught by Wolfgang W. Fuchs co-editor of "Encounters with Lingis" (2003).

* in the 90's, The Philosophers Union was an ill-defined collective project involving Stephen Schzelkun, tENTATIVELY, a cONVENINECE, and many others. We have resurrected it at the Red Room for this new free lecture series.

Honestly, Lizz King...

"All Songs Go To Heaven is the sound of worlds colliding. And this is a glorious sound, full of banjos and beats, heartbreaking melodies and odd noises, softly sung words and deeply stinging rhythms. It is a highly intoxicating musical trip, and one on which we are lucky enough to have King as our guide." --  visit Honest Tune to read the whole review!

Tuesday, March 23, 2010

John Berndt in Boston

Performing in Boston this Thursday! 
John Berndt: solo saxophone + Matt Samolis- flute, Joe Burgio- movement, Paul Erlich- microtonal guitars, John Voigt- bass, Katt Hernandez- violin
8PM, Thu Mar 25, 369 Congress St, Boston, 7th floor

Wednesday, March 3, 2010

Baltimore Magazine reviews Lizz King: "Her earthy songs are, indeed, heavenly."

From the review:
I like to think of Lizz King as Baltimore's antidote to indie phenom Sufjan Stevens. Both songwriters conjure a shambling melodicism and neither shies away from the ukelele, banjo, and glockenspiel—with the occasional singing saw in the mix—but I'll take King's dusky voice and worldview over Stevens's precious musings any day.

Click here for the whole enchilada.

Tuesday, February 23, 2010

Aural States reviews Lizz King's 'All Songs Go To Heaven'

Aural States posted an intensive review of Lizz's new LP. And we think they liked it...

Absolutely stunning... I can’t bestow enough praise onto All Songs Go To Heaven, and I don’t think you could do yourself a better favor this month other than to seek it out at Ehse Records.

That's a great idea: go visit Ehse Online and pick yourself up a copy.

Lizz King: Femme-Fatale Fuzz

A.V. Club Austin describes Lizz on tour:

Baltimore’s Lizz King flirts with... femme-fatale fuzz, but also wends in bluegrass-inspired torch songs from her odd combo of laptop and ukulele.

Tuesday, February 16, 2010

Tour Notes: Montana Digs Lizz King

"With her gritty electro-dance tune 'Booty Queen', Baltimore's Lizz King launches a sneak attack worthy of Werner Herzog. It's a catchy, spooky little number featuring the refrain 'Oo la la, she's just a baby' over samples covering the history of the Big Bad Wolf in pop culture.... She is frank, intimate and saucy like a latter-day Marlene Dietrich." - Missoula Independent

Tuesday, January 19, 2010

Lizz King: Tour Winter 2010

Lizz is coming to see you. Spread the word.

Jan 12 2010 8:00P the Blue Moon Saloon Shepherdstown, West Virginia
Jan 13 2010 8:00P Death By Audio w/ GDFX, Thick Business, Kate Ferencz, & The Dreebs NYC, New York
Jan 14 2010 8:00P 17 Mules w/ Holy Sheet & Brrmuda Providence, Rhode Island
Jan 15 2010 8:00P the Butcher Shoppe w/Isa Christ, Rotten Apples, The Great Valley Boston, MA
Jan 16 2010 8:00P Skrummage w/ Breezee One Detroit, MI
Jan 18 2010 8:00P Mixtapes w/ Breezee One & ChicaX East Moline, Illinois
Jan 19 2010 1:00P www.daytrotter.com Moline, Illinois
Jan 19 2010 8:00P Cactus Club w/Big Fun4ever, Breezee One, Magic Words Milwaukee, Wisconsin
Jan 21 2010 8:00P Ames Progressive Ames, Iowa
Jan 22 2010 8:00P The Picador w/ Breezee One & Datagun Iowa City, Iowa
Jan 24 2010 8:00P Rhinoceropolis Denver, CO
Jan 25 2010 8:00P Kilby Court w/ Tigergrrl & Breezee One Salt Lake City, Utah
Jan 27 2010 8:00P The Palace w/ w/ Breezee One, Colin Johnson(Vampire Hands)& Bryan Ramirez(ExCocaine) Missoula, Montana
Jan 30 2010 8:00P 6315 NE Rodney/ crosstreet Holman Portland, Oregon
Feb 1 2010 8:00P Pehrspace Kyle H. Mabson's bday slurprize w/ Breezee One & more tba Los Angeles, CA
Feb 4 2010 8:00P Club 1808 Austin, TX
Feb 5 2010 8:00P Super Happy Fun Club Houston, Texas
Feb 8 2010 8:00P tba Athens, Athens, Georgia
Feb 9 2010 8:00P The Tin Roof Charleston, South Carolina
Feb 10 2010 8:00P The Nightlight Chapel Hill, North Carolina
Feb 11 2010 8:00P Slim's Raleigh, North Carolina
Feb 16 2010 8:00P The Tipsy Teapot Greenville, North Carolina
Feb 24 2010 8:00P The Golden West Baltimore, Maryland

Friday, January 15, 2010

COLLINSPORT

Geodesic Gnome presents
COLLINSPORT

Friday, January 15, 2010
8:00pm - 11:00pm 2640 Space 2640 St. Paul Street Baltimore, MD

Don't miss this major event! John Berndt, Stephanie Barber, Ric Royer and
Connor Kizer's COLLINSPORT is an inquiry into the structural anomalies of
Dark Shadows (1966-1971), the American gothic-occult soap-opera famous for
its unstable cast, momentum-less plot, and unusually over-elaborate dialog.

In this multimedia production of COLLINSPORT performed by Geodesic Gnome,
all these elements and more are made to spin faster and faster in a
test-tube until a precipitate of pure, undiluted reason drops onto the floor
and shatters along with the known universe. Carved from the molten ice of
popular-culture-as-
psychedelic-logical-modality, the piece is a direct expression of your
greatest fears about misunderstanding, enthused lethargy, and, well,
vampires. Add to this the obscure theory of 'paradox paradoxes' which
threatens to consume all of semantics and what have you got?

A ROLLICKING GOOD TIME HAD BY ALL, THAT'S WHAT.

With the immortal talents of:

Connor Kizer
Stephanie Barber
Lexie Mountain
Peter Blasser
John Eaton
Samuel Burt
Ric Royer
Sarah El Jallad
John Berndt
Mike Muniak
Melissa Moore
Peter Blasser
Kate Porter
Liz Meredith

Geodesic Gnome is Baltimore's meta-conceptual super-group, performing
boundary-defying philosophy and paradoxes-as-structure, lead by John Berndt.
In this case the group is joined by Baltimore geniuses Connor Kizer and
Stephanie Barber for this unique tribute to the Dark Shadows of Dark
Shadows.

Needle Gun and Sejayno Reviewed in Terrascope



Mixing avant-garde strangeness, free jazz skronks, a punk aesthetic and anything else they fancy, the album is a rollercoaster ride for your ears.

Terrascope reviewing 'Afternoon Computer Umbrage' LP from Ehse.


Definitely, or maybe defiantly psychedelic, the tracks have weird tunings, odd mixes and an alien air about them, sounding like space-rock played by drunk Venusians, a spiritual quest performed in a shopping mall, the end of the world reduced to a video game.

From a review on 'Quantus' in Terrascope. That record is also available from Ehse.