19:30 — Fylkingen. Torkelknutssonsgatan 2. [map]
Sarah Hennies
Jeph Jerman & Tim Barnes
Ikue Mori & Steve Noble
tickets: 180 adv / 200 door
festival pass: 500
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Sarah Hennies
Sarah Hennies (b. 1979, Louisville, KY) is a composer and percussionist currently residing in Ithaca, NY. Her work is primarily concerned with an immersive, psychoacoustic presentation of sound brought about by an often grueling, endurance-based performance practice that Nathan Thomas of Fluid Radio described as “a highly sophisticated and refined performance technique…that starts and ends with listening and encourages a different way of listening from its audience.”
Sarah Hennies & Olivia Block: Artist’s Talk @ KMH 1—3pm
Jeph Jerman & Tim Barnes
Across a dozen years and the distance from Cottonwood, Arizona to Louisville, Kentucky, the duo of Jeph Jerman and Tim Barnes has offered powerful, minimal music rooted in a shared dedication to the creative act of listening.
Jeph Jerman’s experimental roots run through the creative music scenes of Denver and Seattle, the 1980s cassette underground, and in more recent years a thorough sonic investigation of the desert Southwest where he lives and works.
Tim Barnes’s resume as a percussionist, engineer, and curator is studded with collaborators that outline the entire cosmos of avant-garde music from the 1960s onward, including Tony Conrad, Sonic Youth, Ken Vandermark (who appears here as a guest), Royal Trux, and Tower Recordings.
Ikue Mori & Steve Noble
Ikue Mori and Steve Noble first played together in 2010 at London’s Cafe Oto. It was immediately evident to everyone in the room that something had clicked and a very special combination had emerged.
Apparently operating according to some sort of shared dream logic, Mori and Noble’s music is always unpredictable but never incoherent, switching suddenly between ominous abstract soundscapes and exuberant rhythmic interplay, peppered with strange recurrences, idiomatic fragments and vertiginous changes of perspective, and characterized by a strong sense of forward momentum.
From her beginnings drumming with the seminal no wave unit DNA, Mori has always had a distinctively percussive sensibility, and her deft electronic manipulations merge perfectly with Noble’s fiercely physical handiwork. Drums and their digital double: the similarities and differences overlap and interrupt, crystallize and dissolve, split and converge into a fast-flowing torrent of compelling musical activity. — FATAKA
“from the very beginning hits you with complex percussive elements that will perplex you while you silently mouth WTF! . . . makes me think that Igor Stravinsky’s “Rites Of Spring” was spliced with Edgard Varèse’s “Densities”. . . . Hands down one of the best records of 2013 thus far!” – Chuck Bettis, Downtown Music Gallery
“bombards the listener from every direction, leading to fever-pitch moments where the border between live drum kit and digital sound file disappears, amounting to what sounds a hybrid of The White Noise, Evol’s Punani Rubber and Stockhausen’s Kontakte all on 78 rpm, playing forwards and backwards at random.” – Christopher Olson, The Liminal
“a stunning, adrenalin-inducing tour de force.” John Eyles, All About Jazz